Islamic & Indian Paintings: The Dexter Collection Part 11 16 July, 12pm
Islamic & Indian Paintings: The Dexter Collection Part II Friday 16 July, 12pm View the full sale online: www.chiswickauctions.co.uk/auction-calendar/
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Photography Jordan Salzman
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Graphic Design Sushmita Paija Front Cover Lot 101 Front Inside Cover Lot 7 Quote Page Lot 27 Meet the Specialists Lots 28, 31, part of Lot 60 Back Inside Cover Lot 350 Back Cover Lot 31
What is Art? It is the response of man’s creative soul to the call of the real. Rabindranath Tagore
The Dexter Collection Part II This summer, the Islamic and Indian Art Department is thrilled to present the long-awaited auction Islamic & Indian Paintings: The Dexter Collection Part II, which will take place on Friday 16 July at 12pm. Earlier this year, we offered a selection of twenty paintings from the collection of Anthony Dexter, an English private collector of Oriental arts, dealer and interior decorator. Following the success of the Spring Edition, we are now delighted to offer the remaining paintings and works on paper from his collection in a Single Owner sale featuring 126 lots. The auction aims to showcase the mesmerising variety of the pictorial arts of India across a variety of regions, centuries, and medias. This vanity catalogue seeks to guide you through some of the highlights and the Department’s favourite lots, on a journey of discovery and divertissement through mythological tales, epic adventures, royal portraits, courtly scenes and amorous encounters. Anthony Dexter says of his collection, “I simply bought what I fancied and remained just a one-man-band with a liking for the unusual”. This passion for the unconventional, whimsical, and unusual ignited his collection and career since the start, when at the age of 18 he began running an antiques and second-hand shop in Leicester, England. Shortly after, he bought his very first Ushak carpet from a Polish dealer for the princely sum of £25.00. For the last 30 years, to say it in his own words, “this world of [Islamic and Indian] art has been an entire lifetime’s trip”. It is with great pleasure that we offer his collection to the next generation of ‘art custodians’, as Dexter likes to define them: may you all find some joy, erudition, respite and amusement in the works of art now on offer.
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Lot 73 A CHASTISEMENT SCENE AT A RULER’S COURT Possibly Guler artist in Kangra, Pahari Hills, Northern India, ca. 1820 - 1830 This painting can be considered as a partner scene, or most probably another illustration part of the same series already offered in April in these Rooms, 16 April 2021, lot 369, THE SADHU’S ARRIVAL FOR THE PUJA TO BEGIN. The use of bold primary colours, the characterisation of each subject, the attires and the setting all appear to be very similar. Perhaps, both paintings were once part of a Pahari Hills princely series illustrating the do’s and don’ts of a young prince, similarly to the Medieval Specula Principum or Mirrors for Princes. A genre of advice literature outlining basic principles of conduct for rulers and of the structure and purpose of their secular power, these were incredibly popular in the Islamic World, especially in Persia. Guler and Kangra were two of the most prominent schools of Pahari paintings, and to this day their productions are very sought-after and collected all around the world. Guler was administered by Sikh rulers from 1813 until 1849, when following the Second Anglo-Sikh War it officially became part of the British district of Kangra. It was specifically during this period that accomplished Guler artists were commissioned by wealthy Sikh patrons to paint in a special Sikh style, developed further in Adinangar, Lahore and Amritsar’s later productions. For further reference, please see W. G. Archer, Paintings of the Sikhs, 1966 and W. G. Archer, Indian Paintings from the Punjab Hills, 1973, Vol. 1, pp. 129 - 133.
Lot 19 THE TRIMURTI PATIENCE TEST: MAHARISHI BHRIGU KICKING LORD VISHNU AWAKE Kangra, Pahari Hills, Northern India, first half 19th century The choice of this painting’s subject is rather unconventional. The Maharishi Bhrigu, one of the great sages of the Hindu tradition, is shown attacking Lord Vishnu and kicking him with his foot. This scene refers to a Hindu legend, known as the Patience Test of the Trimurti, in which many great sages gathered on the bank of the river Sarasvati to establish who out of the trinity of gods, Vishnu, Brahma, and Shiva, was the most important and to whom they should offer the Pradhanta (Master) of the Maha Yagya worship. Bhrigu was appointed as the sage that would test the deities. After briefly confronting Brahma and Shiva with dissatisfactory results, Bhrigu tries to engage Vishnu, but he is deeply asleep on the Serpent Shesha. In an outburst of anger and frustration, Bhrigu kicks the God on the chest to wake him up. Upon his awakening, Vishnu greets the sage and start massaging his feet, concerned he had hurt his feet in kicking the God’s chest. Bhrigu, ashamed of his ego and in total awe of the God’s mercy and patience, elects Vishnu as the greatest deity of the Trimurti. Some elements worth noticing here are the presence of the Vaishnava tilaka on the forehead of the sage, already hinting at his devotion for Vishnu and his final decision, and the facial expression of Vishnu. There’s no anger, surprise or disappointment in his face; instead, he may look a bit surprised and defenseless. At a first glance, the beholder may even think that Vishnu must have done something wrong to anger the sage and thus, sympathise with Bhrigu: the subtle double entendre of this painting is what makes it unusual. Although there is no sign of the Serpent Shesha, the presence of the river Sarasvati to the left creates an immediate link with the legend of the Trimurti Patience Test, reminding the beholders not to haste their judgment and to think twice before taking Bhrigu’s side.
