HEIGHTENED with GOLD
Celebrating 50 Years at Kapoor Galleries
Published by Kapoor Galleries
ISBN: 978-1-7337900-3-1
Text and research by Shruti Trivedi, Shivam Sachdeva, Brian Woody, Uttra Nanavati, Danielle Deluty
Edited by Sanjay Kapoor
Design and layout by Shruti Trivedi
Printed in New York by Color Consulting Inc.
Photography by Marcin Muchalski, Diamond Shot Studio
Exhibition framing by Art & Frame of New York
Art conservation by Darius Oliver
Opening Reception - March 15, 2025
Cover Art: Princess Strolling Across a Palace Terrace at Night
All rights reserved. This book may not be reproduced in whole or in any part, in any form or by any means, electronic or mechanical, without the written permission of Kapoor Assets, Inc.
FOREWORD
With great pleasure and pride, I present Kapoor Galleries’ latest catalog, Heightened with Gold, for 2025 which marks 50 years of Kapoor Galleries. This milestone is not only a testament to the gallery’s enduring legacy, but also to our family’s commitment to excellence over four generations. I would like to take a pause and honor my grandparents, Ramesh and Urmil Kapoor, whose unwavering dedication left the field of Indian and Himalayan art in New York and around the world forever changed.
Like all great stories, Kapoor Galleries began with upheaval. Following India’s partition in 1947, my great-grandfather, Shri Prashotam Ram Kapoor migrated from Lahore, Punjab to Jalandhar, alongside his wife and children. In Jalandhar, the government allocated Prashotam an empty store to establish his own business. A passionate reader, my greatgrandfather always carried books, which led to a serendipitous encounter with a thrift merchant who offered him an entire private library. This acquisition marked the beginning of a successful rental library catering to displaced Indian refugees, igniting a deep appreciation for rare books and manuscripts that endures in our business to this day.
This initial venture led to the procurement of numerous private libraries, some containing illustrations and miniatures that propelled our family into the world of fine art. Upon completing college in 1958, my grandfather Ramesh joined his father’s business, forging relationships with museums and academic institutions to supply them with soughtafter artworks.
As business flourished and international interest in Indian masterworks expanded, my grandfather relocated to Delhi in 1962. A pivotal moment came in 1964 when Ramesh facilitated the sale of the renowned Kashmir bronze Swachhandabhairavi to the National Museum in New Delhi. Since then, this masterpiece has been featured in numerous significant publications, including Dr. Pratapaditya Pal’s The Arts of Kashmir.
Ramesh married his wife Urmil in 1967, and in March 1975, the young couple boldly immigrated to New York, where they founded Kapoor Galleries Inc. exactly 50 years ago. Ramesh has remained an arbiter of connoisseurship ever since. He has played an instrumental role in shaping some of the most significant public and private collections of the 20th and 21st centuries, defined by his sharp intellect, ethical integrity, and extraordinary talent.
Our gallery has thus retained a crucial role in fostering public appreciation for the Ancient and Classical Fine Arts of India and the Himalayas. We continue to be steadfast in cultivating relationships with collectors and institutions, and earning their trust, respect, and loyalty.
Kapoor Galleries remains committed to serve as a custodian of exceptional bronzes, sculptures, miniatures, and thangkas, many of which now reside in major museum collections, including The Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Art Institute of Chicago, The San Diego Museum of Art, and the Virginia Museum of Fine Arts. In 2004, my grandparents made a significant donation of Indian paintings to the Norton Simon Museum, forming the foundation of its Indian painting collection and greatly enriching its overall holdings.
I hope you enjoy this catalog which presents a collection of 80 artworks and objects, and I look forward to welcoming you to Kapoor Galleries.
SANJAY KAPOOR
March 15, 2025
I would like to extend my sincere gratitude to those who have supported this endeavor: Henry of ADM Advertising for his guidance, contributions to this catalog, and unwavering patience; Alice Patushenko at Color Consulting; my colleagues in the art world for their support and shared wisdom; and the scholars whose meticulous research contributed to the identification and attribution of numerous works in this catalog, including Dr. Pratapaditya Pal, Jeff Watt and the team at Himalayan Art Resources, and the many scholars and professors I encountered during my time at SOAS. Special thanks to Pujan Gandhi for his contributions to the portraits section of this catalog; Shruti Trivedi and Shivam Sachdeva for their dedication in writing and managing gallery operations; and Brian Woody for his expertise in translating select objects, as well as Kevin Mason, for his tireless efforts. Above all, I am profoundly grateful to my grandparents for imparting their wisdom, humility, and unwavering guidance.
