Sir Charles D'Oyly, 7th Baronet (1781–1845), was a British public official and painter from Dacca (now Dhaka). He was a member of the Bengal Civil Service based in Calcutta, Dacca and Patna from 1797 to 1838. Although he held senior positions with the East India Company's civil service, he is best known as an amateur artist who published many books featuring engravings and lithographs featuring Indian subject matter.
He was notable for being the founder and president of an amateur arts society in Patna called the Behar School of Athens.[1]
D'Oyly went to England with the family in 1785 and received his first formal education there. In 1798 he returned to India as Assistant to the Registrar in the Court of Appeal in Calcutta. In 1803 he was appointed Keeper of the Records in the Governor General's office,[6] and in 1805, he married his cousin, Marian Greer, daughter of William Greer.
From 1808 to 1817, he was Collector of Dacca. Here, D'Oyly met George Chinnery,[7] who spent a great deal of time staying with D’Oyly during his early career. The pair became close friends and went on several expeditions together. Chinnery had a considerable influence on the development of D'Oyly's artistic style and painted at least two portraits of the D'Oylys.[8][ambiguous]
In 1815 or 1817 (the date is disputed), D'Oyly married Elizabeth Jane Ross, daughter of Major Thomas Ross.[9] After his father's death in 1818, D'Oyly inherited the baronetage and received a knighthood; also in 1818, he became City Collector of Customs in Calcutta. Francis Rawdon-Hastings, Marquess of Hastings, the Governor-General, was very taken with D’Oyly, who served as the Governor's aide-de-camp whenever he was in Calcutta.[10]
The D’Oylys were sociable, hospitable, witty conversationalists and active members of colonial society, but they were not snobs and disliked the formality and pretensions associated with English society in India.[11]
They regularly invited new British arrivals as guests in their private home, often for extended periods. Brian Houghton Hodgson stayed with the couple when he first arrived in India in the 1820s; the D’Oylys introduced him to society and helped him establish connections with high officials of the Indian government. Hodgson and the D’Oylys shared an interest in the arts, and became lifelong friends.
From 1821 to 1831, D'Oyly was Opium Agent of Bihar and Commercial Resident of Patna; this was one of his most productive periods, and he produced numerous paintings and sketches. In July 1824, he founded an amateur art society which he named "United Patna and Gaya Society" or "Behar School of Athens", with the objective of『the promotion of Arts and Sciences and […] the circulation of fun and merriment of all descriptions.』He also established his own publishing operation, the Bihar Lithography Press, to publish his lithographs and engravings,[12] employing Jairam Das, a Patna artist trained in the Mughal tradition, as his assistant.[13]
Between 1832 and 1833, D'Oyly took leave at the Cape of Good Hope, returning to Calcutta to become the Senior Member of the Board of Customs, Salt, Opium and of the Marine. After working for the Company for forty years, D'Oyly's failing health compelled him to retire and leave India in 1838. The greater part of the rest of his life was spent in Italy; he died in Livorno on 21 September 1845 without issue.[14]
D'Oyly sketched incessantly and took an active interest in the arts generally, finding these leisure pursuits to be an agreeable way to relieve the boredom associated with colonial life. He produced landscapes, scenes of Indian life, portraits, and caricatures, primarily in watercolour, and also wrote satirical verse.[15] His work was influenced by his friend, the painter, George Chinnery, who stayed with D’Oyly and his wife in Dacca in 1802–03.[16][inconsistent] A unique[citation needed] feature of his illustrations is the representation of relations between colonials and Indians.[17] Unlike other artists of the period, D’Oyly was not afraid to depict drunkenness and debauchery in his illustrations.[18] His published work, which was invariably heavily illustrated, encompassed a variety of subject matter, from natural history to social satire, and was occasionally written in verse.[19]
During his time in Dacca, he painted a wide variety of pictures, especially the Mughal ruins which he published in a folio-size book with fifteen engravings entitled Antiquities of Dacca in 1814, with reprints from 1823 onwards. A short historical account of Dacca was appended to each book, written by James Atkinson, with engravings by Edwin Landseer. Antiquities of Dacca became an important social document of the period.
