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352:. Richard Ayton did not accompany Daniell on the rest of the journey, leaving Daniell to sketch the scenery and also write the text. Daniell's approach was to make pencil sketches of views that looked interesting, annotating them with details of colour and texture. The sketches included people and scenery. The transfer of the picture from paper to copper in the form of an aquatint plate required great artistic skill and dexterity. The process is very delicate. This was done on his return to London, as was the printing and colouring of the prints. Daniell must have had a very good visual memory of the places he had visited, as up to five years elapsed between the production of the sketches and the prints being completed.
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published by himself at 14, Russell Place, Fitzroy Square. By this time he was a comparatively wealthy man, and one can imagine him lovingly and carefully tinting the plates, leisurely savouring their subtle beauties, unhampered by time or financial worry. We feel, in looking at these aquatints, that perhaps
Daniell, with the philosophy of a much-travelled man, realised that in the cool greys and greens with which he "stained" his prints was the charm of his own land, more enduring than the exotic mystery of the Orient or the strange architecture of Hindistan.
136:, announcing the forthcoming publication of a set of twelve views of the city. This seemed a promising idea, since Calcutta was rapidly expanding and its European inhabitants might be willing to buy prints showing its latest buildings. Both he and William were inexperienced printmakers and had to enlist the help of Indian craftsmen, but the set, executed in aquatint, was completed in November 1788 and sold well. Thomas then began planning an ambitious tour of northern India, possibly inspired by the wealth of picturesque scenery indicated in
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411:, arriving in Dundee in October 1815. When setting out from London in May, he had not planned to cover so much of the coastline on one visit, but the weather in 1815 was exceptionally favourable, with good visibility and clear skies providing perfect conditions for an artist. This mammoth journey resulted in 139 aquatint prints being finally published, the last completed in 1821.
332:. His plan was to journey around the whole coast and record views of places of interest. An integral part of the venture was to provide a running commentary, which described the scenery and the conditions of the people. Daniell had already made excursions in England, Wales, and Scotland, so he had a good idea of where to go and what he might find by way of subjects for paintings.
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251:, was published in six parts over the period 1795–1808. It comprised a total of 144 coloured aquatints and six uncoloured title-pages. The cost of a complete set was £210. The publication was a success, both artistically and financially. Thirty sets were sold to the East India Company, and a further order for eighteen copies was received. Thomas Sutton in his book
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228:, himself a landscape painter and topographical draughtsman, kept a diary from 1793 until he died in 1821. The Daniells were close friends of Farington. John Garvey has gone through the diary and extracted glimpses of William's private life and of his artistic work. The diaries are almost the only written record we have of the life of William Daniell.
520:, at the Royal Academy Exhibitions. These were considered to be among his finest oil paintings, and according to Sutton, his view of the Long Walk at Windsor was generally acknowledged to be his masterpiece in oils. Daniell produced a set of 12 aquatints of the Windsor and Virginia water views. Sutton writes of this series:
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was considered to be very high. The atmospheric effects which he was able to convey in the aquatint medium were quite overwhelming. This was particularly true of his portrayal of ships and maritime scenery, as he had demonstrated in many earlier paintings and prints. In
February 1822 after many years
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These twelve prints are the finest aquatints ever made, standing alone at the highest possible peak: aquatint could go no further, and although attempts have been made by others to excel them, none succeeded. The prints were made in
Daniell's usual way, engraved by himself from his own drawings, and
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The original intention was to make a coastal trip by sea, but it became clear early on in the venture that this was not practicable, and most of the journey around the coast had to be made by road. The journey was completed in six separate trips, over the period 1813 to 1823. In the summer of 1813,
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The execution of these drawings is indeed masterly; there is every reason to confide in the fidelity of the representations; and the effect produced by this rich and splendid display of oriental scenery is truly striking. In looking at it, one may almost feel the warmth of an Indian sky, the water
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was in progress, the
Daniells suspected that a market existed among the British for oil paintings and drawings of the areas in which the conflict was taking place. They duly visited various hill-forts on their way south, as well as the huge and richly carved temples at Madurai, Mamallapuram and
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not only advised
Daniell on the places to visit in Scotland, but also provided him with material for inclusion in the accompanying text. Friends in Edinburgh were able to give Daniell letters of introduction to people who might be willing to provide hospitality to him on his journey. This was
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was published by
Longman in eight volumes over the period 1814 to 1825. The complete set of eight volumes was priced at £60. The final number of prints included was 308. Garvey's book follows Daniell around part of the voyage, the Hebridean islands of Eigg, Rum, Skye and Raasay, locating the
239:, calling upon William's hard-earned skills in this delicate medium. Farington records in his diary that William Daniell had informed him that after his return to England he spent the next seven years working from six in the morning until midnight perfecting his aquatinting techniques.