SANJAY KAPOOR
March 15, 2025
hiroshi yoshida
sculptures and objects
An Ancient Indo-Gangetic Anthropomorphic Figure
Uttar Pradesh, India, circa 1700-1200 BC
Copper 17 in. (43.18 cm.) high
Exhibited:
Carlton Rochell Asian Art, Frieze Masters, The Regent’s Park, London October 12 - 16, 2022.
Provenance:
A Private Collection, New York, NY, acquired in 2003. Carlton Rochell, New York.
Available Documentation: Analysis and Materials Science for the Preservation of Cultural Property: Scientific Examination of a Gangetic Copper Idol by John Twilley, Art Conservation Scientist (June 1, 2023).
This remarkable anthropomorphic figure, originating from Uttar Pradesh, India, circa 1700–1200 BCE, exemplifies the artistic and cultural sophistication of the Copper Hoard Culture. Fashioned from unalloyed copper, the piece stands at 17 inches high and features a semicircular head seamlessly connected to the shoulders, symmetrically scrolling arms, and splayed legs. Its minimalist and abstract design balances proportion and rhythm, embodying a dynamic interplay of motion and stability. The figure’s weathered green patina, a result of centuries of burial in a wet, sedimentary environment, enhances its aesthetic appeal with rich textures and hues that evoke a profound sense of history.
Likely created for ritual use, this object reflects ancient practices of offering votive artifacts in rivers or marshes as acts of devotion or supplication. Scholars have posited that such figures may symbolize proto-Vedic concepts, including the śrīvatsa, associated with Vishnu, or the vajra, the thunderbolt of Indra. Scientific analysis has confirmed the artifact’s authenticity, with metallurgical
testing revealing trace elements like gold and arsenic consistent with ancient coppermetallurgy. Comparable examples reside in major collections, including the Metropolitan Museum of Art, highlighting this figure’s importance as a testament to the artistry, symbolism, and technological achievements of its time.
This artifact holds immense significance not only for its cultural and historical resonance but also for its universal aesthetic appeal. Its elegant form and rich patina ensure its place as a centerpiece of scholarly and museum collections, bridging the ancient past with the timelessness of abstraction and symbolism.
Standing Figure of Tara Kashmir, 9th-10th century
Copper alloy with silver inlay 7 ½ in. (19 cm.) high
Provenance:
Henry Spencers and Son Auctioneers, The Square, Retford, January 1996.
Paul M Peters Fine Art Ltd, Harrogate, North Yorkshire. John Nicholson’s, Haslemere, Surrey, 18 April 2018, lot 141.
The Sanskrit name ‘Tara’ is derived from the Sanskrit word ‘tarika’ which means ‘dilveress’ or ‘savioress.’
She first appears as an attendant to Manjushri in the Manushrimulakalpa and, later, as an enlightened figure in her own right, in the Taramulakalpa which was likely authored sometime in the seventh century. The present figure—a commanding image of the all-knowing goddess Tara—is a product of the valley of Kashmir.
A flourishing center of Buddhist learning, the people of Kashmir were great patrons of Buddhist works of art. Kashmir’s location, bordering northern India, central Asia, and the western Himalayas and its historical shaping under the Gupta and Huna peoples made it a racially and culturally diverse center for the arts. The mid-seventhcentury Karkota dynasty and mid-ninth century Utpala dynasty were instrumental in disseminating Buddhist ideas and arts from Kashmir, exporting their cultural products to their neighbors. Expertly inlaid precious metals exemplified by the present figure’s three silver eyes are one of several hallmarks of a perennially exquisite style of metal sculpture born from Kashmir.
Tara’s diaphanous top is hemmed to reveal her cruciform navel in a distinctly Kashmiri fashion, decisively differentiating it from the Gupta aesthetic. Such an
attenuated waist, protruding belly, and large hips are common among early images of female deities. For another example of this type, see a four-armed silverinlaid bronze figure of Tara at the Ashmolean Museum dated to the first half of the ninth century (acc. EA2013.67).
