2024-03-28T13:35:20Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:544222024-03-27ycba:pd
YCBA/lido-TMS-54422
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300386044
animal art
300033973
drawing
300078925
watercolor
300033973
Drawing & Watercolor
A Rhinoceros in the Peshwa's Menagerie at Poona
A Rhinoceros in the Pashwa's Menagerie at Poona, Nov. 1790 (commissioned by Sir Charles Warre Malet)
Inscribed in pen and brown ink: "This Drawing & Wax Figure of a Rhinoceros belonging to [Madavrao Shrimain Peshwa] were taken from the Life ^ with great <Success> Fidelity | at Poona in November 1790 | by Gungaaram Chintaman Tambat, the age of the Rhinoceros was supposed to be about 25 Years of the following Dimensions etc. | From the Outside of the Tail to the foremost Wrinkle of the Neck ft 8, in 7 1/2 | From the last Wrinkle to the Top of the Nose ft. 2. 3 1/2 | From the fore Foot to the Shoulder Height ft. 5. 11. | From the Hind foot to the Top of the Rump ft. 6. 3. |
From the Root of the Horn nearest the Nose to the Point 1-. | It was said by the Keepers that the Horn would grow -. | Poona 28 Novr. 1790 CWM | This Animal is Retromingent but | the Genital Parts when actuated by | the Concupiscence are projected as in the | Accomp'g Drawing - In Which the | Urinal line is also Described - . | The Color of the Animal is Excellently | Conveyd in the Wax Figure"; Devanagari script in brown ink, lower left; and in black ink, upper right
Watermark
Signed in pen with brown ink, upper left: "by Gungaram Chintaman Tambat"
500303557
Yale Center for British Art
http://britishart.yale.edu
B2006.14.33
https://www.wikidata.org/wiki/Q110013940
Not on view
Yale Center for British Art
41.3080060, -72.9306282
8 7/8 × 14 5/8 inches (22.5 × 37.1 cm)
height
cm
22.5
width
cm
37.1
Sheet
54422
300054713
production
Gangaram Chintaman Tambat, active 1790s, Indian
ycba_actor_2674
Gangaram Chintaman Tambat
Gungaram Chitenden Navire Tambat
Gangaram Cintamani Tambat
Gangaram Cintaman Navgihe Tambat
Gungaram Tambat
Tambat Gangaram Chintaman, active 1790s
Gangaram Chintaman Tambat, active 1790s
Gangaram Chintaman Tambat, active 1790s
Indian
1740
1840
male
300025103
Artist
300018863
Indian
1790
1790
1790
22
18th century
Pen and black ink, brown ink, gray wash, gouache, and graphite on medium, moderately textured, beige laid paper
300011098
graphite
300070114
gouache
300014184
laid paper
https://www.wikidata.org/wiki/Q58344150
brown ink
black ink
gray wash
A Decade of Gifts and Acquisitions (Yale Center for British Art, 2017-06-01 - 2017-08-13)
946
https://britishart.yale.edu/node/461
300054766
exhibition
A Decade of Gifts and Acquisitions
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
2017-06-01 - 2017-08-13
2017-06-01
2017-08-13
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
The Yale Center for British Art first opened to the public in April 1977. In celebration of this fortieth anniversary, a suite of exhibitions showcased the most recent additions to the Center’s exceptional collection of British art. Offering visitors a behind-the-scenes look at the growth and evolution of the collection, the displays featured several groupings of newly acquired works—some organized thematically, others focused on specific artists, such as the abstract painter John Golding, and some highlighting individual gifts to the Center, including from the institution’s founder, Paul Mellon (Yale College, Class of 1929). — —
Mr. Mellon’s final gifts to the Center were largely intimate, personal objects with which he and his wife Rachel Lambert Mellon enjoyed living, and many of which she possessed until her death in 2014. They ranged from James Seymour’s The Chaise Match Run on Newmarket Heath on Wednesday the 29th of August 1750 (1750) to a group of eight paintings by the pre-eminent British modernist Ben Nicholson, which augmented the Center’s existing collection of eight works by the artist originally assembled by Mr. Mellon. Gifts from other significant donors, such as Joseph McCrindle and Brian Sewell, were also featured. Highlights from the McCrindle and Sewell bequests included paintings and drawings by Augustus John, fashionable society portraits by Sir William Orpen and Glyn Warren Philpot, and a number of works by the landscape and still-life painter Eliot Hodgkin. — —
Other exhibitions were thematic, focusing on childhood and education, war and conflict, and the natural world. The works here were chosen primarily from recent additions to the Center’s collection of rare books and manuscripts. Among the objects on display included an early map sampler (1806) by a nine-year-old girl; a manuscript by a French naval officer who took part in the Battle of Trafalgar (1805); a Second World War silk escape map; a rare early sciagraph (X-ray) of a lizard from a series of images of British reptiles (1897); and a number of works by contemporary artists, such as Barbara Ciurej and Lindsay Lochman, whose portfolio of cyanotype prints (Natural History, 2014) was inspired by the work of the nineteenth-century naturalist Anna Atkins. — —