Cover of Views of Calcutta, 1848
In Patna, D’Oyly was at the centre of a flourishing artistic circle made up of both British and Indian artists.[20] British artists in India, including D’Oyly, Chinnery and Webb Smith, exposed local native artists to landscapes, natural history and portraiture.[21][22] On the other hand, native techniques and a local touch imbued the British paintings with an identifiable Anglo-Indian character; a blend of Indian and European traditions that ultimately became known as Company painting.[23]
His 1828 work Tom Raw, the Griffin (which scholars believe was one of his earliest books, in around 1811) is an illustrated satirical novella in verse which relates the adventures of a cadet in the East India Company.[24]
At times, he collaborated with other scholars. One such collaboration was with the diplomat and scholar Christopher Webb Smith, his wife's first cousin, whose primary interest was ornithology. They published Feathered Game of Hindostan (1828) and Oriental Ornithology (1829); Webb Smith depicted the birds and foliage, and D'Oyly the backgrounds.[25] The two also worked on The Birds, Flowers, and Scenery of the Cape, which was never published.[26] He also collaborated with Captain Thomas Williamson on The Costumes and Customs of Modern India (c. 1830).[27]
Although his artistic output was an amateur activity in the sense that it did not interfere with his position at the East India Company, his work was far from amateurish. His scenes of British life in India in the early 19th-century attracted a large audience, especially amongst members of colonial society. His publications were sold in London where they were popular amongst those with an interest in the Orient.[28]
He has been described as possessing "the accomplishments of a man of taste, sketched cleverly in watercolours, and [...] the leading dilettante of Calcutta society at that time" [29] and “the most prolific artist in India of his time”.[30] Bishop Heber, who visited Patna in the 1840s, described D’Oyly as the “best gentleman artist I ever met”.[31][inconsistent]
The majority of his publications were folios of engravings or lithographs. Certain publications included a substantial amount of text. Those published in conjunction with Christopher Webb Smith, for example, included a two to three-page description accompanying each illustration, with the commentary provided by Captain Thomas Williamson.
Sole-authored
Antiquities of Dacca, London, 1814 – a folio of 40 engravings [32]
Behar Amateur Lithographic Scrapbook, Patna, Lithographic Press, 1830 – 36 lithographs (includes drawings by George Chinnery, Lady D’Oyly and others) [33]
Tom Raw, the Griffin, 1828 – an illustrated social satire in verse [34]
Indian Sports, Patna, Behar Lithographic Press, 1829 [35]
Costumes of India, Behar Lithographic Press, 1830 [36]
Sketches of the New Road in a Journey from Calcutta to Gyah, Asiatic Lithographic Company's Press, 1830 [37]
The European in India, Edward Orme, 1813 – with text by Thomas Williamson and illustrations by D’Oyly and others[40]
The Costumes and Customs of Modern India Edward Orme, London, 1813 - with text by Thomas Williamson and illustrations by Charles D’Oyly,[41]
Amateurs Repository of Indian Sketches, Asiatic Lithographic Company Press, 1828 (in collaboration with Philippe Savignhac, George Chinnery and James Princep and others) [42]
with text by Charles Williamson, illustrations by Charles D’Oyly and Christopher Webb Smith[43]
Oriental Ornithology, Behar Lithographic Press, Patna, 1829 – with text by Charles Williamson and illustrations by Charles D’Oyly and Christopher Webb Smith [44]
A number of D’Oyly's publications, have been reprinted in recent editions. Other collections of drawings and notes were published posthumously. Two such works are Daily Life in the Early Eighteen-Thirties Illustrated with the Hitherto Unpublished Johannesburg Album of Sketches (1898) and The Cape Sketchbooks of Sir Charles D'Oyly 1832-1833 (1968).[45]
In 1848 Dickinson & Co., 114 New Bond Street, London, published D'Oyly's Calcutta Drawings in a large folio-size book titled Views of Calcutta and its Environs in 1848. The original drawings for this work were probably made between 1833 and 1838, but some must have been[citation needed] completed between 1839 and 1845, when he was retired. The complete work was published after D'Oyly's death.
Out of a ducal coronet Or two wings erect Sable bezantée between which and resting on the strawberry leaf of the coronet an estoile of six points Argent.
Escutcheon
Gules three bucks' heads cabossed Argent.
Motto
Do Noe Ylle Quoth D'Oylle (Do No Ill, Quoth Doyle) [46]
^Conner, P., George Chinnery: 1774-1852 : Artist of India and the China Coast, Antique Collectors Club Limited, 1993, p.95
^Stephen, L. and Lee, Sir S., Dictionary of National Biography, Smith, Elder, & Company, 1888, p. 418; Note: Secondary sources give conflicting dates D’Oyly’s second marriage. Some claim the marriage occurred in 1817; See, for example: Conner, P., George Chinnery: 1774-1852; Artist of India and the China Coast, Antique Collectors Club Limited, 1993, p.95 or Archer, M. and Lightbown, R.W., India Observed: India as Viewed by British Artists, 1760-1860, Victoria and Albert Museum, 1982, p. 71 while other sources give the earlier date of 1815; See, for example: Sanger, K. and Kinnaird, A., Tree of Strings: Crann nan teud: A History of the Harp in Scotland, Routledge, 2015, pp 202-03 or The South Park Street Cemetery, Calcutta, Association for the Preservation of Historical Cemeteries in India, 1978, p. 6
