The term ‘Company painting’ is used by art historians to describe a distinct type of Indian painting produced for Europeans, heavily influenced by European tastes. Flourishing in the eighteenth and the nineteenth century, the Company style developed in various parts of India, representing to an attempt by Indian artists to work in a mixed Indo-European style that would appeal to Europeans employed by various East India companies (hence the name). Providing an objective observation of Indian scenes, particularly in natural history and human society, a majority of Company paintings focused on Indian flora and fauna and the Eastern-Western trade occurring in the region. In addition to painting new subjects, Indian artists gradually began to adjust their style and technique to suit the tastes of their new patrons. They started working in watercolour rather than gouache and modified their colour palette from brilliant hues to muted tones prevalent in European engravings, such as soft blues, greens and sepia wash. They also adopted the use of perspective and shading in the Western tradition. (Archer, M. Company Paintings: Indian Paintings of the British Period. London, 1992, pp. 11-18)
The present lot comprises nine watercolour paintings of varying sizes, depicting monuments in Northern India: Lahori Gate (Delhi), Itmad al-Daula (Agra), Taj Mahal (Agra), Bara Imambara (Lucknow), Gateway of the Taj Mahal (Agra), Rumi Darwaza (Lucknow), Qutb Minar (Delhi), Diwam-i-Am (Delhi), Moti Masjid (Agra) and Diwan-i-Khas (Agra). Most are captioned in English, with occasional labels in Persian. Rendered with exceptional precision, these depictions of now-iconic tourist sites possess a strikingly photographic quality – one of the hallmarks of Company School paintings.
Much like the botanical and zoological studies popular among Company School themes, paintings of architecture were also executed with remarkable realism and meticulous detail. Interestingly, the small, portable format of these works suggest they may have been produced as postcards or travel souvenirs, very similar to their modern counterparts. This practice aligned with the growing number of European visitors travelling to India during the period, providing an opportunity for local artists to sell them mementoes with which to remember what they saw in India. While travellers in the early 18th century were primarily fascinated by the natural history, by the mid-19th century, interests shifted overwhelmingly toward India’s historic architecture and the customs of the people they encountered there.
For comparison, see an album of Company School paintings featuring architecture studies and tradesmen, sold at Christie’s London on 24 October 2024, lot 179, for £45,360. Further compare this lot with another Company School album, primarily consisting of architecture studies, housed at the Victoria and Albert Museum, London (acc. no. IM.46-1923).