Lot 17 , The Hon. Emily Eden (1797-1869) The Voyage to India, 1835-36.

The Hon. Emily Eden (1797-1869) The Voyage to India, 1835-36. An album including eighteen watercolour sketches taken on board the naval frigate Jupiter, with scenery and figure studies taken in Funchal, Madeira (3), Rio de Janeiro (5), Cape Town (3), and India (1), and miscellaneous pencil sketches, several titled, ownership inscription on the front and back pastedowns ‘Edmund T. Drummond, Lyaston, Woodford Green.’
Pencil and watercolour on paper sheets (15.8 x 22.8cm.).

The subjects include: The town of Funchal; An Indian girl; The bridge of the Jupiter; William Godolphin Osborne reading, ‘Heaving the Lead’; ‘Captain Grey at his usual occupation; Cape Malays at Cape Town; Cape Town December 35’; Aqueduct Rio’; ‘Children Botanical Garden Rio’; ‘Lady & Her Slave at Rio’; ‘…Funchal. Daughter of the Governor’; and Nun at the Convent in Madeira October 1835’
Estimate £25,000-35,000

THE ARTIST - EMILY EDEN (1797-1869)
The artist, novelist and sometime poet, Emily Eden, seventh daughter of William Eden, 1st Baron Auckland, accompanied her brother George Eden, 1st Earl of Auckland during his tenure as Governor-General of India from 1836 to 1842. Acting as the de facto First Lady, alongside her unmarried brother, she documented their six-year residency in India through a journal published in 1866 ("Up the country") and her correspondence published in 1872 ("Letters from India"). Additionally, she displayed a passion for amateur artistry, producing a series of Indian sketches that were later refined into lithographs and published in 1844 as "Portraits of the Princes & People of India." The majority of her original watercolours created in India were auctioned at Christie's on 14th March, 1906, lot 98, comprising nearly 200 drawings, predominantly in colour, acquired by Quaritch for Lord Curzon, who later presented them to the Victoria Memorial Hall in Calcutta. Her lithographs, both coloured and uncoloured, are scarce, as are her original sketches. Apart from those housed in Kolkata, only one watercolour remains in the British Library, depicting "Four portrait heads of Dost Muhammad Khan and three members of his family’’, serving as a preliminary study for one of her lithographic plates.

THE VOYAGE SKETCHBOOK
The current sketchbook represents a valuable addition to her existing body of work, providing a modest visual documentation of the journey to India undertaken by the party. This journey is primarily documented through her published writings and some unpublished letters of her sister Fanny Eden. References to her sketching activities in these letters suggest the possibility of additional drawings and watercolors by Emily during the voyage, some of which may not have survived. For instance, in a letter dated December 12, 1835, she mentions having produced numerous sketches while at Rio, expressing intent to potentially send a book filled with them to someone who appreciates such works. However, she notes the difficulty of completing them satisfactorily due to the instability of the environment. Despite initial discomfort, she later attests to overcoming seasickness and continuing her artistic pursuits, alleviating some of her earlier unhappiness.

The expedition led by the Governor-General, departed from Portsmouth aboard the naval frigate Jupiter, under the command of Captain Grey, on October 3, 1835, consisted of Emily, her sister Fanny, their nephew William Godolphin Osborne (Lord Auckland's Military Secretary, captured in a notable watercolour by Emily within the album), six servants, and the physician, Dr. Drummond. Emily brought along her spaniel, Chance, evidenced by three pencil sketches likely depicting her beloved pet, while William accompanied them with his six greyhounds. Enduring a seasick ten days, they reached Madeira on Tuesday, October 13, as described in Emily's letter of October 14, 1835, expressing admiration for the island's beauty with its tropical allure, though remarking on its resemblance to a fantastical travel narrative. During their stay, they lodged with Mr. Stothard, a wine merchant in Funchal, and explored the local attractions, captured in three watercolour illustrations in the album, before continuing their journey to Rio de Janeiro on Friday, October 16. Crossing the equator on November 13, they arrived at the harbour in Rio de Janeiro three days later.