Dr. Pal describes a mode of facial representation shared among Kashmiri sculpture of the ninth century (Bronzes of Kashmir, New York, 1975, pl. 47), as characterized by a full face, flat nose, and less elongated eyes than earlier prototypes—qualities shared by the present bronze and the Ashmolean example. The present figure, though, shares the prominent chin of earlier examples such as a Prajnaparamita or Sarasvati which Pal attributed to the seventh century (The Arts of Kashmir, Asia Society: New York, 2007, p. 94, fig. 98).
The present Tara’s ornamentation, however— particularly her multi-stranded belt—closely matches that of a tenth-eleventh century wooden relief fragment depicting Tara in the Metropolitan Museum of Art (acc. 1994.488; ibid, p. 58, fig. 42.). While the Met example has been ascribed to Himachal Pradesh, the two modern states are known to have been historically intertwined and, thus, it is typical to see sculptures such as the aforementioned Ashmolean example attributed to “Himachal Pradesh or Jammu and Kashmir” (see P. Pal,
The Himalayas: An Aesthetic Adventure, Chicago, 2003, p. 124, fig, 76.). The Ashmolean example, which may have originated in Kashmir, also features heavy beads and a belt with bells.
The lustrous and smooth surface of the present bronze is relevant to a likely hypothesis about its early provenance: that this fine Kashmiri bronze figure of Tara made its way to a Tibetan Buddhist shrine. For the sculpture appears not to have been ritually bathed and repeatedly cleaned nor to have been excavated from the ground, as it would if it were collected in Kashmir. As Buddhism in Kashmir waned, Kashmiri artworks such as the present remained ritually efficacious and treasured objects in the places to which they were exported. The inscription on its base, which appears to be in Sharada script, has yet to be interpreted but could reveal more about its provenance.
Dancing Ganesha
Central India, Madhya Pradesh, 10th century
Sandstone
21 x 15 ½ x 7 3/4 in. (53.3 x 39.4 x 19.7 cm.)
Provenance:
With Jean-Claude Moreau-Gobard by the 1960s.
Faithful attendants surround Ganesha expressing his role as patron of the arts in a dance echoing that of his father Shiva. He sways atop a platform supported by two lions who flank a devotee seated in prayer. Stacked rows of attendants with offerings and praise take the place of columns and enshrine the god along with the assembly of lotus-bearing male figures above. The mouths of makara on either side of the male figures release scrolling tree-like embellishments, mirroring the movement of the snake’s curling head and tail which Ganesha stretches overhead.
This deep sandstone relief of the elephant-headed god filled with figures ornamented in large beads and clad with striped dhotis is rendered in a style common to medieval sculptures from central India. The present form of Ganesha, albeit petite in comparison, is worthy of studying beside a fine tenth-century image of Ganesha attributed to Madhya Pradesh at the Metropolitan Museum of Art (acc. 2007.480.2); see similarities in the design of his jeweled headdress and manner of depicting the god’s voluminous ears.
Red Sandstone Stele of a Four-Armed Deity Madhya Pradesh or Rajasthan, India, 10th century Sandstone 21 in. (53.34 cm.) high
Exhibted:
Hofstra University Museum of Art, Hempstead, New York, 1969.
Provenance:
Property from the collection of Mr. and Mrs. Paul E. Manheim acquired by 1969.
This relief is depicting a four-armed female deity, in an architectural niche with an openwork pediment above. While this piece is beautifully crafted and has indicators that the subject is divine, there are not many specific aspects to the piece that help identify the figure.
The architectural elements in this piece frame the figure front and center. Two long columns function as the side borders of the relief and a small triangular roof feature sits in between them, just atop the figure’s head. There are small holes in the roof feature that are likely further embellishments, as well as a more ornate shape at the very top.
The figure, who perhaps is one of the Vaishnavi (one of the seven mother goddesses) or Saraswati (goddess of wisdom and the arts), is in a contrapposto stance, and appears to have a peaceful demeanor. One of the most obvious divine markers is the presence of four arms, two that fall to her side and the other pair holding ritual items at shoulder level.