Lot 29 AN ILLUSTRATION TO A RAMAYANA SERIES: RAMA, SITA AND LAKSHMANA RETURNING TO AYODHYA Jodhpur, Rajasthan, North-Western India, circa 1820 - 1840
The trio is about to cross the river to finally get home, after 14 years in exile. Around their heads, flaming golden haloes symbolise their divine ature and emphasise their roles as heroes.
Once returned, they are greeted, welcomed and treated by the locals as the rightful rulers of Ayodhya: Rama’s feet are being washed by a courtly attendant; a royal palanquin in the background is awaiting them.
A well-dressed courtier offers Rama and Lakshmana their lotus crowns while they sit underneath a tree. The composition is rich in details and emotions, but it is also wisely laid out, giving the viewer enough time to dwell on each scene and rejoice in Rama’s return.
Lot 31 AN ILLUSTRATION TO A RAMAYANA SERIES: HANUMAN BEFORE THE EVIL KING OF LANKA RAVANA Jaipur, Rajasthan, North-Western India, circa 1920 - 1940, signed by Sri Makwan Lalji This large composition depicts a crucial moment of the fifth chapter (kanda) of Valmiki’s Ramayana, the trial of Hanuman at the court of Ravana. The Sundara Kanda (5), considered by many the heart of Valmiki’s text, provides detailed accounts of Hanuman’s adventures, including his meeting with Sita and Ravana in Lanka. After attempting to liberate Sita, Hanuman brings chaos to Lanka, destroying buildings and killing some of Ravana’s guards. He gets captured and is brought in the presence of Ravana, who condemns him and orders his subjects to set Hanuman’s tail on fire. Eventually, Hanuman manages to escape and with a giant leap leaves Lanka, safely returning to Kishkindhaa. There he reports all that he learnt and saw in Lanka to Rama and King Sugriva, which leads to the famous epic battle between Rama and Ravana’s army. The cultural resonance and bond with scenes like the one depicted here are so long-lasting in the Indian tradition that even in the first half of the 20th century, major painters and workshops would produce large illustrations from the main Hindu epics and texts, like the Ramayana and the Bhagavata Purana, despite the strong postMughal Muslim presence in the Subcontinent.
Lot 37 MAHARAJA TAKHT SINGH OF JODHPUR BEING HANDED A SWORD BY THE GODDESS BAHUCHARA MATA Jodhpur School, Rajasthan, North-Western India, late 19th century In this scene, the multi-armed goddess Bahuchara Mata is handing a gold-hilted tulwar to Takht Singh, ruler of Jodhpur (1843 - 1873). The sword is one of her typical attributes, while others include the golden ewer and drinking cup she holds in her other two hands. In Lot 66, Bahuchara Mata is seen riding her vahana, a large white cockrel with a red head, a symbol of innocence. Bahuchara Mata is the goddess of chastity and fertility and the patroness of the hijra community. Hijras are a sub-community within India’s LGBTQIA+ population. They are usually transgender women and intersex individuals, who tend to dress in mainstreamidentified women’s clothing and makeup; some will even undergo sacrificial emasculation (castration). They also often use women’s names. In the past, in order to identify as hijra, a person first needed to be ritually adopted into the community, however, the criteria for joining are more relaxed today. Indian hijra communities have appeared in many scholarly works, particularly in recent years with the growth of Queer Studies. Similar to LGBTQIA+ individuals from all over the world, they have often been subject to discrimination, violence, and ostracisation in the past. Like with much of Indian identity, religion is a key aspect of hijra identity. Bahuchara Mata was once attacked by a marauder, Bapiya. In retaliation, Bahuchara Mata and her sisters cut off their breasts and cursed Bapiya with impotency. He could only lift the curse by worshipping Bahuchara Mata and wearing women’s clothing.
