The visual history of 19th-century Ceylon will come to life through a special exhibition bringing together rare oil paintings, watercolours, aquatint lithographs and historical views of the island. Organised by the George Keyt Foundation and the British High Commission, Colombo, 19th Century Views of Ceylon will be held on 31 July and 1 August at Westminster House in Colombo.
The exhibition explores how British artists documented and interpreted Ceylon throughout the 19th century, tracing a journey from early topographical studies and detailed natural-history illustrations to more atmospheric and personal interpretations of the island.
More than a collection of landscapes, the exhibition offers a visual record of how Ceylon was observed, studied and represented during a period of significant political and social change.
Among the earliest artists featured is Henry Salt (1780–1827), one of the first professionally trained British artists to produce drawings of Ceylon based on direct observation. In 1809, he published a plate depicting Point de Galle, offering a comparatively precise representation of the island.
Samuel Daniell (1775–1811), a member of the renowned Daniell family of topographical artists, also played an important role in documenting Ceylon. His position as Ranger of the Woods and Forests provided him with unusual access to the island’s interior. His 12 plates, published in 1808, are regarded as significant examples of Regency-era natural-history illustration, capturing Ceylon’s flora and landscape in considerable detail.
As British colonial influence expanded inland, artists increasingly documented areas that were becoming accessible to European travellers and administrators. Lieutenant William Thomas Lyttleton (c.1786–1839) produced drawings that were later published as aquatints and are among the earliest British representations of Kandy and its surroundings. Among these is a depiction of the now-lost Tombs of the Kandyan Kings, providing a valuable visual record of a landscape undergoing transformation.
The western coastal regions were documented by Captain John Deschamps (fl. 1828–1845), whose 1845 work Scenery and Reminiscences of Ceylon features scenes from Colombo, Galle Face, Slave Island and Bentota. His works are rooted in observations of everyday life and personal experience.
Captain Charles O’Brien (d. 1866), who served as Assistant Surveyor General, created a series of views accompanying Sir J.E. Tennent’s influential book on Ceylon. Published in 1864, these works depict the island’s hill country, coffee plantations and more remote regions.
The exhibition also highlights artists who never actually visited Ceylon. James Stephanoff (c.1787–1874), for example, did not travel to the island, yet his aquatint The Supreme Court of Judicature in the Island of Ceylon (c.1820) became a notable representation of colonial governance.
Marine painter James Miller Huggins (1807–1870) similarly created his 1854 work View in Ceylon with Soldiers and Natives on a Road without having visited the island. Its period terminology also offers insight into the language and social attitudes of the era.
Thomas Fraser (1776–1823), trained as an engineer, approached Ceylon through its physical geography and landscape. His 1817 aquatint Method of Catching Wild Elephants by the Kraal combines detailed observation with dramatic composition.
By the middle and latter part of the 19th century, representations of Ceylon began to evolve. Andrew Nicholl (1804–1886) introduced a broader and more decorative approach to depicting the island. He arrived in Ceylon in 1846 as the first painting instructor at the Colombo Academy and travelled extensively, producing more than 80 engravings. His work subsequently attracted attention in Britain, including among royal patrons.
The exhibition’s only female artist is Constance Frederica Gordon-Cumming (1837–1924), a prolific, largely self-taught artist who arrived in Ceylon in 1873. Known for maintaining a disciplined daily sketching routine, she produced vivid and highly detailed works, often using bodycolour. Her later publication, Two Happy Years in Ceylon (1892), combined travel writing with personal reflections, offering both an enthusiastic appreciation of the island and observations shaped by the realities of empire.
Perhaps the most widely recognised artist featured is Edward Lear (1812–1888). Best known for his literary nonsense and popularisation of the limerick, Lear was also an accomplished landscape artist. During a brief visit to Ceylon in 1874, he produced more than 70 drawings and watercolours, many of which remain among the best-known artistic representations of the island from the period.