A display of modern and contemporary prints featured two outstanding print portfolios shown in their entirety for the first time at the Center—Shadow IV (2011), by Anish Kapoor, and Thirty Pieces of Silver (2015), by Cornelia Parker, as well as prints by Richard Hamilton and other exponents of British pop art. — —
Some of the most important additions to the Center’s outstanding collection of historic British drawings, including masterpieces in watercolor by Thomas Girtin and David Cox, were showcased in another section. — —
Known as an outstanding teacher, writer, and curator, John Golding was first and foremost a painter. The display John Golding: From the Artist’s Estate drew extensively on the rich gift of his work to the Center that charts his journey from figurative art to abstraction.
Objects that document the experience of British India were also highlighted here. Works by both British and Indian artists provided a visual record of the subcontinent for British and continental audiences. — —
Works in pastel have been a collecting focus of the Center in recent years. This exhibition brought together pastel portraits, with more unusual uses of the medium in landscape and in copying old master paintings. Other portraits, studies for portraits, and portrait miniatures in a variety of graphic media were on display, including works by Sir Peter Lely and Sir Thomas Lawrence.
Over the last decade, the Center’s photographic holdings have grown dramatically through gift and purchase. On view were works from pioneering British photographer Roger Fenton to twentieth-century photographers Bill Brandt, Cecil Beaton, Lewis Morley, and contemporary artist Yinka Shonibare MBE (RA). — —
Credits — —
A Decade of Gifts and Acquisitions was curated by Elisabeth Fairman, Chief Curator of Rare Books and Manuscripts; Matthew Hargraves, Chief Curator of Art Collections; Lars Kokkonen, Assistant Curator of Paintings and Sculpture; and Sarah Welcome, Assistant Curator of Rare Books and Manuscripts; under the direction of Scott Wilcox, Deputy Director for Collections.
Yale Center for British Art
Adapting the Eye: an archive of the British in India, 1770-1830 (Yale Center for British Art, 2011-10-11 - 2011-12-31)
752
https://britishart.yale.edu/node/623
300054766
exhibition
Adapting the Eye: an archive of the British in India, 1770-1830
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
63
Organizer
2011-10-11 - 2011-12-31
2011-10-11
2011-12-31
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
Organized to complement the Center’s major exhibition on Johan Zoffany, who spent six productive years in India, Adapting the Eye explored the complex and multifaceted networks of British and Indian professional and amateur artists, patrons, and scholars in British India in the later eighteenth and early nineteenth centuries, and their drive to create and organize knowledge for both aesthetic and political purposes. Selected from the Center’s rich holdings, the exhibition included a diverse range of objects from both high art and popular culture, including albums, scrapbooks, prints, paintings, miniatures, and sculpture, demonstrating how collecting practices and artistic patronage in India during that period constituted a complex intersection of culture and power. — —
The starting point and central focus of the exhibition was a remarkable and little-known archive in the Center’s collection assembled by Charles Warre Malet and the British artist James Wales. Warre Malet was the East India Company’s Resident in Pune between 1785 and 1798. He and Wales commissioned over a hundred works on paper by British and Indian artists, which are included in the archive together with extensive manuscript material and vivid sketches of landscape, architectural sites, scenes from everyday life, and diplomatic ceremonial events. An extensive selection of drawings from the archive, complemented by other works from the collections, provided a unique window into central India at a critical historical moment. A pivotal figure in this rich cultural interchange was the highly accomplished Indian draftsman and sculptor Gangaram Tambat, who drew on both indigenous and European artistic conventions; his remarkable hybrid drawings were juxtaposed with works by British artists, including William Hodges, William and Thomas Daniell, Robert Mabon, and James Wales. — —
Credits — —
The curator for the exhibition was Holly Shaffer, Graduate Research Assistant at the Center and PhD candidate in History of Art at Yale, under the supervision of Gillian Forrester, the Center’s Curator of Prints and Drawings.
