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Vadodara is one of four cities in the State with a population of over 1 million. It is also known as the Sayaji Nagari (Sayaji’s City after its famous Maratha ruler, Maharaja Sayajirao Gaekwad III) or Sanskari Nagari (The city of culture, a reference to its status as the cultural capital of Gujarat). Vadodara, formerly known as Baroda, is the third-largest and most populated city in the Indian state of Gujarat, after Ahmedabad and Surat. Baroda is enriched with its glorious history. The beautiful city is situated on the banks of the river Vishwamitri (the name being derived from the great saint Rishi Vishwamitra) and is home to some very interesting facts in the history. It is believed that early man lived on the banks of the Mahi River which formed the flood plains in that region. There are evidence of the existence of early man and the existence of early settlements in the Mahi river valley at several sites within 10 to 20 km to the north-east of Vadodara. During the days of the British Raj, Baroda state was a Maratha Princely state ruled by the royal Gaekwad dynasty, entitled to 21 Gun Salute’s, and was one of the largest and richest Indian Princely states. Historical and archaeological findings date this place back to the 9th century when it was a small town called Ankottaka (present akota) located on the river Vishwamitri. Baroda has interesting stories of coins, stamps and mints. It had its own coins in the name of Gaekwads kings. The history shows that the Baroda mints had a variety of coins and stamps, the majority of which are covered in the book. The author has tried to cover various images of coins and historical places of Baroda along with its history.
Maharaja sayajirao gaekwad III of Baroda state Tower over all the other rulers of princely states in British India. The book not only documents how a Maratha farmer's son became a Maharaja by a twist of fate, but also reveals interesting details about how the 'favourite son' Of the British Empire found himself on the brink of being deposed by the British.
This is the story of Sayajirao III of Baroda, a regal personality with a complex human nature, as told by his great-grandson with invlovement, sympathy and affection, but without camouflage or evasion.
“A dynamic group biography studded with design history and high-society dash . . . [This] elegantly wrought narrative bears the Cartier hallmark.”—The Economist The “astounding” (André Leon Talley) story of the family behind the Cartier empire and the three brothers who turned their grandfather’s humble Parisian jewelry store into a global luxury icon—as told by a great-granddaughter with exclusive access to long-lost family archives “Ms. Cartier Brickell has done her grandfather proud.”—The Wall Street Journal The Cartiers is the revealing tale of a jewelry dynasty—four generations, from revolutionary France to the 1970s. At its heart are the three Cartier brothers whose motto was “Never copy, only create” and who made their family firm internationally famous in the early days of the twentieth century, thanks to their unique and complementary talents: Louis, the visionary designer who created the first men’s wristwatch to help an aviator friend tell the time without taking his hands off the controls of his flying machine; Pierre, the master dealmaker who bought the New York headquarters on Fifth Avenue for a double-stranded natural pearl necklace; and Jacques, the globe-trotting gemstone expert whose travels to India gave Cartier access to the world’s best rubies, emeralds, and sapphires, inspiring the celebrated Tutti Frutti jewelry. Francesca Cartier Brickell, whose great-grandfather was the youngest of the brothers, has traveled the world researching her family’s history, tracking down those connected with her ancestors and discovering long-lost pieces of the puzzle along the way. Now she reveals never-before-told dramas, romances, intrigues, betrayals, and more. The Cartiers also offers a behind-the-scenes look at the firm’s most iconic jewelry—the notoriously cursed Hope Diamond, the Romanov emeralds, the classic panther pieces—and the long line of stars from the worlds of fashion, film, and royalty who wore them, from Indian maharajas and Russian grand duchesses to Wallis Simpson, Coco Chanel, and Elizabeth Taylor. Published in the two-hundredth anniversary year of the birth of the dynasty’s founder, Louis-François Cartier, this book is a magnificent, definitive, epic social history shown through the deeply personal lens of one legendary family.
Although the princes of India have been caricatured as oriental despots and British stooges, Barbara Ramusack's study argues that the British did not create the princes. On the contrary, many were consummate politicians who exercised considerable degrees of autonomy until the disintegration of the princely states after independence. Ramusack's synthesis has a broad temporal span, tracing the evolution of the Indian kings from their pre-colonial origins to their roles as clients in the British colonial system. The book breaks ground in its integration of political and economic developments in the major princely states with the shifting relationships between the princes and the British. It represents a major contribution, both to British imperial history in its analysis of the theory and practice of indirect rule, and to modern South Asian history, as a portrait of the princes as politicians and patrons of the arts.
On April 29, 1848, in a small estate in Travancore, was born a boy destined to become more famous than the ruler of his kingdom. His uncle, noticing his precocious talent at art, took the teenager to the royal court at the invitation of the king to learn painting there. Ravi Varma’s debut was to come seven years later when a Danish painter arrived in court to paint the Maharaja and his wife. The twenty-year-old boldly upstaged the experienced artist, presenting the king with a more flattering painting of the royal couple at the same time as the official portrait was unveiled. Jensen, the painter, never forgave Ravi Varma, but for the young man there was no looking back. His reputation grew with each painting. For the first time, an Indian artist was using the realism and sensuality of the European oil painters and applying them to not just ordinary Indians, but to the deities as well. The artist-prince became India’s first celebrity painter. The lines to see his exhibition of mythological paintings in Bombay in 1890—the first public showing by any Indian artist—were endless; the prices he commanded were astronomical; then, when he started his own printing press, producing oleographs of his work, Raja Ravi Varma became a household name. Soon, every home had a Ravi Varma print. For the first time, comes a beautifully told, gripping account of Ravi Varma: the man who was the darling of the royal courts, but who hardly gave his own wife and children any time; the nobleman who took the revolutionary step of being an artist, yet who insisted on using the false title of raja; and the idealistic entrepreneur who bankrupted himself running a printing press, yet whose dream of bringing art to the masses became a reality. Blending fact with imagination, writing with wit and lyricism, Deepanjana Pal takes you into the life of an extraordinary man and brings him vividly alive.
RASHEED KIDWAI is a journalist, author, columnist and political analyst. He is Visiting Fellow with the Observer Research Foundation, Delhi. Formerly Associate Editor at The Telegraph, Kidwai is a keen observer of government, politics, community affairs and Hindi cinema.
A gripping royal saga of charmed lives in a changing world. The Jaipurs were India's mid-century golden couple; its answer to the Kennedys, or Queen Elizabeth and Prince Philip. Jai and Ayesha, as they were known to friends like Frank Sinatra, Truman Capote and 'Dickie' Mountbatten, entertained lavishly at their magnificent palaces and hunting lodges in Rajasthan--and in the nightclubs of London, Paris and New York. But as the Raj gave way to the new India, Jaipur--the most glamorous and romantic of the princely states--had to find its place. The House of Jaipur charts a dynasty's determination to remain relevant in a democracy set on crushing its privileges. Against the odds, they secured their place at the height of Indian society; but Ayesha would pay for her criticism of Indira Gandhi during the Emergency. From the polo field and politics to imprisonment and personal tragedy, the Jaipurs' extraordinary journey of transformation mirrors the story of a rapidly changing country.
'Beyond the Horizon' is a journey of a dreamer who goes through childhood and adolescence walking the primrose path of fantasy. Married at twenty, she is pushed from this path to tread one submerged in prejudice, deceit and subterfuge while trying to find her feet in the ethos of Brahmanical culture to which she finds herself an alien. From a childhood governed by algebraic equations and riders, to murders and arsenic, the protagonist finds her hands full.