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295:(1757). It provided an entirely new vision of the Indian subcontinent that was to influence both decorative arts and British architectural design. Above all, it formed a popular vision in Britain of a romantic and picturesque India that to some extent persists.
444:, Daniell was busy on other projects, which included paintings for the Academy Exhibitions. Many of the works exhibited were oil paintings of Scottish scenes. The artistic quality of the paintings and aquatints produced and published by Daniell for
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Daniell worked right up to his death, on 16 August 1837 at
Brecknock Terrace, Camden Town (now 135 St Pancras Way). The house is marked by a commemorative plaque. He submitted five pictures to the Royal Academy Summer Exhibition in that year.
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359:. It is likely that he took the Mail Coach, a journey of 4 to 5 days. On his way north, he stopped at Edinburgh and took advice from many people there on the places to visit on the coast up and around the north of Scotland. The novelist
92:(1749–1840) after his father's premature death in 1779. In 1784 William accompanied his uncle to India, who worked there on a series of prints, acting as his assistant in preparing drawings and sketches. William's brother
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painter, and printmaker, notable for his work in aquatint. He travelled extensively in India in the company of his uncle Thomas
Daniell, with whom he collaborated on one of the finest illustrated works of the period –
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Farington, Joseph. The Diary of Joseph
Farington / edited by Kenneth Garlick and Angus Macintyre (London 1978–1998, New Haven : published for the Paul Merton Centre for Studies in British Art by Yale University
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Daniell's last great artistic work was produced between 1827 and 1830. Over this time he became interested in the scenery around
Windsor. In 1827, 1828 and 1830, he exhibited a total of five oil paintings of
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Further different versions of Indian scenes were published, and details can be found in Sutton's book, together with a detailed inventory of all the artistic output of Thomas, Samuel and William Daniell.
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Farington, Joseph. The Diary of Joseph Farington : index by Evelyn Newby (New Haven, Connecticut 1998, published for the Paul Mellon Centre for Studies in British Art by Yale University Press)
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537:, was the discovery, in 1962, of 306 of the original 308 Daniell copper plates, the location of which had not been known for more than 100 years. They are now the property of the
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is in the Museum of the Queen's Royal Surrey's, having been rediscovered after having disappeared for over a hundred years. It is an illustration of the dramatic loss of the
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Thomas and William Daniell were back in Calcutta at the end of 1791. They held a lottery of their completed work, using the proceeds to fund a tour to the South. Since the
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In September 1794 the Daniells returned to England. Over the period 1784 to 1794 William had kept a detailed diary of their travels. This is now in the
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of endeavour, Daniell was finally elected an R.A. In the final ballot the voting was between John Constable and Daniell, the result being 11 to 17.
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remained independent of his uncle and also became a topographical artist; he went to South Africa in 1801 and after his return to England published
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that have survived – they are a monument to his industry and his unsurpassed skill in handling the remarkable delicacy of the aquatint process.