^Archer, M., “The Talented Baronet: Charles D’Oyly and His Sketches,” Conoisseur, vol. 175 November 1970, pp. 173–81
^Archer, M., “The Talented Baronet: Charles D’Oyly and His Sketches,” Conoisseur, Connoisseur vol. 175 November 1970, pp. 173–81
^Leppert, R., The Sight of Sound: Music, Representation, and the History of the Body, p 259, 34n
^Chaitanya, K., A History of Indian Painting, Vol. 2, Abhinav Publications, 1976, p. 103
^Ross, R., Status and Respectablity in the Cape Colony, 1750–1870: A Tragedy of Manners, Cambridge University Press, 1999, p. 125; Leppert, R., The Sight of Sound: Music, Representation, and the History of the Body, p 259, 34n
^Ross, R., Status and Respectability in the Cape Colony, 1750–1870: A Tragedy of Manners, Cambridge University Press, 1999, p. 125
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, pp 175-178
^Ross, R., Status and Respectability in the Cape Colony, 1750–1870: A Tragedy of Manners, Cambridge University Press, 1999, p. 125
^Nair, P. R., Calcutta Bevy: A Collection of Rare Poems, Punthi Pustak, 1989, p. 203
^De Almeida, H. and Gilpin, G.H., Indian Renaissance: British Romantic Art and the Prospect of India, Ashgate Publishing, 2005, p. 322, 102n
^Murphy, V., Archer, M. and Parlett, G., Victoria and Albert Museum, [Indian Art Series], Company Paintings: Indian Paintings of the British Period, Victoria & Albert Museum, 1992; p. 85;
^Rekha, N., “The Patna School of Painting: A Brief History, 1760-1880,” Proceedings of the Indian History Congress, Vol. 72, no. I, 2011, pp. 997-1007, https://www.jstor.org/stable/44146791
^Brown, R.M., The Architecture and Urban Space of Early Colonial Patna, University of Minnesota, 1999, p. 161 and p. 162
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, p. 158-179
^Archer, M., “The Talented Baronet: Charles D’Oyly and His Sketches,” Conoisseur, Connoisseur vol. 175 November 1970, pp. 173–81
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, p. 90
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, pp 153-54
^Hunter, W.W., Life of Brian Houghton Hodgson: British Resident at the Court of Nepal, Asian Educational Services, 1991, p. 281
^De Silva,P., Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, p. 153
^Partapaditya, P., Changing Visions, Lasting Images: Calcutta Through 300 Years, Marg Publications, 1990, p. 58
^”Charles D’Oyly’s Antiquities of Dacca”, Oriental Herald & Journal of General Literature, Volume 11, no. 34, 1826, pp 310-315; De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845: Visuali sing Identity and Difference, Cambridge Scholars Publishing, 2018, p. 154, 24n
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, p. 154, 24n
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845: Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, p. 158-179
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845, Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, p. 266
^De Silva, P., Colonial Self-Fashioning in British India, c. 1785-1845, Visualising Identity and Difference, Cambridge Scholars Publishing, 2018, p. 266
^Nugteren, A., “Rituals Around the Bodhi- tree in Bodhgaya in India,“ in: Platvoet van der Toorn (ed), Pluralism and Identity: Studies in Ritual Behaviour, Brill, 1995, p. 164: Sinha, N., Communication and Colonialism in Eastern India: Bihar, 1760s–1880s, Anthem Press, 2014, p. 49, 123n; Losty, J.P., "A Career in Art: Sir Charles D'Oyly", in Under the Indian Sun: British Landscape Artists, P. Rohatgi and P. Godrej (eds), Bombay, 1995, p. 90
^Chattopadhyay, S., Representing Calcutta: Modernity, Nationalism, and the Colonial Uncanny, Psychology Press, 2005 , p. 92
^Riddick, J.F., Who Was Who in British India, Greenwood Press, 1998, p., 107
^Chakrabarti, H., European Artists and India, 1700-1900, Victoria Memorial, 1987, p. 39
^Nevile, P., Sahibs' India: Vignettes from the Raj, Penguin Books India, 2010, p. 242
^Bhattacharya, G., Akṣayanīvī: Essays Presented to Dr. Debala Mitra in Admiration of Her Scholarly Contributions, Sri Satguru Publications, 1991, p. 255; Catalogue of The Library of Horace Hayman Wilson, Comprising the Best Works in Sanskrit and Other Oriental Literature, S. Leigh Sotheby & J. Wilkinson, 1861, p. 11
^Mahajan, J and Grewal, B., Splendid Plumage: Indian Birds by British Artists, Timeless Books, 2001, p. 65; Webb, D and Webb, T., The Anglo-Florentines: The British in Tuscany, 1814-1860, Bloomsbury Publishing, 2019, p. 33
^Webb, D and Webb, T., The Anglo-Florentines: The British in Tuscany, 1814-1860, Bloomsbury Publishing, 2019, p. 33; Archer, M., British drawings in the India Office Library, Volume 3, India Office Library, H.M.S.O., 1969, p. 134
^Losty, J.P., Sir Charles D'Oyly's lithographic press and his Indian assistants, in P. Gotrej and P. Rohatgi (eds), India: A Pageant of Prints, Bombay, Marg Publications, 1989, pp 135-160
Losty, J.P., "A Career in Art: Sir Charles D'Oyly", in Under the Indian Sun: British Landscape Artists, P. Rohatgi and P. Godrej (eds), Bombay, 1995, pp. 81–106
Archer, M., “The Talented Baronet: Charles D’Oyly and His Sketches,” Conoisseur, vol. 175 November 1970, pp. 173–81