Lot 18 THREE WATERCOLOURS DEPICTING HINDU DEITIES PROPERTY FROM THE COLLECTION OF EDWARD MOOR (1771 - 1848) Possibly Rajasthan and Mumbai, Maharashtra, Central India, late 18th - early 19th century
These three compositions were purchased by Dexter from Reeman Dansie Auctioneers, 20 June 2017, as lot 902, previously however, they were a part of the collection of Edward Moor (1771 - 1848). Edward Moor was a British soldier for the East India Company during the late 18th century and one of the first great British Indologists, renowned for his first publication, The Hindu Pantheon (1810), an early treatment in the English language of Hinduism as a religion. This publication is an emblem of the Enlightenment concept of education of foreign cultures and religions. It sought to eradicate the Western misconception that Hinduism was a primitive pagan religion and wanted to provide the British audience with a better, more culturally sensitive understanding of Indian traditions, practices and beliefs. Moor’s research and many of the illustrations in his book, some engraved by William Blake, were based on the large collection of small devotional bronzes and Rajput paintings of deities that he collected while based in India. Most of the paintings and artifacts in his collection were bequeathed to the British Museum by Mrs. A. G. Moor in 1940, and are still today part of the Museum’s permanent collection. (https://www.britishmuseum.org/collection term/BIOG12542)
Lot 85 A LARGE SEATED PORTRAIT OF SHRIMANT JAYAJIRAO SCINDIA, MAHARAJA OF GWALIOR (R. 1843-1886) Gwalior, Madhya Pradesh, Central India, circa 1880 - 1920 Jayajirao was a great supporter of the British Raj and a trustworthy advisor of the Queen of England. In 1861, he was appointed Knight Grand Commander of the Order of the Star of India and in 1877, he became Counsellor of the Empress. The size of the painting is indicative not only of his power and wealth but also of the favour he had from the Empress. Often in Gwalior paintings, the golden jewellery presents residues of resin in the settings, suggesting that each piece was once encrusted perhaps with glass beads, insect wings, stones and gold foil, now missing. This would have made the jewellery look real and enhanced the prestige of the painting. Further to that, each bejewelled element is normally raised, providing a tactile 3D effect which once again increases the realism of the painting and conveys a luxurious final touch to the composition. For comparison with another Gwalior painting and further reference, please see Christie’s London,
Lot 59 A RULER PERFORMING YAJNA (FIRE RITUAL) Provincial Mughal, Delhi or Hyderabad school, India, 19th century The influence of the Mughal pictorial tradition is very clear in this painting. The attention to detail, level of symmetry, and volume, dominating the scene, are quintessential features of many Mughal productions, both during the Mughal empire and in the years following its fall. Every character is depicted with his / her own peculiar features, suggesting a degree of naturalism and faithful rendering, almost like a photograph of its time. The headdresses of the two noble ladies in the centre are of particular interest, given their unusual shape. Departing from the typical veils, shawls and turbans often seen in depictions of Indian ladies in the zenana and at court, these headdresses seem to be much more in line with Central Asian female headgears and fashion traditions. Indeed, their design is reminiscent of the shokulo, a traditional bridal headdress originating from Kyrgyzstan and widely in use in other parts of Central Asia, which features a high conical shape and is adorned with furs, feathers, jewels, and small amulets; and the Uzbek tubeteika, a more ornate variant of a female skull-cap. If Central Asian bridal headgears are featured on purpose by the painter, one may suggest that the yajna ceremony depicted in the composition is likely to be a Vedic wedding ceremony performing the traditional Indian Hindu ritual of Vedic yajna around the fire. The roots of this tradition are found in hymn 10.85 of the Rigveda, which is also called the “Rigvedic wedding hymn”.
Lot 119 A COURTLY LADY ATTENDING HER NIGHT BEAUTY RITUAL Delhi school, Mughal India, 18th century The composition and style of this painting exemplify quintessential features of the late Mughal pictorial production of the third and last quarter of the 18th century. Indeed, Lucknow, Faizabad and Delhi paintings of this period seem to share a predilection for night scenes, especially with female subjects often captured in debate, celebrating festivals, banqueting, playing games, praying or getting ready for the night. The nightly hours offered such a visually stimulating chromatic contrast, and the late Mughal painters successfully rendered this antithesis by mixing very bright garments and accessories in the fore and middle ground to sombre, darker architectures and horizons in the background. In terms of pictorial style, a new stronger attention is directed to the rendering of the characters’ psychological tension, which although indebted to earlier Mughal paintings appears in later examples to an even higher degree of finesse and depth. As an example, the lady’s hand tightly clenching the red shawl indicates her coyness, in juxtaposition with her proud upward torso showing off her full bosoms, highlighted by the jewellery she is wearing. Her manners and position are shy and confident at once, underlying both the awareness of her beauty and yet her uncertainty: which earrings should she wear? Is she beautiful enough for her lover? All these emotions and thoughts are masterfully conveyed in this composition, acting as a faithful witness to the late Mughal pictorial tradition. A very similar 18th-century Delhi School painting with a courtly lady and her duenna was successfully sold in these Rooms, 26 October 2018, lot 227. Another strikingly similar composition with a courtly lady being offered a wine cup whilst getting her hands massaged was sold at Christie’s New York, 21 March 2018, lot 336.
Meet the Specialists Beatrice Campi Head of Sale Islamic & Indian Ar t beatrice.campi@chiswickauctions.co.uk
Ghislaine Howard Depar tment Coordinator Islamic & Indian Ar t ghislaine@chiswickauctions.co.uk
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Islamic & Indian Art Friday 16 July at 2pm
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