Joseph Austin Benwell - Scenes from India

Joseph Austin Benwell was an artist and engraver who recorded scenes on everyday life in the far-flung empire, informing readers of publications such as the Illustrated London News in the days before the use of photography was widespread. It is known that he was resident in India in the mid 1850s until early 1857, when he departed on the ship 'Bengal' from Madras bound back to London via Marseilles. It appeared he left before the Indian Mutiny began in May 1857. Benwell was also in India, Burma and China earlier in his life, probably in the 1840s or early 1850s. He cannot be found in the 1841 census (to date), indicating he could possibly have been on his travels at that time.  

Benwell's black and white engravings and  illustrations in books and journals from the 1850s and 1860s are very evocative of the 'British in India' era, and are of historical and social interest. Some of his illustrations feature Calcutta, where he was a resident in the 1850s.

'The ordnance and stores in Indian armies are usually drawn by bullocks, but the guns of large calibre have a pair of elephants harnessed to each, tandemwise, as shown in the Illustration, which represents a gun of the elephant battery on the march. ...... An attempt was accordingly made some twenty years ago to harness and break in the elephant for drawing large guns, the experiment was attended with great success, and since then elephant batteries were formed, and have been extensively employed in our many important military expeditions. In the graphic description given by the Times correspondent of the march to Lucknow, and the capture of that city, the elephant gins are especially referred to as contributing to the success of that important undertaking.'

‘The difficulties of the indigo planter in Bengal have recently brought them prominently into notice. Late intelligence from India  informs us, that many indigo factories have been closed. How this state of things has been brought about, it is not quite so easy to say, The planters and their friends maintain that the Bengal Government is to blame for it, inasmuch  as it has ever viewed them with a jealous eye, and  has rather thwarted than furthered their schemes….. Indigo is a native of India, and is there called neel or leel. There can be no doubt that the dye was known to the Greeks and Romans, from the description given of Indicon by Dioscorides and Indicum by Pliny…. The Indigo of commerce is obtained from a plant called  Indigofera  Tinctoria,  which forms only one of numerous different species, all of which yield a blue dye, although to a smaller extent and of an inferior quality…. The cultivation of indigo is carried on in different parts of India, as in Agra, Lahore, Surat, Oude etc.,and in the Madras Presidency; but the finest is produced at the factories of Jessore and Kishnagur in Bengal….. The Zemindars have often been accustomed, on such occasions, to assemble large bodies of natives armed with ‘lattials,’ or sticks, just as the indigo was ready for cutting, and to drive off the planters’ people, and then carry off the crop. … While we write, towards the end of 1861, it is reported from India that the season has been a gloomy one. The contests between the planters and ryots are continued.  Heavy rains in Bengal and droughts in Madras have been disastrous to the crops. The stock held in Europe is lower than at any date for the last forty years. Let us hope, however, that by the wise measures of the Indian Government, peace may be restored to the troubled districts, and that a long period of prosperity may yet fall to the indigo planters and cultivators.’ 

'The accompanying Sketch was taken at the village of Chorparun, a halting-place in the Benares Road. A large natural tank of water, formed by the rains, was contiguous to the village, The elephant is quite at home in the water. Sinking his huge body below the surface until nothing is seen of him but a few inches of his proboscis, elevated to supply him with air,  he flounders to and fro and revels in the cool element. Sometimes, filling his trunk with water, he will spout it with great violence in the direction of a fellow monster-bather. This sally is returned with interest, and it is not uncommon to see this sport prosecuted so vigorously that the beholder is left in some doubt as to whether it really is all play, or whether the joke has not been carried  so far that one or the other is betrayed into rather more temper than a mere frolic would seem to justify.

There is, however, usually the best understanding between these animals and their keepers or drivers, who can at any point put a stop to the fun when it interferes with the more serious business of washing. This operation is performed with the hand on parts easily reached, and on more distant portions by means of a broom of strong rushes bound tightly together. The washing being over, the the elephant places his trunk so as to form an incline, up which the driver adroitly ascends. On leaving, the animal usually draws up a trunk full of water, with which he amuses himself, occasionally giving the driver a shower-bath as they proceed to the camping ground.'  

This illustration also appeared in the French journal ‘L’Univers Illustre’, on 18 May 1864 (no. 329), illustrating an article called ‘Comment on voyage dans L’Inde' by Paul Parfait. Paul Parfait was a journalist, novelist and secretary to  Alexandre Dumas. 

This illustration also appeared in 'L'Univers Illustre' (published in Paris) 26 January 1860.

'L'Inde, plus heureuse, entre dans une voie de pacification. Plusieurs rebelles se sont rendus; un de nos correspondants temoin de l'arrivée de quelques-uns á Kidrapore en  Keranchi, sorte d'omnibus Indien, nous a envoyé le dessin si pittoresque de la page 68.' 