A Black Stone Bust of Buddha Eastern India, Bihar, 11th century Black stone
17 ½ in. (44.5 cm.) high
Provenance:
Estate of Robert Schrimpf, France (1975-1985).
Fraysse & Associes, Paris, September 26, 2007, no. 54.
The Buddha is set against an arched prabhamandala with raised edges incised with flames and two stupas carved in high relief. Behind his tall three-petal crown are two large leaves carved in low relief. The Buddha is adorned with elaborate pectoral and large foliate earrings and he wears a diaphanous robe that falls in delicate pleats across his torso and left arm, leaving the right shoulder bare. His face is modeled with the classic downcast almond-shaped eyes, high cheekbones, and full pursed lips.
The exact symbolism of the pair of stupas often depicted in Pala sculpture remains unclear. It has been suggested that they represent the existence of Buddhas in both the past and future, thus signifying the perpetuation of Buddhism. See Leidy, Treasures of Asian Art, 1994, p. 36.
Surya
India, circa 12th century
Stone
20 x 20 x 6 in. (50.8 x 50.8 x 15.24 cm.)
Published:
Himalayan Art Resources, item no. 15642.
Provenance:
Acquired in New York in the 1980’s, by repute.
Surya is the Hindu solar god whose movement from sunrise to sunset is symbolized through his chariot being pulled by seven horses across the sky. Surya’s place in the pantheon has a surprising amount of movement depending on the period being spoken of. In Vedic times he was placed as a supreme deity, more in line with other polytheistic traditions of the time who raised the sun deity to a high status. Over time his status decayed to that of a planetary deity as other gods such as the Trimurti (Brahma, Vishnu and Shiva) rose greatly in status. Depending on the tradition he is said to have had many different wives, but the two most notable are Samjna, the cloud goddess, and Chhaya, the goddess of shadows. Some of his notable children are Yamuna, the Ashvins, Yama and Yami.
In this stone figure of the sun god, Surya is beautifully adorned with a finely engraved crown that features botanical elements on the sides as well as small patterning. Additionally the typical jewelry and garlands found on artistic representations of divine beings is found all through his adornments. He sits atop his vahana , the seven horses that pull his chariot across the sky; his legs are crossed; he holds one lotus in his right hand from the stem, another, likely originally in his left, is lost. The figure between his crossed legs, although
damaged, is very likely his charioteer, Aruna. Surya is placed neatly in between two decorated pillars that frame the piece as his horses trample two prostrate figures below.
Figure of Vajrasattva Tibet, 14th century
Bronze
3 1/2 in. (9 cm.) high
Published:
Himalayan Art Resources, item no. 61643.
Provenance:
Cees van der Plog, 1995, by repute. Bonhams Hong Kong, 2 Oct 2018, lot 132.
Vajrasattva or ‘The Vajra Being’ is a direct embodiment of the adamantine dharma of Tibetan Buddhism. He holds a vajra or dorje in his proper-right hand, symbolizing his mastery of Tantric Buddhist method, and a bell or drilbu in his left to indicate his primordial wisdom. Vajrasattva is the ultimate teacher and has immense purification power.
While this bronze sculpture of Vajrasattva is petite in size, it is aesthetically powerful: with a soft face, lifted chest, and lifelike hands and feet. By the twelfth century, Tibetan artists mastered bronze casting technology as sophisticated as that of the Pala Empire, and by the fourteenth, Pala artists were no longer active in Tibet (von Schroeder, Buddhist Sculptures in Tibet, Vol. II: Tibet & China, Hong Kong. 1990, p. 1092). This present sculpture demonstrates how the late-Pala style of northeastern India was absorbed into a central Tibetan style that defined the ‘Monastic period’. The simple three-petal diadem with flared ties at the ears securing the flat band at the back of the head is typical of this sculptural milieu.
Figure of Vajradhara
Tibet, 15th century
Gilt-bronze
9 ¾ in. (24.8 cm.) high
Published:
Himalayan Art Resources, item no. 8375.
Provenance:
The collection of Holger Rosell (1917–2009), Stockholm. The collection of the National Museum Prins Eugens Waldemarsudde, Stockholm.
Uppsala Auktionskammare, 5 December 2014, lot 1001.
