Even though I am a regular art exhibition-goer in London, I often miss many excellent but less publicised exhibitions in town. Luckily, I did manage to see the rare and wonderful “Forgotten Masterpieces: Indian Painting for the East India Company” at The Wallace Collection before my travels to Asia.

Guest curated by renowned writer and historian William Dalrymple, the exhibition is the first in the UK to showcase 100 artworks by Indian master painters commissioned by East India Company officials –ranging from botanists and surgeons, through to diplomats, artists, governors and judges, and their wives – in the late eighteenth and nineteenth centuries (1770 to 1840). These Indian artists include Shaikh Zain ud-Din, Bhawani Das, Shaikh Mohammad Amir of Karriah, Sita Ram and Ghulam Ali Khan, who were all uncredited for their intricate artworks. Until now.

The exhibition explores the four main centres of what has traditionally been described as ‘Company School’ painting: Calcutta and Lucknow, where provincial Mughal painters from Murshidabad, Patna and Faizabad were employed; Madras and Tanjore, where artists from the South Indian traditions received patronage; and Delhi, where Imperial Mughal artists created some of the finest works of this period. India’s natural world appeared to be a popular subject for the British officials at the time.

After I started to do botianical illustrations as a hobby in recent years, I became very interested in botanical art. Hence I was immediately drawn to all the bold and meticulous botanical paintings of Indian flora at the exhibition. There is a timelessness feel to these paintings, and you could easily see them being transferred to wallpaper or fabric and sold at House of Hackney to trendy East Londoners.

The fauna paintings are equally interesting. I particularly liked the study of “Great Indian Fruit Bat” (around 1777-82) by a well-known Indian artist Bhawani Das, who was trained in Mughal miniature painting and commissioned by Sir Elijah Impey, Chief Justice of Bengal (1774–1782), and his wife, Lady Mary, to make extensive natural history studies at their estate in Calcutta. I have never liked bats, but the paintings are so intriguing that I found it hard to move away from them.

Aside from the natural world, another highlight was the painstaking architectural drawings of India’s manmade wonders including the Taj Mahal. I felt like asking for a magnifying glass in order to study these drawings! These drawings were done by an unknown artist (possibly Sheikh Mohammed Latif), and each drawing showcases the detailed ornamental patterns and calligraphy on the facades of the buildings. I am not sure if such drawing techniques and craftsmanship still exists today – these works are immaculate and priceless.

The exhibition also displays masterpieces from the famous Fraser Album for the first time since the album was broken up and sold in the 1980s. Fraser Album is a collection of paintings documenting various aspects of Mughal life, made between 1815 and 1819, commissioned by a British Indian civil servant, William Fraser. The last court painter of the Mughal empire, Ghulam Ali Khan, was commissioned to illustrate Mughal life using traditional techniques but with English watercolours on English paper. This fusion style is known today as the Company School. 

Of course this exhibition is not just about art; the exhibition is fascinating because of its Anglo-Indian history and context. Through these works, we could get a glimpse of the last days of the Mughal Empire, and appreciate the last phase of Indian artistic genius before photography and the influence of western colonial art schools – ended an unbroken tradition of painting going back two thousand years. From the exhibition, we could see that the commissioned Indian artists not only responded to European influences, they also maintained their own artistic visions and styles, therefore these works are truly original and remarkable. Sadly, the vast array of ‘fusion’ works produced during this period were largely forgotten by the world, which is why this exhibition could be seen as a late tribute to the ingenious Indian masters from that period.