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拍品專文
Only a very few sets of these plates appear to have been issued, and Archer notes that the 8 views and 1 plan published by Daniell in 1803 were probably intended as another part of his own Antiquities of India (1799-1800). Henry Bohn listed the set as 'very scarce' in his catalogue of 1847, and Archer can cite only one complete set, in the India Office Library.
Working in Bombay since 1791, Wales developed a great interest in the rock-cut temples of Western India. Whilst the Elephanta Temple was well known to Europeans, Wales had also explored the lesser known sites of Karli (Ekvera), in the Western Ghats, and had been able to visit Pandoo's cave (Panchalesvara) near Poona, through introductions by his patron, Sir Charles Malet. Wales's intention was to turn his sketches and plans of these temples into a lavish work on the antiquities of India. Wales met the Daniells in 1793, and was to become an important and influential figure in their projects. Impressed by Wales's drawings, the Daniells encouraged him, and he in turn guided them to Jugasree (Jogesvari) and Kondooty (Kondivate), although they did not visit Pandoo's cave or Ekvera. Wales continued exploring the Western caves after the Daniells' departure, dying in 1795 having caught fever whilst working in the Kanheri caves. Sir Charles Malet took Wales's drawings of the cave-temples to England in 1798 and commissioned Thomas Daniell to publish them. Wales's images of the Temple of Ellora were published in the sixth series of Oriental Scenery in 1803, and together they planned to publish a further set of 24 aquatints of the Antiquites of India, based on Wales's drawings of the lesser known temples. Only 9 plates seem to have been issued.
Wales's drawing, Daniell's proof engraving and the final aquatint of the interior of Ekvera offer a fascinating insight into the processes behind the production of the Daniell's aquatints. Ekvera, the Buddhist temple of Karli, is one of largest and most complete chaitya caves, lying at the top of the Western Ghats. Wales was 'much surprised' at this 'stupendous work', drawing the great hall with its high ribbed vault and vast columns incorporating figures on elephants. Archer notes that the proof engraving preserves the same angle of vision as the original drawing, but elongates the further end of the aisle, diminishing the number of roof beams. It is also interesting to note that for the drawing of the temple of Jogesvari (Jugasree), Wales chose his viewpoint in the inner hall as the only place where the light enters 'allowing him to see his paper, and creating a contrast of light and shade on the columns. His rendering is extremely accurate.' (Archer).
Not in Abbey. See appendix, M. Archer, Early Views of India, London: 1980; cf. India Office, London (see Descriptive Catalogue of the Paintings.. in the India Office, London: 1924, p.110). (10)
Another set of plates sold at Christie's, London, 24 September 2003, lot 52.
Working in Bombay since 1791, Wales developed a great interest in the rock-cut temples of Western India. Whilst the Elephanta Temple was well known to Europeans, Wales had also explored the lesser known sites of Karli (Ekvera), in the Western Ghats, and had been able to visit Pandoo's cave (Panchalesvara) near Poona, through introductions by his patron, Sir Charles Malet. Wales's intention was to turn his sketches and plans of these temples into a lavish work on the antiquities of India. Wales met the Daniells in 1793, and was to become an important and influential figure in their projects. Impressed by Wales's drawings, the Daniells encouraged him, and he in turn guided them to Jugasree (Jogesvari) and Kondooty (Kondivate), although they did not visit Pandoo's cave or Ekvera. Wales continued exploring the Western caves after the Daniells' departure, dying in 1795 having caught fever whilst working in the Kanheri caves. Sir Charles Malet took Wales's drawings of the cave-temples to England in 1798 and commissioned Thomas Daniell to publish them. Wales's images of the Temple of Ellora were published in the sixth series of Oriental Scenery in 1803, and together they planned to publish a further set of 24 aquatints of the Antiquites of India, based on Wales's drawings of the lesser known temples. Only 9 plates seem to have been issued.
Wales's drawing, Daniell's proof engraving and the final aquatint of the interior of Ekvera offer a fascinating insight into the processes behind the production of the Daniell's aquatints. Ekvera, the Buddhist temple of Karli, is one of largest and most complete chaitya caves, lying at the top of the Western Ghats. Wales was 'much surprised' at this 'stupendous work', drawing the great hall with its high ribbed vault and vast columns incorporating figures on elephants. Archer notes that the proof engraving preserves the same angle of vision as the original drawing, but elongates the further end of the aisle, diminishing the number of roof beams. It is also interesting to note that for the drawing of the temple of Jogesvari (Jugasree), Wales chose his viewpoint in the inner hall as the only place where the light enters 'allowing him to see his paper, and creating a contrast of light and shade on the columns. His rendering is extremely accurate.' (Archer).
Not in Abbey. See appendix, M. Archer, Early Views of India, London: 1980; cf. India Office, London (see Descriptive Catalogue of the Paintings.. in the India Office, London: 1924, p.110). (10)
Another set of plates sold at Christie's, London, 24 September 2003, lot 52.