On a vast field in Madras, now Chennai, a bowler has just bowled his delivery and the batsman is about to take a shot at it. Watching the action closely are fielders, some scouting, some standing, with the scorer casually sitting nearby. Also visible are white tents at one end, which is possibly the pavilion, and on the far left, a cow is grazing unmindful of the match in progress. Each detail has been exquisitely depicted in the miniature painting dated 1792, titled Cricket Match in India by British painter Thomas Daniell. It is believed to be the first depiction of the game in visual arts in India.
The painting will be auctioned as part of AstaGuru’s ‘Historic Masterpieces’ sale to be held online from 14-16 December, and has an estimated value of ₹7-9 crore. It, in a way, shows the evolution of cricket’s popularity in the subcontinent, when it was played by soldiers in the East India Company and traders. “At the time, cricket was still at a nascent stage as a recreational activity in colonial India,” says Sneha Gautam, senior vice president (client relations), AstaGuru. The British officers and traders would play the game primarily as a way to uphold traditions from back home and foster a sense of camaraderie within the community.
Also, by 1792, Madras had emerged as a significant hub for trade and was a cultural melting pot, making it one of the first places in India where cricket was played. The Island, where this painting is set, still exists in Chennai, and was one of the few established cricket grounds from the period. The presence of such grounds indicates the game's growing popularity among the British elite, although it remained largely confined to their circles and had not yet become widespread among Indians.
The painting’s creator, Thomas Daniell (1749-1840), spent seven years in India 1786 onwards along with his nephew, William, also an artist. He came here as a painter and engraver for the East India Company. Daniell was known for his works that documented life and landscapes in India during his extensive travels across Mysore, Chennai, Mumbai, Kolkata, Bhagalpur and the Srinagar district in Uttarakhand. These are now important historical records of the time when photography as a medium hadn’t developed.
Daniell was known for creating works both live at the location and later in his studio, using sketches made during his travels. His process often involved selecting viewpoints and making detailed pencil-and-wash sketches on-site, explains Gautam.
These were later developed into finished artworks, including oil paintings, watercolours, or aquatints, upon his return to his studio. “While it is possible that Cricket Match in India was painted directly at the location, it is equally plausible that it was completed later based on initial sketches and observations made during his travels,” adds Gautam.
The provenance of Cricket Match in India, a water colour, is linked to the illustrious Tagore family of Kolkata. It also features in Maurice Shellim’s book Daniells: Oil Paintings of India and the East. “The painting demonstrates the artist’s exceptional ability to combine meticulous detail with a sophisticated use of atmospheric perspective,” says Gautam. By juxtaposing the quintessentially British game of cricket with a tranquil Indian landscape, he creates a composition that seamlessly merges disparate cultural elements.
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