Yale Center for British Art
54422
10074658
V2359 (YCBA)
1878
300054686
publication event
Holly Shaffer, ^Adapting the eye, An archive of the British in India, 1770-1830 ^, Yale Center for British Art, New Haven, CT, 2011, p. 20, 36, no. 141, V2359 (YCBA)
Yale Center for British Art
Holly Shaffer
ycba_actor_9552
Shaffer Holly
300025492
Author
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
300025574
Publisher
2011
2011
2011
New Haven, CT
54422
16238957
N72.P6 S53 2022+ (YCBA)
1308475491
4849
300054686
publication event
Holly Shaffer, ^Grafted arts : art making and taking in the struggle for western India : 1760-1910^, The Paul Mellon Centre for Studies in British Art, New Haven, CT, p. 71, fig. 36, N72.P6 S53 2022+ (YCBA)
Yale Center for British Art
Holly Shaffer
ycba_actor_9552
Shaffer Holly
300025492
Author
The Paul Mellon Centre for Studies in British Art
ycba_actor_5853
http://id.loc.gov/authorities/names/n79109777
http://vocab.getty.edu/ulan/500301928
http://www.wikidata.org/entity/Q7152454
https://viaf.org/viaf/131545782
The Paul Mellon Centre for Studies in British Art
300025574
Publisher
0
0
New Haven, CT
54422
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
2006-10-31
2006-10-31
2006-10-31
300079440
bequest
Gangaram Chintaman Tambat was employed by Charles
Warre Malet in the 1790s to make drawings in and around
his native Pune (formerly Poona) and was described by his patron as “very ingenious.” Although we know very little about his life, he is one of the few Indian artists who can be rescued from the anonymity of the “Company School.” This remarkable drawing of a rhinoceros was made at the end of November 1790, and the annotations, which also capture the animal’s sheer size, record that it was made with “great fidelity” from a specimen in Maratha Peshwa’s menagerie at Pune. The notes also suggest Tambat made a wax model of the rhinoceros, which has sadly been lost.
--- --- Gallery label for A Decade of Gifts and Acquisitions (Yale Center for British Art, 2017-06-01 - 2017-08-13)
54422
300048722
Gallery label
2017-06-26
300386044
ycba_term_2036638
animal art
Holly Shaffer, Adapting the eye, An archive of the British in India, 1770-1830, Yale Center for British Art, New Haven, CT, 2011, p. 20, 36, no. 141, V2359 (YCBA)
10074658
V2359 (YCBA)
1878
related to
Holly Shaffer, Grafted arts : art making and taking in the struggle for western India : 1760-1910, The Paul Mellon Centre for Studies in British Art, New Haven, CT, p. 71, fig. 36, N72.P6 S53 2022+ (YCBA)
16238957
N72.P6 S53 2022+ (YCBA)
1308475491
4849
related to
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Collection
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
54422
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:54422
oai:tms.ycba.yale.edu:54422
https://manifests.collections.yale.edu/v2/ycba/obj/54422
https://manifests.collections.yale.edu/ycba/obj/54422
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art