C1788

A View of part of the Palace of the Late Nabob Suj…

Rare c.18th aquatint by William Hodges (1744-1797) of Faizabad, India which had been the capital of Oudh under the Nawab, Shuja-ud-Daula who ruled between 1754-75. His son abandoned the palace when he decided to shift the capital from Faizabad back … Read Full Description

$A 750

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S/N: INDIA-HODG-037–216692
(F31)
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Details

Full Title:

A View of part of the Palace of the Late Nabob Suj…

Date:

C1788

Condition:

Minor smudges on right hand side, otherwise in good condition.

Technique:

Original aquatint printed in sepia.

Image Size: 

455mm 
x 290mm

Paper Size: 

479mm 
x 328mm
AUTHENTICITY
A View of part of the Palace of the Late Nabob Suja ul Dowla at Fizabad. - Antique View from 1788

Genuine antique
dated:

1788

Description:

Rare c.18th aquatint by William Hodges (1744-1797) of Faizabad, India which had been the capital of Oudh under the Nawab, Shuja-ud-Daula who ruled between 1754-75. His son abandoned the palace when he decided to shift the capital from Faizabad back to Lucknow. It was later to be the centre of many battles of the Mutiny of 1857.

From: William Hodges, Select Views in India, drawn on the Spot, in the years 1780, 1781, 1782, and 1783, and executed in Aqua Tinta

References:
Abbey, J.R. Travel in Aquatint and Lithography 1770-1860. London 1972:: 416.
Archer, M. Early Views of India. The Picturesque Journeys of Thomas and William Daniell, 1786-1794. Lonon & New York 1980:: pp. 97-100, ill. p. 99.
Godrej, P. & Rohatgi, P., Scenic Splendours : India through the Printed Image. 1989 London:: p. 44, fig. 16,17.


Collections:
Royal Academy: 03/2612
British Museum London: 1917,1208.14.1-49
Met Museum New York: 66.631.3
Royal Collection Trust UK: RCIN 1070250

William Hodges (1744 - 1797)

William Hodges was born in London, the only son of Ann and Charles Hodges, a blacksmith of St. James's Market London. They encouraged their son's talent for drawing and placed him in William Shipley's drawing school at Castle Court in the Strand. Joining Richard Wilson as an apprentice in 1758, he was required to assist his master 'in dead colouring and the forwarding of pictures'. A short period of study under Wilson and Cipriani at the Duke of Richmond's Gallery developed his style for classical composition. He was appointed artist on the Resolution and left Plymouth on 13 July 1772 and returned on 29 July 1775.

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