This thesis investigates the life and work of the English painter Charles Sims RA (1873-1928). It takes the form of a monograph and examines key themes of Sims' career within a chronological framework. The study makes consistent reference to the Sims Archive — the artist's studio contents recently brought to light by the author in negotiation with the artist's family and currently in the possession of Northumbria University. For the first time Sims' working practices and motivations have been explored in detail, thus contributing to knowledge of this particular neglected painter and more generally allowing some additional insight into the problems besetting and opportunities afforded to British artists of his generation. Sims' career spanned a transitional period in British art history which is currently being reassessed by art historians: the debates surrounding the effects of European modernism on British art, the inevitable impact of the Great War and the search during the 1920s for a visual language appropriate to modern life. Sims negotiated disparate experiences and preoccupations in an interesting way, and produced a stylistically diverse body of work in his continued search, I argue, for an alternative to modern reality. He attempted the combination of ancient religions, past art and modern experience into pictorial idylls that were simultaneously familiar and unattainable. The thesis aims to explore Sims' inspiration and reassesses his career within the context of his better known contemporaries by cross-referencing information held in national and international collections, libraries and archives with the hitherto unseen material here.

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Samuel Bourne (1834-1912), one of the most prestigious Victorian English commercial photographers to have worked in British India, is best known for his photographs of the Himalayas. Bourne's work features in general studies of photography of the period; his representations of the Indian landscape have been the object of studies and several exhibitions. Bourne was in India initially from 1863 to 1870 thereby establishing his career as a professional photographer. Soon after his arrival he started a business with the experienced photographer Charles Shepherd. Within a few years, the firm of Bourne & Shepherd became recognised as being a directing influence over British-Indian photography. The photographs were taken either in studio or on location, and included individual and group portraits of both the British and Indians, topographical images in which peoples were incidental, as well as a range of representations of Indian life, customs and types. These images were informed by, and in turn contributed to, an expanding body of photographic practice that mixed, to varying degrees, authenticity and aesthetic style. Whilst Bourne's work was significant and influential in the representation of Indian peoples, no substantial study has been undertaken until now. The aim of this thesis is to redress this imbalance. The central focus highlights the specific character of the images portraying Indian people. This specificity was determined by a combination of technical and 'authorial' factors, by the audience to which they were addressed — ranging from the general public in Britain to the family circle of wealthy Indians — by commercial considerations, and by current and evolving notions of authority, race and gender. The first two chapters seek to frame Bourne's work by first examining the political and cultural context of photography in India during the mid-nineteenth century, then by focusing on the context of the photographer's own production. The following three chapters are concerned with the study of the photographs themselves regarding what they depict and the questions they raise such as gender, racial identities and imperialism. The last chapter is an attempt to assess the significance of these photographs by comparing them with the work of Lala Deen Dayal, and highlighting different perspectives on Bourne's work regarding British India and Western societies. Placed in the context of the development of photography as a medium of record and representation, this thesis aims to show that Bourne's work is a significant historical source for understanding British cultural presence in post-Mutiny India.