Abstract
Abstract The Madho Nivas Wing of the City Palace at Jaipur, Rajasthan, which had been kept closed for nearly a century, yielded a rich treasure trove of over 2000 glass negatives1 that originated from the famous Tasveer Khana of Maharaja Sawai Ram Singh II (1833–1880). Following the administrative pattern of the Moghuls at Delhi, the Maharaja had eighteen administrative divisions, of which Tasveer Khan a (the picture department) was his special favourite. In 1860 the Maharaja had invited the British artist-photographer of Nynee Tal, Mr T. Murray,2 to come and help him with the development of the Tasveer Khana. Ram Singh got deeply interested in photography under the encouragement of Murray, and what was originally intended to be a short-term tour of office for Murray became a prolonged one. Wet collodion plates and sensitized albumen papers were the order of the day, and the Maharaja used to spend hours in his laboratory, doing his own photography, as well as training others in this new discipline.
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