The present figure represents the primordial buddha Vajradhara. His hands—crossed in front of his heart in vajrahumkara mudra (the gesture of the ‘adamantine sound’) holding a vajra/dorje and ghanta/drilbu (bell)—make him easily recognizable. His elaborate ornaments identify him as a symbolic buddha in bodhisattva appearance.
This lustrous figure of Vajradhara is finely sculpted on a double-lotus base, clad in a dhoti with a shawl draped over his shoulders, flowing down symmetrically on either side of his torso to rest on his seat. An urna of inset turquoise sits below his five-leaf tiara behind which his hair is pulled into a neat pile surmounted by a half vajra. The complexity of the woven knots within his chignon is revealed from the backside of the sculpture, as is the careful execution of each element, despite the fact that these facets are frequently hidden.
The sculpture is embellished with small turquoise and ruby or garnet cabochons set in bezels to accentuate his crown, necklace, armbands, and belt—a style of inlay more common among Nepalese bronzes than Tibetan ones. However, the square face, the straight slope of the buddha’s nose in profile, the exclusion of a garuda element from the crown, and the festooned
design of Vajradhara’s prominent necklace point to a Tibetan origin.
Carved Wood Mask of Bhairava Nepal, 15th-17th century Wood, traces of pigment 10 1/4 in. (26 cm.) high
Published:
Himalayan Art Resources, item no. 7534.
Provenance:
Property from the collection of Helen Cunningham and Ted Newbold, acquired from Jaipaul Galleries Inc., Philadelphia, August 6, 1990.
This striking carved wood mask represents Bhairava, a popular wrathful deity who is a manifestation of Shiva, the god of destruction and transformation. Bhairava is worshipped by both Hindus and Buddhists and can be seen in many temples across South Asia, especially in Kathmandu Valley, Nepal. The mask, dating between the 15th and 17th centuries, is a fine example of the artistic and ritualistic craftsmanship of Nepalese artisans. With its fierce expression, bulging eyes, furrowed brows, and an open mouth displaying two lower fangs—possibly for the insertion of ritual substances or offerings—the sculpture embodies Bhairava’s role as a guardian deity and protector against malevolent forces.
Carved from wood with traces of original pigment, the masks may have been used in festivals, temple rituals, or as a form of protection. Flaming hair and floral elements with small figures decorate the elaborate headdress around his face. The weathered surface and curved edges of the mask seem to point towards centuries of use, adding to its historical depth and spiritual significance as a relic of tradition.
For comparison, reference another 17th century Nepalese Bhairava mask of brass: see Pratapaditya Pal et al, “A Collecting Odyssey, Indian, Himalayan
and Southeast Asian Art from the James and Marilynn Alsdorf Collection”, New York, 1997, p. 29, no. 25.
Painted Saddle
Tibet, 15th–17th century
Gilt and varnished wood and leather, with gilt-iron frames 24 x 14 in. (61 x 35.6 cm.)
Published:
Himalayan Art Resources, item no. 7504.
Provenance:
Private collection, England, by repute.
The present saddle’s wooden frame, or saddletree, is richly decorated with gilded and varnished leather panels on the arched front plate (pommel) and rear plate (cantle). The sideboards are equipped with endboard extensions that adjoin the leather varnished panels which are strengthened with iron frames adorned with gold and silver foliate scrollwork. Both pommel and cantle are decorated with dense scrolling foliage with repeated lotus blooms on the top register, and a wish-fulfilling jewel on a lotus base flanked by a pair of makara dragons on the lower. On both panels, the two registers are separated by a solid gold line on a raised central rib—the pommel, however, also includes a third, lower register, separated by a gilt-iron arch and decorated again with scrolling lotus blooms.
This saddle’s floral arrangements can be compared to a 17th-century Tibetan wooden box from a private collection that is illustrated in Wooden Wonders: Tibetan Furniture in Secular and Religious Life (Kamansky, 2004, p.64, cat. no.241), as well as to those published in Warriors of the Himalayas: Rediscovering the Arms and Armour of Tibet (La Rocca, 2006, P.105, cat. no. 30). The latter exhibits the same lacquer-like effect, formed by layers of pigmented shellac followed by the gold leaf designs, another layer of shellac, and a final coat of tung oil glaze.
