This artwork refers to the large-scale removal of wealth from Indian treasuries by British colonial forces during the eighteenth and nineteenth centuries. The scene reflects a well documented pattern in which state treasuries, private wealth and cultural artefacts were seized following military conquest or annexation. Although not tied to a single specific location, the history behind this subject is recorded in British parliamentary papers, East India Company correspondence, military accounts and Indian state archives.
One of the most significant episodes occurred after the fall of Delhi in 1857, when British officers and soldiers looted the Mughal imperial treasury, the Red Fort palaces and private homes across the city. Contemporary British reports describe the confiscation of jewels, gold, manuscripts, weapons, ceremonial objects and court regalia. The Mughal crown jewels, including the Daria-i-Noor diamond, were removed or dispersed. Much of this material entered private collections, auction houses or state possession in Britain. The looting of Delhi has been studied extensively as an example of the economic and cultural losses incurred during the suppression of the 1857 uprising.
Similar events took place in Punjab after the Anglo Sikh Wars. Following the annexation of the Sikh Empire in 1849, the treasury at Lahore Fort was seized. Inventories prepared by British officials list extensive quantities of gold and silver coin, jewellery, armour, sacred artefacts and regalia associated with Maharaja Ranjit Singh and his successors. The most famous item taken from the Lahore treasury was the Koh-i-Noor diamond, transported to Britain and later incorporated into the Crown Jewels. Other objects were sent to the East India Company Museum, auctioned or dispersed into private hands.
These actions were part of a broader pattern. Throughout Company and Crown rule, valuables were taken from defeated states as indemnities, “war prizes” or administrative seizures. Such removals affected not only material wealth but also cultural heritage, as royal heirlooms, religious objects and historically significant artefacts left the subcontinent. The long term effects included economic depletion of regional powers, loss of cultural continuity and the transfer of significant Indian artefacts to institutions abroad.
The subject of a looted treasury is therefore tied to a well established historical record of extraction that accompanied the expansion of British control in South Asia. It reflects the intersection of military conquest, economic policy and cultural displacement during the colonial period, and remains central to ongoing discussions about restitution, historical accountability and the legacy of empire.
Every artwork in this collection is available in four thoughtfully selected display formats, designed to complement a wide range of interiors while maintaining a consistent standard of quality and finish.
Our framed canvas prints offer a subtle, tactile texture that adds depth and presence to each piece, professionally stretched over FSC certified wooden bars for a clean, gallery-ready presentation. For a lighter and more flexible option, our museum-quality paper posters can be paired with magnetic wooden hangers crafted from smooth pine, allowing the artwork to be displayed or changed with ease while remaining securely held.
For a more traditional presentation, our premium wooden frames are made from responsibly sourced oak or ash, chosen for their natural grain and durability, and finished with shatterproof plexiglass for long-term protection. Those seeking a contemporary look can opt for our aluminium frames, combining slim black metal with heavyweight matte paper for a crisp, understated finish.
All prints are produced using high-quality, archival-grade inks on FSC certified papers. Each piece is made individually to order, helping minimise unnecessary waste while ensuring careful attention to quality and consistency. Your artwork arrives ready to hang or assemble, crafted to be enjoyed for years to come.
