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'Sir E Malet' images and/or videos results

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Images of 'Sir E Malet' found, 56

 
Sir Edward B. Malet (1837-1908). Portrait. Engraving by E. Gimeno, 19th century.

TRK7291422

Sir Edward B. Malet (1837-1908). Portrait. Engraving by E. Gimeno, 19th century.

TRK7291422

 
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A night scene looking across the water to Bombay on fire; smoke and flames rising from the horizon; hills in the distance; boats in the foreground

BL3309836

A night scene looking across the water to Bombay on fire; smoke and flames rising from the horizon; hills in the distance; boats in the foreground

BL3309836

 
Edward Malet, 4th Baronet (1837 – 1908). British diplomat. Engraving. 19th century.

TRK1152230

Edward Malet, 4th Baronet (1837 – 1908). British diplomat. Engraving. 19th century.

TRK1152230

 
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Illustration from the 'Shahnama' (Book of Kings), by Abu'l-Qasim Mansur Firdawsi (c.934-c.1020), 1781-82 (gouache on paper)

Persian School, (18th century)

ASC956566

Illustration from the 'Shahnama' (Book of Kings), by Abu'l-Qasim Mansur Firdawsi (c.934-c.1020), 1781-82 (gouache on paper)

Persian School, (18th century)

ASC956566

 
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Madhu Rao Narayan, the Maratha Peshwa with Nana Fadnavis and attendants, Poona, 1792 (oil on canvas)

Wales, James (c.1747-95)

ASC122797

Madhu Rao Narayan, the Maratha Peshwa with Nana Fadnavis and attendants, Poona, 1792 (oil on canvas)

Wales, James (c.1747-95)

ASC122797

 
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N.E. view of Kailasa. This view is from the rear of the deep pit which had been excavated to carve the temple. The basement of the main temple of the Kailasanath is constituted by a frieze of elephants in high relief almost life-size. The colonnade the right is overhung by the sheer walls of the trench that surrounds the temple

BL3261177

N.E. view of Kailasa. This view is from the rear of the deep pit which had been excavated to carve the temple. The basement of the main temple of the Kailasanath is constituted by a frieze of elephants in high relief almost life-size. The colonnade the right is overhung by the sheer walls of the trench that surrounds the temple

BL3261177

 
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View from from Malabar Hill. Panorama from Malabar Hill across the Back Bay; trees in the foreground. This plate and plate No 3 form a panorama.

BL3308472

View from from Malabar Hill. Panorama from Malabar Hill across the Back Bay; trees in the foreground. This plate and plate No 3 form a panorama.

BL3308472

 
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View of the Breach Causeway. View across a bay; horses and figures on the Breach Causeway; buildings by the shore; a large tree to the left; a distant shore on the horizon. Etched 'No5' in lower right-hand corner below image.

BL3308473

View of the Breach Causeway. View across a bay; horses and figures on the Breach Causeway; buildings by the shore; a large tree to the left; a distant shore on the horizon. Etched 'No5' in lower right-hand corner below image.

BL3308473

 
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View from Belmont. A building in the fore-ground, a carriage and palanquin in front of it. In the distance, several plantations and the sea.

BL3308477

View from Belmont. A building in the fore-ground, a carriage and palanquin in front of it. In the distance, several plantations and the sea.

BL3308477

 
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View from Sion fort. Some figures within the fort walls, one amputee can be seen. A view across tress and houses towards the sea.

BL3308479

View from Sion fort. Some figures within the fort walls, one amputee can be seen. A view across tress and houses towards the sea.

BL3308479

 
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View across a hill, tall trees and buildings to a body of water; a distant shore on the horizon. Etched 'No8' in lower right-hand corner below image.

BL3308476

View across a hill, tall trees and buildings to a body of water; a distant shore on the horizon. Etched 'No8' in lower right-hand corner below image.

BL3308476

 
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View from Belmont. View across fields and buildings to a body of water; a distant shore on the horizon. Etched 'No7' in lower right-hand corner below image.

BL3308475

View from Belmont. View across fields and buildings to a body of water; a distant shore on the horizon. Etched 'No7' in lower right-hand corner below image.

BL3308475

 
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View of Bombay harbour. View of Bombay harbour as seen from the quayside near the Custom House; boats in the water; figures on the docks. Etched 'No2' in lower right-hand corner below image. This plate and plate No1 form a panorama.

BL3308470

View of Bombay harbour. View of Bombay harbour as seen from the quayside near the Custom House; boats in the water; figures on the docks. Etched 'No2' in lower right-hand corner below image. This plate and plate No1 form a panorama.