This scarce Tibetan saddle, with its highly decorative gilded and varnished leather panels, is attached to a wooden frame called a saddletree. The front plate (the pommel) and the rear plate (the cantle) are both archshaped and connected by a pair of sideboards that have end-board extensions. These extensions are decorated with en-suite leather varnished panels. For strength, these panels are bordered with iron frames chased with gold and silver foliate scrollwork in a typical Tibetan fashion. The largest panel, the pommel, consists of an outer leather area with an iron trim and a central, raised rib. A smaller leather section sits below this, bordered top and bottom with further iron arches. The cantle is of similar construction, but has a single piece of leather with a raised central rib—it too is bordered with wide, iron arches.
Dense sprays of lush, leafy stems and blossoms frame a central, flaming wish-fulfilling jewel that sits on a lotus base and is flanked by a pair of Makara dragons. All is beautifully, expertly painted in gold and set against a red background. The cantle also has the same decoration and, in my opinion, shows an even better pair of dragons, done so expertly it would rival any figural painting executed on Tibetan leather armour. The floral arrangements and generally naturalistic style
of painting are similar to a 17th century Tibetan wooden box from a private collection that is illustrated in the book Wooden Wonders: Tibetan Furniture in Secular and Religious Life.1
The collection of Tibetan leather armour in the Metropolitan Museum of Art, and those published in Don La Rocca’s 2006 book Warriors of the Himalayas cannot be overlooked as this saddle shows the same themes and patterns. La Rocca explains that the lacquer-like effect appears to consist of a base layer or layers of pigmented shellac, with the gold designs in gold leaf, and then a further layer of shellac upon which the details are painted in fine black lines, finally to be complemented by a coat of tung oil glaze.2
References:
(1) Kamansky, Wooden Wonders: Tibetan Furniture in Secular and Religious Life, 2004, p.64, cat.no.241.
(2) La Rocca, Warriors of the Himalayas: Rediscovering the Arms and Armour of Tibet, 2006, P.105, cat.no.30.
Matrika Lotus Mandala
Nepal, 16th-17th century Copper alloy
Diameter: 7 1/8 in. (18.3 cm.)
Published: Himalayan Art Resources, item no. 7628.
A bronze lotus springs from a stem decorated with foliate sprays at each of the stepped base’s four corners. Each of the eight movable petals is cast to convey several layers of the closed lotus bud. The goddesses within are identified by the implements they carry and their vahanas (mounts), corresponding to those of their male counterparts: Varahi atop a buffalo, Mahalakshmi atop a lion, Maheshvari atop Nandi, Vaishnavi atop Garuda, Indrani atop an elephant, Kumari atop a peacock, Brahmani atop a goose, and Chamunda atop a corpse. The present example bears a striking resemblance to the sixteenth-century Navadurga lotus mandala at the Newark Museum of Art (acc. 90.400).
Figure of Vajrapani Tibet, 17th century Gilt-bronze with polychrome 6 ½ in. (16.5 cm.)
Provenance:
From a private North American Collection.
In Sanskrit, “Vajra,” translates literally to both thunderbolt and diamond. These two seemingly different subjects are linked together in one word for their properties; the irresistible force of a thunderbolt and the indestructibility of diamond, two awesome forces of nature. “Pani” literally translates to “in hand.” Vajrapani is one of the oldest Dharmapalas within Mahayana Buddhism, and amongst three main protective deities of the Buddha. He is said to be the embodiment of all of the Buddha’s power; and the physical representation of the energy within an enlightened mind, a “knife of energy” to cut through the fog and delusion of unclear thinking. Amongst Vajrapani’s roles is the duty to watch over all of the Tantra literature, giving him another name,“Guhyappati” or “Lord of secrets.”
