A Remarkably Granular Snapshot of the World of an Expatriate Family in Madras between 1801 and 1808
Comparisons of Symonds’ Fish
While Elizabeth Gwillim’s bird paintings have typically been more lauded than the fish paintings, Mary Symonds’ fish are by no means poorly executed. While some of the watercolours lack detail compared to Elizabeth’s birds, or show that the artist took some artistic license when completing the images, they are certainly not inaccurate. Indeed, when comparing these images to contemporary drawings of the same species, we can see that the artist carefully observed her specimens. We know that Mary painted “above thirty sorts” of fish. However, it is possible some of the remaining fish paintings in this collection were done by Elizabeth.
The fish in the Gwillim Collection are portrayed in the “representational style,” meaning they are depicted laterally with no or a minimal background. This was a popular style used to depict fish, and can be seen when comparing Mary’s works with contemporary naturalists.
A comparison of the Takifugu oblongus:
A comparison of the Lutjanusjohnii:
Another comparison of the Lutjanusjohnii:
Mary’s paintings can also help provide the historical context of Kovalam’s waters. For instance, the Glaucostegus obtusus is now considered critically endangered. See a comparison of Mary’s Glaucostegus obtusus, which depicts a juvenile specimen:
A comparison of the Chaetodon decussatus:
A comparison of the Epinephelus lanceolatus:
Another comparison of the Epinephelus lanceolatus:
A comparison of the Thalassoma lunare:
A comparison of the Hyporhamphus dussumieri:
Another comparison of the Hyporhamphus dussumieri:
A comparison of the Terapon jarbua:
A comparison of the Notopterus notopterus:
Comparing Mary’s Myripristis murdjan to Albert Günther’s, we can see that Mary depicted an accurate count of the dorsal spines:
For more information: Hana Nikčević and Shyamal Lakshminarayanan, “‘Curious for fish’: Mary Symonds’s Fish Watercolours,” Women, Environment and Networks of Empire, Anna Winterbottom, Victoria Dickenson, Lauren Williams and Ben Cartwright, eds., (Montreal: McGill-Queen’s University Press, forthcoming).