Important Notice

More Images

a) The drawing by J B East effectively depicted the lively atmosphere of the Madras beachfront. Charles Hunt subsequently lithographed the drawing, which bears an identical print named Madras Embarking. Both prints were released in London in 1856 by Ackermann & Co.

The arrival in Madras constituted the last obstacle that voyagers encountered prior to setting foot on dry land, following months of at sea. At Madras, no permanent... a) The drawing by J B East effectively depicted the lively atmosphere of the Madras beachfront. Charles Hunt subsequently lithographed the drawing, which bears an identical print named Madras Embarking. Both prints were released in London in 1856 by Ackermann & Co.

The arrival in Madras constituted the last obstacle that voyagers encountered prior to setting foot on dry land, following months of at sea. At Madras, no permanent harbour was constructed until the late 19th century. Before that, vessels had anchored at a considerable distance from the coast, and products and passengers were transported via masula boats constructed from coconut twine and mango wood, traversing the harsh surf. After stowing the guests beneath a canvas tent, the boatmen would deftly manoeuvre their small vessel towards the summit of a wave, where they would ride the wave to the shore.

Numerous visitor accounts to the city elaborate on this particular experience. Some, in a less-than-genuine manner, referred to it as the finest aspect of Madras! As depicted here, after the masula vessels had reached the shore, the women were affixed to chairs and dragged along with containers of goods and waiting palanquins across the waters. The boatmen levied a fee for this service; some accounts suggest they charged an excessive amount; this may have influenced the man's decision to wade ashore carrying a textile sack over his shoulder in one of the "Madras Landing" print.

The degree of intricacy present in this print is truly remarkable. Small birds can be seen nibbling at the contents of a container carried by a woman on her head if one examines the object attentively. Additionally, a substantial portion of the artwork is occupied by the depiction of a catamaran, which is comprised of several planks that have been bound together. Written accounts of Madras are replete with admiration for the fishermen's prowess as they navigated the turbulent waves in these vessels. As an early form of lifeguard, the men atop the catamarans reportedly circumnavigated the masula boats in the event that they capsized in the turbulent waters.

J B East's identity is the subject of some dispute; James Buller East (1818-1822) produced numerous illustrations while residing in India. Sir Edward Hyde East, the Chief Justice of Bengal, was his father. The attribution in question is substantiated by the British Library, James Butler East, John B East (an artist active in Madras around 1836-1856), and Design & Art Australia.

The production date of this print should not be disregarded. When it was published in 1856, Madras was a prosperous city. Trade had increased during the Mysore Wars (1767-99), in part due to the requirements of the troops that gathered in the city following their shore landing. Yet 1856 was, in numerous respects, a turning point. The imminent collapse of the East India Company, a London-based commercial enterprise, was threatening to bring an end to its rule. Tensions were already escalating among the sepoys (Indian soldiers contracted by the East India Company), which ultimately led to the Indian mutiny of 1857 and the dissolution of the East India Company in 1858, when the British government assumed control of India. Additionally, the railway arrived in Madras in 1856. The manner in which the city conducted business was about to change.

Due to the challenge of assigning an exact artist to an original drawing, its creation date is somewhat uncertain. However, if it were even near to 1856, determining how to interpret this print would have been challenging. Is Madras Landing dismissing the sepoy tensions naively, presuming that European inhabitants of Madras would continue to perceive life in India as routine? Does it endorse the notion that the grievances, which would escalate in 1857, can be disregarded? Is this an image of individuals going about their daily lives in spite of (or in spite of) the escalating tensions that have arisen throughout the nation? But if the original sketch had been finished years earlier, the print might offer insight into the attitudes of London in 1856.

Without a doubt, the print's level of detail does afford us a momentary view into beachfront life, a scene that undoubtedly welcomed innumerable individuals upon their arrival in India and entertained both the upper and lower classes of the city. A portion of the individuals depicted are being subtly taunted, which demonstrates the artist's tenderness. The spectacle encompasses both local inhabitants and Europeans, including mothers and their children, who observe the sea, the boats that are approaching, the products being transported, the expertise of the boatmen, and the anxious travellers.

b) The print Madras Embarking adequately depicts the experience of a masula boat piloting through the significantly more turbulent swells of the 1790s to make landfall at Fort Saint George.

The print Madras Embarking also depicts a considerably larger beach; however, the current expansive beach is predominantly attributable to sand accumulations caused by the disruption of Coromandel Coast currents caused by the construction of the artificial harbour. The Master Attendant's flagstaff, visible in the far-left corner of this image, served the dual purpose of hoisting the Company's flag and signal flags to facilitate communication with the vessels anchored offshore. The depiction of these vessels lingering approximately 1.5 miles offshore, behind the third line of surf, is quite accurate.

NON-EXPORTABLE

Read More
Artist Profile
Other works of this artist in: this auction  |  entire site