Bibliography

Despite the book's title referencing seventeen years, Forbes himself states in Oriental Memoirs that he served in the British East India Company for eighteen years. The biographical sketch of the author in the same volume offers further clarification. Born in May 1749, Forbes was appointed to Bombay before the age of sixteen and returned to England in 1784. His actual time in India was therefore closer to eighteen or nineteen years.

Romita Ray, Under the Banyan Tree: Relocating the Picturesque in British India (New Haven: Paul Mellon Centre for Studies in British Art by Yale University Press, 2013), 4.

Robert L Hardgrave, A Portrait of the Hindus: Balthazar Solvyns & the European Image of India 1760-1824 (Oxford University Press, 2004), 347.

Maria P Gindhart, "Ethnographic Exoticism: Charles-Arthur Bourgeois's Snake Charmer," Material Culture Review 79 (March 2016): 8.

Ray, Under the Banyan Tree, 17.

Ray, Under the Banyan Tree, 112.

Gindhart, "Ethnographic Exoticism," 9.

Natasha Eaton, "Virtual Witnessing? Balthazar Solvyns and the Navigation of Precision, C.1790--1840," Journal of Historical Geography 43 (January 2014): 51; Gindhart, "Ethnographic Exoticism," 9.

This album is currently held in the collection of the British Museum, London, acquired from Reverend Robert Liddell (1808--1888) in 1884. It was produced in Tamil Nadu, southern India.

Eaton, "Virtual Witnessing," 53.

Eaton, "Virtual Witnessing," 51.

James Forbes, Oriental Memoirs (London: White, Cochrane, and Company Horace's Head, 1834), 353. Both Marc René de Montalembert (1777--1831) and his father, Jean Charles de Montalembert (1757--1810), were referred to as Baron de Montalembert. The drawing, however, is dated 1807, which aligns more closely with Marc René de Montalembert, who was then serving as a military officer in India. In 1809 he married James Forbes's daughter, Elizabeth Rosea Forbes. A letter written by Forbes in 1817 further supports this identification, referring to Marc René de Montalembert as "my son-in-law the Baron de Montalembert."

Bamber Gascoigne, How to Identify Prints : A Complete Guide to Manual and Mechanical Processes from Woodcut to Ink Jet (1986; repr., London: Thames & Hudson, 1991), 45. The identification of the use of soft-ground etching in the print follows the catalogue entry for Oriental Memoirs at the Yale Center for British Art, which records "Soft-ground etchings by Thomas Charles Wageman," who is also signed as the engraver on the print.

Gascoigne, How to Identify Prints, 45.

Ray, Under the Banyan Tree, 113.

John Hamilton Moore, A New and Complete Collection of Voyages and Travels (London: Printed for the proprietors, 1785), title page.

Antje Flüchter, "Weighing the Mughal: German Perception of Governmental Structures and the Staging of Power in the Early Modern Indian Mughal Empire," in Structures on the Move: Technologies of Governance in Transcultural Encounter, ed. Antje Flüchter and Susan Richter (Springer, 2012), 147.

Annette Schmiedchen, "The Ceremony of Tulāpuruṣa: The Purāṇic Concept and the Epigraphical Evidence," in Script and Image: Papers on Art and Epigraphy, ed. Adalbert J. Gail, Gerd J. R. Mevissen, and Richard Salomon (Motilal Banarsidass, 2006), 165.

Antje Flüchter, "Weighing the Mughal," 150.

Stuart Cary Welch, Imperial Mughal Painting (George Braziller, 1978), 75; also see Curator's comments for Jahangir weighing prince Khurram against gold and silver, c. 1615-1625, Ink, opaque watercolour and gold on paper, 44.30 x 29.50 cm, The British Museum, 1948,1009,0.69.

"Mughal Emperor Aurangzeb's Birthday -- in Germany!" The Heritage Lab, last modified September 14, 2023,

John Hamilton Moore, A New and Complete Collection of Voyages and Travels, 677.

Antje Flüchter, "Weighing the Mughal," 159.

Antje Flüchter, "Weighing the Mughal," 159.

Antje Flüchter, "Weighing the Mughal," 162.

John Hamilton Moore, A New and Complete Collection, 677.

Antje Flüchter, "Weighing the Mughal," 162.

Knapp, Bettina L. "The Dance of Siva: Malraux, Motion and Multiplicity." Twentieth Century Literature 24, no. 3 (1978): 363. https://doi-org.turing.library.northwestern.edu/10.2307/441277.