'The Dhoolie is a simply-constructed palkie, or palankeen, which is carried by four bearers, who belong to a distinct caste, living chiefly in the lower provinces of the Bengal Presidency. These vehicles are used much on the march for conveying the sick; more especially those who are in too delicate a state to bear the jolting gait of the camels and elephants on which they are usually placed, perched on top of the tents and other camp equipage. Every European hospital establishment in Bengal has its complement of dhoolies attached, with a staff of bearers, under a sirda, paid by the Government. The dhoolies are used for carrying those of the sick who are too feeble to gain the hospital on foot. In action these vehicles are of the greatest service for carrying to the rear those who fall wounded, and who are lucky enough to have an opportunity of availing themselves of them: they are exceedingly comfortable to ride in, owing to their light and elastic construction. The bottom is simply four bamboos, fastened to four short legs, forming a frame, which is tightly corded over with country rope, to form a sacking. The frame is supported by an iron suspender at the head, and another at the foot; the long bamboo poles passing through rings formed by the bend of the suspenders; and a slight framework of bamboo at the top, covered with stout wax cloth, with curtains of white canvas, complete the dhoolie. These elastic materials give kindly to the step of the bearers: the curtains keep off the sun, and at the same time admit any breeze that may be stirring. On the sacking is placed a razzi, or thick quilted coverlet, which is the only bed (sick or well) used by our soldiers serving in India. 

It will be remembered that early in the Indian mutiny  a doctor of one of the revolted regiments at Meerut, when on his way to visit his hospital the day following the outbreak, saw a dhoolie approaching, bearing the body of Colonel Finnis. He says "On my way down (to the hospital) a dhoolie approached, and was passing me, when I stopped the bearers, and asked what they carried. They answered 'The Colonel Sahib.' It was poor Colonel Finnis' body, which had just been found where he fell, and was being carried towards the churchyard."'

 ''The scene was sketched by our Artist at Dinapore, where a considerable squad of elephants was temporarily picketed, affording him many opportunities of studying their habits. On this occasion the Commandant of the station was inspecting them, and as he passed down the line the word "Sulaam kurro" was loudly shouted by the mahouts, who themselves made a low salaam, as the elephants immediately poised their trunks perpendicularly in the air. Each elephant is tied by the foreleg to a picket driven into the ground, and is thereby kept in his place; the chain or rope used for this purpose seems inadequately slight and weak, and, indeed, it would require but a small effort on the part of the animal to free himself; but his sense of duty forbids this, and so accustomed are these docile creatures to second the will of their keepers that a very small cord would, in most cases, be sufficient to keep them in their places.'

 This illustration also appeared as ‘Hindoos on their way to the Swinging Festival’ in ‘The Sunday at Home, a Family Magazine for Sabbath Reading’ 1857 (Nurse Grand in India, Chapter 3), where it is signed J Benwell, lower right. I have found that when engravings are used again in later publications, the original signature of the artist or engraver is often obscured or omitted.

This illustration also appeared (right hand side of the image), as 'The Indian Nurse' in 'Grace Ogilvie; The Story of a Child's life in India during the Mutiny', published in 1872 by The Religious Tract Society. Please see below. The illustration was also used in The Sunday at Home 1857 (Nurse Grand in India) and later in 'Nurse Grand's Reminiscences at Home and Abroad' by Miss Brightwell, 1871 as 'The Ayah and her charge'.

This illustration also appeared in 'Grace Ogilvie; The Story of a Child's life in India during the Mutiny', published in 1872 by The Religious Tract Society. 

My copy of this little book is inscribed in the front 'Ernest Salter Wills, Nov 1877, given by him to Violet E Wills.'  Ernest Salter Wills was born in November 1869, and Violet was his sister. It seems likely that the book was given to him on the occasion of his 8th birthday. He was one of the Wills family of Bristol, tobacco importers and cigarette manufacturers,  and later became Sir Ernest Salter Wills, Third Baronet of Hazelwood, and Lord Lieutenant of Wiltshire 1930-1942. 

Also appears as 'View of Calcutta' in 'Nurse Grand's Reminiscences at Home and Abroad' by Miss Brightwell, 1871.

Benwell often worked with the engraver Thomas Robinson (1806-85), and both of their signatures or initials appear on many of Benwell's earlier illustrations. Thomas Robinson senior was a wood engraver who had worked for Thomas Bewick, who pioneered wood engraving technology at the end of the eighteenth century. One of Thomas Robinson's grandsons was William Heath Robinson (1872-1944), the acclaimed illustrator and cartoonist. 