They explored downtown Rio de Janeiro, documented in a panoramic brown wash drawing across two sheets depicting the renowned Lapa aqueduct district, as well as in a street scene. They also visited the acclaimed Botanical Gardens, captured in a sketch featuring three slave children. Emily's letter dated November 17, 1835, describes their arrival in Rio de Janeiro, praising the beauty of the place despite initial doubts about the journey. The bustling harbour, filled with ships and adorned with flags, greeted them as they embarked on visits to local authorities. Despite the prevalent dirtiness of the town, it proved more engaging than their previous stop in Funchal. Notably, the majority of the population consisted of slaves, a fact that initially sparked surprise but soon became commonplace. They were hosted for an early dinner by the Admiral aboard the Dublin before setting off in hired carriages to explore the Botanical Gardens, surrounded by magnificent scenery. Captain Grey later led them on a memorable ride into the cooler Tijuca forest above the town, where they marveled at the natural beauty of the landscape, including clouds, mountains, trees, butterflies, and the overall atmosphere. This experience left them thoroughly enchanted. On November 21, they departed for the Cape.

The frigate encountered a gale approximately one week after departing from Rio de Janeiro, but favourable winds swiftly propelled them to Table Bay in a mere twenty-three days. Emily's letter of December 16, 1835, recounts their safe arrival in Cape Town on a Monday afternoon, where they settled in a satisfactory house despite being plagued by various insects and enduring intense heat until the afternoon. They enjoyed excursions into the countryside and indulged in fresh produce like new potatoes, peas, strawberries, and apricots. Despite feeling somewhat overwhelmed by visitors, they found solace in reconnecting with old acquaintances such as Lady C. Bell and Mrs. Wauchope, finding their time in Cape Town to be a much-needed respite before continuing their journey to Calcutta, their final destination. During their week in Cape Town, they produced only two watercolours and a pencil sketch, all seemingly depicting scenes from the Malay quarter. Departing for Calcutta on December 18, they embarked on a voyage lasting seventy-two days, finally sighting the shores of India on March 2 and arriving in Calcutta on March 4, 1836, coinciding with Emily's thirty-ninth birthday.

In addition to the limited sketches documenting the various landfalls throughout the voyage, the album contains an array of watercolours and drawings portraying the daily activities aboard the Jupiter. These include numerous depictions of sailors engaged in their duties: manning the bridge, repairing sails and ropes, conducting depth soundings, and a detailed study of the Master, Captain Grey, utilizing his sextant. One watercolour captures a significant event in the Indian Ocean, occurring a few weeks after departing from Cape Town, when one of the ship's masts broke. Described in Emily's letter dated January 27, 1836, this incident unfolded suddenly during a calm and seemingly idyllic morning, highlighting the unpredictability of weather conditions near the equator. Despite the unexpected mishap, the crew's swift and adept response showcased their capability in handling emergencies, with Captain Grey's calm demeanour and quick thinking earning commendation.

According to Emily's correspondence, during the final voyage segment to India, another sketchbook was filled by the sailors. Describing this endeavor, Emily wrote, "I purchased an album at the Cape, designated as the 'Jupiter's Album,' and extended invitations to all the officers to contribute to it. This idea appealed to their imaginations, prompting the entire ship's company to engage in drawing. Many of them possessed varying degrees of drawing ability, and out of the twenty-four drawings submitted, at least ten were deemed quite commendable, with some being tolerable. Even the less skilled drawings were entertaining due to the considerable effort put forth by the midshipmen. This activity provided amusement for a span of ten days and greatly pleased Captain Grey."

PROVENANCE: 1842 - The Hon. Emily Eden (1797-1869);
to her sister The Hon. Mary Drummond, née Eden;
By descent in the Drummond family to Hilda Drummond,
thence to Christina Grabham (Hilda’s daughter), thence private Collection Sussex.
£25,000-35,000

Condition:
The Album - quarter red morocco, lacking backstrip, corners bumped, hinges weak. The watercolours and pencil drawings - some with feint, but legible, pencil inscriptions, 17 completed watercolours, 5 unfinished watercolours, 6 preparatory pencil sketches. The leaves lightly age discoloured. PROVENANCE: Please see end of online cataloguing for this lot.

Sold for £24,000