William Westall, The Great Triad in the Cave Temple of Elephanta near Bombay, aquatint engraved by T. Edge, in Robert Melville Grindlay, Scenery, Costumes and Architecture, Chiefly on the Western Side of India (London: Smith, Elder, and Co., 1826-1830), Donald K. Adams and Lawrence D. Stewart Collection of Prints, Northwestern University Libraries, Digital Collections.

Tapati Guha-Thakurta, Monuments, Objects, Histories: Institutions of Art in Colonial and Post-Colonial India (New York: Columbia University Press, 2004), 12.

Michael W. Meister, "Access and Axes of Indian Temples," Thresholds 32 (2006): 35.

J. Pass, The Cave or Temple of Elephanta, with a Sketch of the Style of Architecture in the Temple of Paradise, engraving, in Encyclopaedia Londinensis (London, 1810), Northwestern University Libraries, Digital Collections.

Indian Spices for English Tables, or, A Rare Relish of Fun from the Far East: Being the Adventures of "Our Special Correspondent" in India, Illustrated in a Series of One Hundred and Twenty Sketches, and Exhibiting, in All Its Phases, the Peculiarity of Life in That Country, Donald K. Adams and Lawrence D. Stewart Collection of Prints, Charles Deering McCormick Library of Special Collections, Northwestern University Libraries, accessed March 13, 2026, https://dc.library.northwestern.edu/items/2190b0b0-153c-4e14-8c09-06ce64b662d9

Bhattacharya, D. (2019). Caricature in Print Media: A Historical Study of Political Cartoons in Colonial India (1872-1947). Karatoya : North Bengal University Journal of History, 12, 64. https://ir.nbu.ac.in/handle/123456789/3954

Bhattacharya, "Caricature in Print Media," 66.

Smith, Andrew. "Kiplings Gothic and Postcolonial Laughter", Gothic Studies 11, 1 (2009): 58-69, accessed Mar 14, 2026, https://www.manchesterhive.com/view/journals/gs/11/1/article-p58.xml

Chattopadhyay, Swati. Small Spaces : Recasting the Architecture of Empire. Bloomsbury Visual Arts, 2024.

Bhattacharya, "Caricature in Print Media," 66.

Geoff Quilley, "Travels in India: Landscape and Colonial Patronage," in British Art and the East India Company (Woodbridge: Boydell Press, 2020), https://doi.org/10.1017/9781787445437.003

Sean P. Smith (2019), "Aestheticising empire: the colonial picturesque as a modality of travel," Studies in Travel Writing, 23:3, 282.

Romita Ray, "Introduction," In Under the Banyan Tree, (New Haven: Yale University Press, 2013), 3.

Douglas Fordham, Aquatint Worlds: Travel, Print and Empire, 1770-1820 (New Haven and London: Paul Mellon Centre for Studies in British Art; distributed by Yale University Press), 99.

Fordham, Aquatint Worlds, 66.

Geoff Quilley, "Travels in India: Landscape and Colonial Patronage," in British Art and the East India Company (Woodbridge: Boydell Press, 2020), 97.

Ibid.

Holly Shaffer and Yuthika Sharma, "To Fill A Gap in Indian History'," Archives of Asian Art 74, no. 1, 103

Shaffer and Sharma, "To Fill A Gap in Indian History," 105-106, 111

Jordanna Bailkin, "Indian Yellow." Journal of Material Culture 10, no. 2 (July 2005), 202

Trevel M. Balser, "Ethnographic Types in Colonial India: A Study of a Nineteenth-Century Album of Paintings on Mica." PhD thesis, The Ohio State University, 1998, 71.

Bailkin, "Indian Yellow", 206.

Bailkin, "Indian Yellow", 202.

"Indian Dyes and Dyeing Industry during 18-19th Century." Unnatisilks, June 16, 2022.

"India." Mood Indigo, March 24, 2016.

Natasha Eaton. "Nomadism of Colour: Painting, Technology and Waste in the Chromo-Zones of Colonial India c.1765-c.1860." Journal of Material Culture 17, no. 1 (March 2012), 68.

Geoff Quilley, "Travels in India: Landscape and Colonial Patronage", 125.

Eaton, "Nomadism of Colour", 68.

Eaton, "Nomadism of Colour", 68.

Tamanna Nangia, "Satyagraha | Mahatma Gandhi, Nonviolent Resistance, Civil Disobedience, Champaran, Kheda, & India".

"Indigo Exhibition." NIFT, 2017.