'Our Illustration shows a party of these predatory mountaineers, who have made a descent upon the villages in the plains belonging to another tribe, and are driving off all the cattle they can lay their hands upon, to the utter ruin, in most cases, of the poor owners thus violently despoiled. It is but a few weeks since the mountaineers of the Murree Hills, on the frontiers of Scinde and Beloochistan, near the Bolan Pass, made an extensive raid into Cutch and the district of Gundava, where they were very successful in their cattle-lifting operations, having carried off 500 head of cattle and 800 camels. This exploit seems to have emboldened them; for Major Green, the acting political superintendent on the frontier, reports, in a letter to the Commissioner of Scinde, that a strong body of the marauders, some mounted and some on foot, had since attacked the village of Poolagee, and were driving off all the cattle in the place; but some 300 men of the Munghals and Khyberees had been sent in pursuit, and would, it was hoped, recover a portion of what had been taken and give the cattle-stealers a wholesome lesson for the future.'

''These votaries of the sun, termed Guebers of Parsees, form a considerable portion of the population of India, especially on the western side, where they adhere strictly to to their religious forms and ceremonies. The effect of large crowds of Guebers standing on the sea-shore and praying aloud with arms uplifted is very striking. The murmur of their voices is powerful and constant, and has a singular effect when heard amid the dashing waves. During sunrise and sunset they line nearly the whole shore; and, from their dress, attitudes, and occupation, form an impressive spectacle. They stand with their faces directed towards the sun, and never for a moment turn from it till they have finished their religious duties, the performance of which usually occupies about a quarter of an hour. Their prayers are not repeated distinctly, but are muttered through the teeth, with a kind of inarticulate noise, without moving the lips.'

This illustration later appeared as 'Parsees worshipping the setting sun' from 'The S.P.G. Picture Book, showing origin, and scenes in the work of the Society for the Propagation of the Gospel in Foreign Parts' 1896. 

Parsees and Guebers are descendants of ancient Persians who follow the Zoroastrian religion, many of whom fled to escape religious persecution. 

A thesis 'India in the Illustrated London News' 1857-1906, D Jessop, Australian National University, 1986, refers to the Illustrated London News printing narratives by the artist J A Benwell, to accompany his sketches (above and below).

“Mr Benwell, the artist to whom we are indebted for the two accompanying sketches, illustrative of the perils which beset travellers in India, supplies the following particulars concerning dawk travelling in that country… The remainder of the narrative is, however, best told in Mr Benwell’s own words: “In a state of perfect helplessness from the debilitating effect of the fever, I arrived at the Dawk bungalow.....”

"I composed myself for a short sleep, the stillness of the night and the cessation of motion being favourable to repose. I soon fell into an uneasy nap, from which I was disturbed by the sounds of sniffing close to my ears. Through the cane bottom of the palanquin came a strong menagerie-like odour, and the sniffing noises increased until I seemed completely surrounded by them.

I now began to realise my position. Fastening the sliding doors on each side, I peered through the small windows in front, and discovered, to my great consternation, that I, in my frail vehicle, and still more frail state of health, was beset by a pack of hyenas, wolves and jackals. Now, had I been able to stand, with a good stick in my hand, I might have sent the whole pack scouring off into the jungle; but to raise myself into a sitting posture required my utmost efforts, and to stand without assistance was quite impossible; this my fierce visitors seemed to be aware of, for their familiarities became truly alarming. The sniffings increased in vigour, and now and then a concussion against the panels from the violent contact of the snouts of some more eager than the rest showed that they were really in earnest. The short cachinnatory bark of the hyena was clearly distinguishable amid the howling of the jackals disappointed of their prey. An occasional knock with my fists against the door inside seemed only to stimulate the pack to renewed attempts to get at me, and I was beginning to give all up in despair when, to my unutterable relief, a faint glimmer in the distance told me that succour was at hand. The light was from the torches of the mussalchies, who, with the whole party of bearers, presuming on my helpless condition, had, disregarding my orders, been to enjoy a smoke in the village. As the lights approached, my assailants rushed pell-mell into the jungle. A howl, loud and of long continuance, dying away in the distant woods, indicated the direction the pack had taken; and, though dismal enough, appealed to my sense of gratitude for deliverance from the throats which gave utterance to it. The next morning I reached a civil station, where I obtained medical assistance and rest, which I badly needed, and in due course came on to Benares."             (narrative by Benwell)

A number of the engravings in 'The Three Presidencies of India' are also included in the 1857 book ‘Our Oriental Kingdom; or, Tales about India’ by Peter Parley (pseud.), or William Martin, published by Darton and Co, Holborn Hill, London.

Joseph Austin Benwell's art - Victorian Religious Publications

Joseph Austin Benwell's art - Orientalist Paintings

Joseph Austin Benwell's art - miscellaneous and travel

 Material researched and written by Dee Murray. Website compiled by Dee Murray.

All images on this website are either scanned or photographed from the author’s own resources, or are in the public domain in digital format via websites such as HathiTrust, Openlibrary.org, the Internet Archive (archive.org) or Google Books.