BL3308470

 
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View of the Breach from Love Grove. View across a bay; Breach Causeway on the left; cattle in the foreground; a building and trees to the right; a distant shore on the horizon.

BL3308474

View of the Breach from Love Grove. View across a bay; Breach Causeway on the left; cattle in the foreground; a building and trees to the right; a distant shore on the horizon.

BL3308474

 
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View of Sion fort. Figures and cattle by buildings in the foreground; water and islands in the middle ground and distance.

BL3308478

View of Sion fort. Figures and cattle by buildings in the foreground; water and islands in the middle ground and distance.

BL3308478

 
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Junwassa. This cave at Ellora in the Hindu sequence shows part-fluted columns of the type found in Elephanta, with tall square bases and squashed cushion capitals, and is similarly datable to the 6th century. Two guardian figures or dwarapalas are sculpted on the sides of the entrance

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Junwassa. This cave at Ellora in the Hindu sequence shows part-fluted columns of the type found in Elephanta, with tall square bases and squashed cushion capitals, and is similarly datable to the 6th century. Two guardian figures or dwarapalas are sculpted on the sides of the entrance

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The Entrance to Kailasa. The principal shrine stands in the middle of a courtyard enclosed in a walled complex entered through a two-storeyed gate, all of it entirely hewn from the rock. Figures of guardians, the Dikpalas and the river goddesses are carved on the sides of the gateway and its extension screens

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The Entrance to Kailasa. The principal shrine stands in the middle of a courtyard enclosed in a walled complex entered through a two-storeyed gate, all of it entirely hewn from the rock. Figures of guardians, the Dikpalas and the river goddesses are carved on the sides of the gateway and its extension screens

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Paraswa Rama Sabha. The interior of this cave, dedicated to the Jain saint Parsvanath, has columns with square shafts, turning into the vase and foliage motif, amalaka capitals and plain brackets

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Paraswa Rama Sabha. The interior of this cave, dedicated to the Jain saint Parsvanath, has columns with square shafts, turning into the vase and foliage motif, amalaka capitals and plain brackets

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View of Indra Sabha, looking outward. The monolithic shrine, with a pyramidal superstructure topped by an octagonal roof, stands in the middle of the inner court of Indra Sabha cave. Beside it are a free-standing elephant and a column with Jain figures seated on top. The sides of the court are decorated with lion and elephant friezes and Tirthankaras

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View of Indra Sabha, looking outward. The monolithic shrine, with a pyramidal superstructure topped by an octagonal roof, stands in the middle of the inner court of Indra Sabha cave. Beside it are a free-standing elephant and a column with Jain figures seated on top. The sides of the court are decorated with lion and elephant friezes and Tirthankaras

BL3261169

 
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Tin-tali. Tin-Thal is a Buddhist excavation which dates probably from about the 7th century. It consists of a broad forecourt with three superimposed halls extending deep into the cliff. The pillars are square and have simple brackets capitals. The halls were used for congregational purposes and each was provided with a sanctuary with a seated Buddha and Bodhisattva attendants

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Tin-tali. Tin-Thal is a Buddhist excavation which dates probably from about the 7th century. It consists of a broad forecourt with three superimposed halls extending deep into the cliff. The pillars are square and have simple brackets capitals. The halls were used for congregational purposes and each was provided with a sanctuary with a seated Buddha and Bodhisattva attendants

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Dehr Warra. This single-storey excavation is in the southernmost group of the Buddhist caves, and dates back to the 6th century. It consists of a long spacious hall or vihara which was used as a Buddhist monastery as it is indicated by the residential cells cut into the side walls which can be seen in this print. The two long lines of benches carved out of the floor were probably intended for the use of the monks when studying or dining. The hall is divided into three aisles by two rows of columns

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Dehr Warra. This single-storey excavation is in the southernmost group of the Buddhist caves, and dates back to the 6th century. It consists of a long spacious hall or vihara which was used as a Buddhist monastery as it is indicated by the residential cells cut into the side walls which can be seen in this print. The two long lines of benches carved out of the floor were probably intended for the use of the monks when studying or dining. The hall is divided into three aisles by two rows of columns

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The entrance of Indra Sabha. Indra Sabha is the largest of the Jain caves at Ellora and dates from the 9th century Rashtrakuta period. A simple gateway leads into an open court in the middle of which stands a monolithic temple with a pyramidal superstructure and an octagonal roof. There is a free-standing elephant and a column with a capital composed of a group of Tirthankaras (Jain foudners). At the back of the court there is a double-storeyed excavated temple. The sculptural panels represent Ambika, a Jain favourite goddess and Mahavira, Gomateshvara and Parshvanatha, three of the Jain saints