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224:. After 1794 he no longer kept a diary and so we have no information in his own hand about the rest of his life. The Royal Academician,
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802:"Sketches Representing the Native Tribes, Animals, and Scenery of Southern Africa: From Drawings Made by the Late Mr. Samuel Daniell"
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Farington, Joseph. The Farington Diary / by Joseph Farington, RA ; edited by James Greig (London 1922–1928, Hutchinson)
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Daniell was sixteen when he accompanied his uncle to India. On 17 July 1786, a few months after their arrival in
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88:. Daniell's future was dramatically changed when he was sent to live with his uncle, the landscape artist
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He later travelled around the coastline of Britain to paint watercolours for the equally ambitious book
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they held another lottery of their work and set off on a tour to western India. On their arrival in
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seems to be in actual motion, and the animals, trees and plants are studies for the naturalist.
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and a skilled amateur artist. They continued on to Kanpur and then travelled overland to
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Books about William Daniell's journeys around Skye, Raasay and the Moray Coast in 1815
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In 1813 Daniell decided to undertake what was to be his greatest artistic work,
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important, as there were few hostelries, and their quality generally not high.
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took its place among such revered works as James Stuart and Nicholas Revett's
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Over the period 1813 to 1825, in parallel with preparing the prints for the
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A man overboard. Drawing by Thomas Daniell & William Daniell (1810)
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255:(1954), quotes a glowing tribute to the work of the Daniells from the
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During July and August 1815, Daniell journeyed around the islands of
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Daniell is represented in the following collections, among others:
144:(1785–8). In August 1789, Thomas and William set off up-river past
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In 1794, William and his uncle set up house at 37 Howland Street,
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308:, published over ten years from 1804. Many are now held by the
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Daniell's years after 1804 included making 72 etchings after
100:(1804–5), a collection of aquatints. From 1806 he lived in
348:. The following year in August they went from Holyhead to
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View on the Chitpore Road, Calcutta (now Rabindra Sarani,
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In 1815, Daniell set out in May and travelled north to
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A Bird's-Eye View of the East India Dock at Blackwell
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In August 1821 Daniell once again journeyed north to
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Among his publications, engraved in aquatint, were:
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William produced a number of marine paintings. One,
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English landscape and marine painter, and printmaker
1052:William Daniell's Inverness & The Moray Firth
908:William Daniell's Inverness & the Moray Firth
132:, Thomas Daniell placed an advertisement in the
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437:viewpoints included in his aquatint prints.
19:For other people named William Daniell, see
1115:(Lachlan & Elizabeth Macquarie Archive)
1036:William Daniell's Isle of Skye & Raasay
887:William Daniell's Isle of Skye & Raasay
762:Interesting Selections from Animated Nature
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72:and he became a Royal Academician in 1822.
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196:(1747–95), then busy drawing the area's
1085:28 artworks by or after William Daniell
959:Oxford Dictionary of National Biography
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624:National Museums and Galleries of Wales
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281:Voyage dans la basse et la haute Egypte
709:Slanes Castle, Aberdeenshire (c. 1822)
318:, but these have not been identified.
32:Fragment of a portrait of Daniell by
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1119:Europeana: Images by William Daniell
941:The Daniells: Artists and Travellers
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666:Jama Masjid (1789). Wash drawing by
253:The Daniells: Artists and Travellers
831:For details of the publication see
312:. Daniell contributed drawings for
247:The Daniells' great work on India,
620:Fine Arts Museums of San Francisco
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1199:18th-century English male artists
1194:19th-century English male artists
911:Garvey, John, Matador, UK, 2014.
890:Garvey, John, Matador, UK, 2009.
1189:Burials at Kensal Green Cemetery
1184:People from Kingston upon Thames
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156:(1760–1819), an employee of the
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1021:(Dumfries and Galloway Council)
962:, Oxford University Press, 2004
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430:were published on 20 May 1825.
371:Castle Broichin on the Isle of
748:Long Walk, Windsor Park (1827)
64:His work was exhibited at the
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1139:18th-century English painters
1006:A Voyage around Great Britain
996:(London: Tate Gallery, 1978).
