A unique limited-edition book documenting 19th-century Ceylon is set to be released, featuring a compilation of rare oil paintings, watercolors, aquatint lithographs, and historical views of the island.
The upcoming exhibition, organized by the George Keyt Foundation in collaboration with the British High Commission in Colombo, aims to showcase how British artists portrayed Ceylon throughout the 19th century. The event will take place on July 31st and August 1st at Westminster House in Colombo, highlighting the evolution from early topographical studies to more evocative interpretations of the landscape.
Titled “19th Century Views of Ceylon,” the exhibition offers a visual narrative of the island as perceived and interpreted by British artists during this period. The exploration begins with Henry Salt (1780–1827), one of the first professionally trained British artists to draw Ceylon based on firsthand observations. In 1809, he released a plate depicting Point de Galle, which was noted for its accuracy and detail compared to earlier works.
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Shortly thereafter, Samuel Daniell (1775–1811) from the prominent Daniell family, known for their topographical artistry, contributed significantly to the visual documentation of the island. As the Ranger of the Woods and Forests, he had unique access to Ceylon’s interior, and his twelve plates published in 1808 are celebrated as exceptional examples of natural history illustration from the Regency era, showcasing the island’s rich ecology.
With the British colonial expansion, artists began exploring previously undocumented regions. Lieutenant William Thomas Lyttleton (circa 1786–1839) produced aquatints that offered some of the earliest British perspectives of Kandy and its vicinity, including views of the now-gone Tombs of the Kandyan Kings, capturing a transformative period in the landscape.
Focusing on the western coastline, Captain John Deschamps (active 1828–1845) created “Scenery and Reminiscences of Ceylon” in 1845, depicting scenes from Colombo, Galle Face, Slave Island, and Bentota, emphasizing the daily life and authentic experiences of the time.
Another contributor, Captain Charles O’Brien (d. 1866), who served as Assistant Surveyor General, produced a series of illustrations to accompany Sir J.E. Tennent’s influential book on Ceylon, published in 1864. His depictions highlighted the hill country, coffee plantations, and remote areas described in the text.
Interestingly, some artists did not set foot in Ceylon. James Stephanoff (circa 1787–1874) never visited the island, yet his aquatint “The Supreme Court of Judicature in the Island of Ceylon” (circa 1820) became a significant representation of the island’s governance. Marine artist James Miller Huggins (1807–1870) produced the 1854 piece “View in Ceylon with Soldiers and Natives on a Road,” reflecting the language and themes prevalent at that time while showcasing the island from afar.
Trained as an engineer, Thomas Fraser (1776–1823) concentrated on the island’s geography and landscape. His 1817 aquatint, “Method of Catching Wild Elephants by the Kraal,” is noted for its detailed observation and dramatic presentation.
As the 19th century progressed, new artistic styles began to emerge. Andrew Nicholl (1804–1886) adopted a more expansive and decorative approach. Arriving in Ceylon in 1846 as the first painting instructor at the Colombo Academy, he traveled extensively and created over eighty engravings that garnered attention in Britain, including from royal patrons.
Representing the female perspective in the exhibition, Constance Frederica Gordon-Cumming (1837–1924) was a largely self-taught artist who arrived in Ceylon in 1873. Her commitment to a rigorous daily sketching routine resulted in vivid, detailed works that blend personal reflection with travel writing in her later book, “Two Happy Years in Ceylon” (1892), capturing her enthusiasm and the complexities of the colonial era.
Edward Lear (1812–1888), perhaps the most renowned artist featured, is celebrated for his whimsical literary works and limericks, as well as his talent in landscape painting. During a brief visit in 1874, he created over seventy drawings and watercolors that remain iconic representations of the island from that era.
At the close of the century, Thomas Hampson Jones (1854–1916) focused on the East, painting “The Rock Temple near Bandarawella” in the 1890s. This watercolor captures the Dhowa Rock Temple under a dramatic cliff, reflecting the empire’s enduring fascination with sacred and remote locations.
Together, these artists construct a comprehensive record of 19th-century Ceylon, documenting the island’s landscapes, architecture, flora, fauna, and inhabitants while revealing the viewpoints and values that influenced their artistic representations. The exhibition invites contemporary audiences to engage critically with this historical legacy, preserving visual accounts of places and people while reflecting the societal beliefs and power dynamics of their time.
For those interested in taking home a piece of this exhibition, the George Keyt Foundation has published a limited-edition companion book titled “19th Century Views of Ceylon by British Artists.” This 200-page publication features nearly 100 illustrations that celebrate the island’s rich cultural heritage. It is available at a promotional price of Rs. 6,000 for orders made by midnight on August 1st, after which the price will rise to Rs. 7,500, with an additional Rs. 500 charge for islandwide delivery. To order a copy, please call or message 0772112792 to secure the discount.
Attending the exhibition allows visitors to explore various interpretations of the island. By engaging with these artworks, audiences can gain fresh insights into Ceylon’s history and beauty. Admission is free, but prior registration is required at www.georgekeytfoundation.com.