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The entrance of Indra Sabha. Indra Sabha is the largest of the Jain caves at Ellora and dates from the 9th century Rashtrakuta period. A simple gateway leads into an open court in the middle of which stands a monolithic temple with a pyramidal superstructure and an octagonal roof. There is a free-standing elephant and a column with a capital composed of a group of Tirthankaras (Jain foudners). At the back of the court there is a double-storeyed excavated temple. The sculptural panels represent Ambika, a Jain favourite goddess and Mahavira, Gomateshvara and Parshvanatha, three of the Jain saints

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Viswakarma. The interior of the chaitya hall of the 7th century Vishvakarma cave, the last important such chaitya hall made in western India, is divided into three aisles by 28 octagonal pillars with plain bracket capitals (omitted in the print). Above the columns there is a frieze of ganas, dwarf attendants and preaching Buddhas with Boddhisattvas. The vault of the ceiling is carved with ribs imitating a wooden structure. In the far end of the central nave there is a large seated Buddha in the teaching position carved on the front of the votive stupa, with attendant Bodhisattvas

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Viswakarma. The interior of the chaitya hall of the 7th century Vishvakarma cave, the last important such chaitya hall made in western India, is divided into three aisles by 28 octagonal pillars with plain bracket capitals (omitted in the print). Above the columns there is a frieze of ganas, dwarf attendants and preaching Buddhas with Boddhisattvas. The vault of the ceiling is carved with ribs imitating a wooden structure. In the far end of the central nave there is a large seated Buddha in the teaching position carved on the front of the votive stupa, with attendant Bodhisattvas

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Viswakarma, exterior view. The cave known as Vishvakarma (named after the archietect to the gods), is a 7th century cave and one of the latest rock-cut Buddhist chaityas in Western India. The elaborate facade at the end of the large open court has a pillared verandah which admits into the long interior, with an open gallery above. The gallery's roof is carved into the imitation of a wooden one with ribs and rafters, and above it is a series of auspicious mithuna (or loving) couples. In the rear wall of the gallery, which is decorated with celestial flying figures, windows, one circular within an arch (a relic of the horseshoe shaped arches of early Buddhist chaitya halls), admit light into the interior

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Viswakarma, exterior view. The cave known as Vishvakarma (named after the archietect to the gods), is a 7th century cave and one of the latest rock-cut Buddhist chaityas in Western India. The elaborate facade at the end of the large open court has a pillared verandah which admits into the long interior, with an open gallery above. The gallery's roof is carved into the imitation of a wooden one with ribs and rafters, and above it is a series of auspicious mithuna (or loving) couples. In the rear wall of the gallery, which is decorated with celestial flying figures, windows, one circular within an arch (a relic of the horseshoe shaped arches of early Buddhist chaitya halls), admit light into the interior

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Do-tali. Do-Thal or 'two-storeyed' as this cave was called when it was discovered in 1876 consists of a broad forecourt with superimposed halls extending deep into the cliff. The pillars are square and have simple brackets capitals. The shrines have seated Buddhas but some carvings depicting Durga and Ganesa indicate that this Buddhist cave was later converted to Hindu worship

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Do-tali. Do-Thal or 'two-storeyed' as this cave was called when it was discovered in 1876 consists of a broad forecourt with superimposed halls extending deep into the cliff. The pillars are square and have simple brackets capitals. The shrines have seated Buddhas but some carvings depicting Durga and Ganesa indicate that this Buddhist cave was later converted to Hindu worship

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View of Bombay harbour. This plate and plate No2 form a panorama.

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View of Bombay harbour. This plate and plate No2 form a panorama.

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View from the island of Elephanta. An elegant family with servants walking on grass; a sedan behind them; a ruined sculpture of an elephant to the left in the foreground; a body of water and ships to the left in the middle ground; hills and trees to the right.

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View from the island of Elephanta. An elegant family with servants walking on grass; a sedan behind them; a ruined sculpture of an elephant to the left in the foreground; a body of water and ships to the left in the middle ground; hills and trees to the right.

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Bird's-eye view of Mumbai, Salsette and the surrounding islands and land; ships on the ocean; hills in the distance

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Bird's-eye view of Mumbai, Salsette and the surrounding islands and land; ships on the ocean; hills in the distance

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View from Malabar Hill. Panorama from Malabar Hill across the Back Bay; trees in the foreground; a distant ship sails on the horizon. This plate and plate No. 4 form a panorama.

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View from Malabar Hill. Panorama from Malabar Hill across the Back Bay; trees in the foreground; a distant ship sails on the horizon. This plate and plate No. 4 form a panorama.

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