Representing the closing years of the century, Thomas Hampson Jones (1854–1916) painted The Rock Temple near Bandarawella during his travels through the East in the 1890s. The watercolour depicts the Dhowa Rock Temple beneath a dramatic cliff, capturing both the atmosphere of the location and the continued European fascination with Ceylon’s sacred and remote landscapes.
Together, the works of these artists provide an extensive visual record of 19th-century Ceylon, documenting its landscapes, architecture, plants, animals and people. At the same time, they reveal the perspectives, assumptions and priorities that influenced how the island was represented during the colonial period.
19th Century Views of Ceylon therefore encourages audiences to engage with these works not only as beautiful historical images, but also as documents shaped by the social structures, political power and attitudes of their time. The exhibition offers an opportunity to appreciate the artistic and historical value of the works while considering the complex legacy behind their creation.
For visitors wishing to explore the subject further, the George Keyt Foundation has also released a limited-edition companion publication, 19th Century Views of Ceylon by British Artists. The 200-page book features nearly 100 illustrations celebrating the island’s visual heritage.
The publication is available at a special price of Rs. 6,000 for orders placed by midnight on 1 August, after which the price will be Rs. 7,500. Islandwide delivery is available for an additional Rs. 500.
To order a copy of 19th Century Views of Ceylon by British Artists and receive the special rate, interested readers can call or message 0772112792.
Blue Lanka Tours Recognised for Outstanding Community Impact at Sri Lankan Sustainability Awards 2026
Blue Lanka Tours has been honoured with the Sustainable Community Impact Initiative Award at the Sri Lankan Sustainability Awards 2026, recognising the company’s continued efforts to improve the lives of communities across the country through education, healthcare, disaster relief and community development.
The national accolade was presented at the Sri Lankan Sustainability Awards 2026, organised by the Ceylon Institute of Builders (CIOB) in association with the 14th World Construction Symposium. The awards recognise organisations and individuals demonstrating excellence in sustainability, innovation and leadership while making meaningful contributions to Sri Lanka’s social, environmental and economic development.
For Blue Lanka Tours, the recognition reflects years of community-focused initiatives carried out across the country. While introducing thousands of travellers to Sri Lanka each year, the company has remained committed to ensuring that tourism creates meaningful opportunities and benefits for the communities that contribute to the island’s unique identity.
One of the company’s flagship initiatives is Blooming Smiles, which supports children in rural schools by providing essential educational supplies and creating improved learning opportunities. The programme has reached schools in Galle, Monaragala, Anuradhapura, Nuwara Eliya and Matara, supporting students, teachers and communities in areas where assistance is most needed.
Blue Lanka Tours also continues to support the Little Hearts Project, contributing US$10 from every tour booking towards life-saving treatment for children with congenital heart disease. As of June 2026, the company had contributed more than Rs. 1.29 million to the initiative, helping families access vital medical care.
Its community engagement extends beyond education and healthcare. The company has donated rescue boats to support flood relief efforts and launched the Api Yamu Pansal programme to assist rural temples and surrounding communities, while supporting a range of other initiatives aimed at improving community wellbeing across Sri Lanka.
Commenting on the achievement, Dinesh N. Perera, Founder and Managing Director of Blue Lanka Tours, said: “We’re honoured to receive this award. Giving back has always been part of who we are as a company. Whether it’s supporting children’s education, helping families through healthcare initiatives or standing with communities during difficult times, we believe businesses have a responsibility to make a positive contribution. This recognition belongs to our team, our partners and our travellers, whose continued support makes these initiatives possible.”
Over the years, Blue Lanka Tours has earned international recognition for its commitment to responsible tourism and delivering memorable travel experiences. Alongside its tourism operations, the company has continued to invest in initiatives focused on education, healthcare and community development, reflecting its belief that tourism should create value not only for visitors but also for the communities they encounter.
The Sustainable Community Impact Initiative Award recognises Blue Lanka Tours’ sustained contribution to communities across Sri Lanka and reinforces the company’s commitment to expanding its social impact initiatives in the years ahead.
British Artists’ 19th-Century Depictions Offer Glimpse into Colonial Ceylon