986:A Voyage around Great Britain
684:Canton factories (c. 1805–10)
62:A Voyage Round Great Britain.
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1019:A voyage round Great Britain
973:A Voyage Round Great Britain
587:A Voyage Round Great Britain
535:A Voyage Round Great Britain
446:A Voyage Round Great Britain
434:A Voyage Round Great Britain
428:A Voyage Round Great Britain
330:A Voyage Round Great Britain
323:A Voyage Round Great Britain
140:'s collection of aquatints,
80:William Daniell was born in
616:Yale Center for British Art
336:Daniell and his companion,
98:African Scenery and Animals
47:(1769–1837) was an English
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954:Dance, George, the younger
628:Indianapolis Museum of Art
612:Courtauld Institute of Art
543:Voyage Round Great Britain
480:His shipping scenes, such
124:and William Daniell (1812)
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724:from Brocas Meadow (1827)
600:National Portrait Gallery
466:The Burning of the "Kent"
310:National Portrait Gallery
305:A Collection of Portraits
184:Rameswaram. Once back in
152:, where they stayed with
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736:Windsor from Eton (1827)
644:National Museum of India
608:National Maritime Museum
486:National Maritime Museum
1154:English watercolourists
192:in March 1793 they met
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1106:8 October 2012 at the
1095:William Daniell online
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279:(1762), Baron Denon's
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1080:at Wikimedia Commons
1055:(Matador, UK, 2014).
1039:(Matador, UK, 2009).
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277:Antiquities of Athens
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166:Srinagar, Uttarakhand
142:Select Views in India
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975:Longman. London 1818
636:Dallas Museum of Art
632:Falmouth Art Gallery
504:mode of taming wild
212:among other places.
82:Kingston upon Thames
834:"Views in Calcutta"
670:and William Daniell
494:British Institution
492:, exhibited at the
490:Battle of Trafalgar
456:The Burning of the
70:British Institution
1169:Royal Academicians
1008:(Editions Alecto).
971:Daniell, William.
930:(indoislamica.com)
791:. Sphinx Fine Arts
760:Illustration from
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134:Calcutta Chronicle
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1045:978-1-84876-107-0
896:978-1-84876-107-0
315:Rees's Cyclopædia
243:Financial success
216:Return to England
58:Oriental Scenery.
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1179:1837 deaths
1174:1769 births
626:, Cardiff;
594:Collections
291:(1753) and
285:Robert Wood
283:(1802) and
194:James Wales
146:Murshidabad
1133:Categories
840:27 October
770:References
614:, London;
610:, London;
606:, London;
602:, London;
416:St Andrews
342:Land's End
76:Early life
1113:Biography
1101:Biography
782:Biography
638:, Texas;
578:Views of
563:Zoography
506:elephants
460:(c. 1825)
259:magazine:
202:Elephanta
174:Himalayas
150:Bhagalpur
49:landscape
1104:Archived
994:Volume 2
990:Volume 1
785:Archived
420:Southend
346:Holyhead
237:aquatint
130:Calcutta
86:Chertsey
68:and the
664:Sambhal
650:Gallery
424:Torquay
357:Wigtown
210:Kanheri
172:in the
170:Garhwal
118:Kolkata
1089:Art UK
1059:
1043:
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855:Press)
814:6 July
810:. 1820
764:, 1809
630:, US;
580:Bootan
498:Madras
442:Voyage
409:Dundee
397:Harris
393:Raasay
391:, and
375:(1819)
373:Raasay
190:Bombay
186:Madras
120:), by
102:Ceylon
53:marine
502:Hindu
401:Lewis
206:Karli
162:Delhi
108:India
1091:site
1057:ISBN
1041:ISBN
913:ISBN
892:ISBN
842:2016
816:2013
539:Tate
474:Kent
458:Kent
399:and
389:Skye
381:Eigg
208:and
168:and
51:and
385:Rum
344:to
287:'s
148:to
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