Photos from The Eye of the Beholder's post

Allan Octavian Hume belonged to the age and league of 'amateur scientists' when the word was not regarded an oxymoron. For these 'gentleman scholars', lack of formal initiation in one trade or a branch of science was not considered reason enough for exclusion from serious contribution to other trades. Originally a career diplomat in the British Imperial civil service, Hume is most popularly known as the founder of the Indian National Congress. Hume's empathy for India manifested in other ways too. Most well known among these is his pioneering work on Indian ornithology, which culminated in the publication of the magnum opus "The Game Birds of India,Burma and Ceylon" published starting 1879 along with John Marshall. Starting from the time he was posted in Etawah, Hume built up a comprehensive collection of bird specimens from the subcontinent acquired during multiple birding expeditions. A significant portion of these were destroyed during the mutiny of 1857, and the rest were housed in his mansion in Simla. The British Museum was requested, initially unsuccessfully, to take his collection, as this had grown too big for him to manage privately. Eventually, when only abut 20,000 or so specimens were remaining, the British museum took these over, where to this day they form the core of the Tropical birds collection. Hume's "Game Birds" is a landmark in Indian bibliography, a jewel in the annals of ornithology, and a collectors pride. First editions of the book, such as the one described here (1879), are increasingly hard to lay hands upon. "The Game Birds of India, Burmah and Ceylon" Vol.s 1& 2 : 1879 and 1880. Published by A.O. Hume and C. H.T Marshall. 8, Hastings Street. Calcutta. Leather bound, Quattro. A+R Sadhu collection.

Photos from The Eye of the Beholder's post

"Three Indian Ornithological Studies" Company School. 23 cm by 20 cm. Gouache/watercolor on paper. A+R Sadhu collection. As the British started emerging as the dominant political force in the Indian subcontinent, their presence was felt in the realm of arts as well. As the patronage from the ruling dynasties waned, the erstwhile miniature painters seeked out new commissions among the rising clientele of the British gentry and nobility. This lead to the creation of a new market for paintings of 'Indian exotica' - flora, fauna, and castes & occupations. Starting from early-mid 19th century, there was a preponderance of paintings depicting anthropological, zoological and botanical subjects in a new quasi-realistic style that came to be known as the 'Company School' or 'kampani kalam'. These paintings are known for their vividness and their high-quality realism. Provenance is of incredible importance in case of company school paintings, with the top end of the market being reserved for works commissioned by Col. Pollier, Elijah Impey , William Fraser and suchlike which aspire for prices in the six- digit range. Today, collectors aggressively seek out the better examples of this school of painting, which are getting increasingly difficult to acquire. These three paintings are new acquisitions in the Sadhu collection. I still need to research them properly, decipher the Urdu text, and identify the ornithological specimens. But, the three works have a jewel-like quality, and are no doubt by a good hand.

The Eye of the Beholder's cover photo

Timeline Photos

"The Devil Dancer" - Ceylon 20"by 10" Gelatin print on paper Early 20th Century. Unknown photographer. A+R Sadhu collection, Switzerland The "Devil Dances" are an attempt to respond to the common belief that certain ailments are caused by unseen hands and that they should be chased away for the patient to get cured. If an individual or a family is not doing well, the village-folk believe that it's because that person or the family is being harassed by unseen hands. The performer disguises himself as a bear and wears amask and a dress to resemble one. Dancers wearing masks depicting different characters take part in processions while at certain ceremonies. Of later origin are the masks worn by children and teenagers at street performances during Vesak. The simple version of the devil dance ritual usually starts in the morning with the building of the stage, decorations and preparation of the costumes. The performers build an intricate stage before which the dancing commences. The stage consists of a wall made of freshly cut natural materials such as coconut palm tree and banana tree trunks. Depending on the region and the available materials the stage may also be coated with clay mud. The dances are-accompanied by drummers which also herald the beginning of the ritual. The full ritual usually lasts until the morning, with the dancers consuming betel-nut juice and drinking coke to stay awake. Dances can however also go on for multiple days.