The origins of Vajrapani stem from “Pali Canons Ambatha Suttanta’’, a tale which directly puts a challenge to the caste system. Vajrapani is first seen as a yaksha (nature spirit). The Ambattha Suttanta is the first time Vajrapani is encountered, and he is portrayed as a threatening demonstration of the Buddha’s power. At the request of his mentor, a young Brahmin by the name of Ambatha visited the Buddha. Ambatha was already well aware of the Buddha’s lineage before his encounter with him, and that he and his family were members of the Shakya
clan, who were of the Kshatriya caste. Throughout their encounter Ambatha failed to show Buddha the respect he would have for a fellow Brahmin. When the Buddha queried as to why Ambatha was showing him this lack of respect, he replied it was because the Buddha belonged to a “menial” caste. The Buddha, being all knowing and enlightened, then asked the Brahmin if his family was descended from a “Shakya slave girl”. Knowing that this was the truth, Ambatha refused to answer the question. After Buddha asked the question one more time he warned Ambatha that his head would be smashed to bits if he failed to answer a third time. In response to the Buddha’s threat, Vajrapani manifested above Buddha’s head, ready to strike Ambatha down with his Vajra (thunderbolt). Upon seeing this Ambatha quickly admitted that what the Buddha spoke was the truth.
The anthropologic origins of Vajrapani can be observed in several instances, two mainly. Mythical roots can be seen stemming to Indra, the thunder god of India, which inherently has deep connections to Zeus, the Greek god of lightning. The depictions of Vajrapani range throughout time, early images of the deity portray him in a much less “wrathful” form, and generally portray him as a powerful and muscle clad male, protecting the Buddha. All three godscan be seen wielding lighting,
(Zeus literally, Indra and Vajrapani in the form of a Vajra) and Zeus and Indra both share positions in their respective followings as “King of the Gods”. Besides these more obvious parallels, “Dyaus” is Sanskrit for “sky” and Indra is also known as Indra Dyaus”. “Zeus” is the Greek form of Dyaus. Jupiter is “Dyaus-piter” or “sky father.”
Vajrapani, the bearer of the thunderbolt, in wrathful form represented in a powerful cast stands in alidasana, the warriors pose, wearing a dhoti incised with tigerskin stripes flanked by a windswept sash and jewelry adorned around his bountiful midsection, centered with beaded festoons. A thick snake is wrapped around the neck, The wild mane of hair is surmounting Vajrapani’s iconographic third eye. Detailed casting throughout, the face bears a fierce and detailed expression.
Two Figures of Venugopala and Radha
Odisha, India, 17th/18th century
Brass
17 ½ in. (44.5 cm.) high
Provenance:
The Venugopala acquired from Doris Wiener Gallery, New York, 1978.
The Radha acquired from Sotheby’s, New York, 26 March 1998, lot 227.
Venugopala (an epithet for Krishna) and Radha are the divine couple that appears during the eighth incarnation of Vishnu. In this form Venugopala is meant to serenade creation with his flute, and through his feats in the Mahabharata and other formative Hindu texts, he fulfills his role as a heroic preserving avatar. Radha appears with him as the chief consort and is commonly thought of as the goddess of love. She is understood to be extremely beautiful and is usually adorned with a copious amount of jewelry and adornments.
In these figures, both deities stand on a lotus base in stances that depict motion. Radha appears in a hand gesture with her right foot slightly raised which is reminiscent of the Raslila dance centered around the goddess. Venugopala is in his flute-playing stance, legs crossed, highlighting the deity’s connection to the instrument and music. Both gods appear to us in the nude, straying from the tradition of depicting Radha as extremely ornamented. What stands out through this depiction is the ear piercings they both feature as well as the ones on Radha’s nose.
Odisha tradition is shown here through the use of brass, and traces of pink polychrome can also be found decorating Radha’s lotus base and face, evidence of
puja (worship) in the piece’s past.
Each standing on a lotus base, he with ankles crossed and hands as if holding a flute, she with one hand raised on gesture, both with wide-open eyes and hair in flat buns on the top of their heads.
William MIJ. Faden (1750-1836) and James Rennell, F.R.S. late Surveyor Gen. in Bengal (1742-1830)
A Map of Bengal, Bahar, Oude & Allahabad with Part of Agra and Delhi Exhibiting the Course of the Ganges from Hurdwar to the Sea London: Printed for Wm. Faden, 1786
Hand-coloured engraved map
43 1/4 x 29 1/4 in. (109.9 x 74.3 cm.) sheet size
Provenance:
Acquired from Donald Heald Rare Books.
An unusually fine copy of an expansive detailed map of the Upper Indian provinces, extending to Tibet in the north and the Bay of Bengal in the South.
The map was drawn by James Rennell F.R.S., Surveyor General of India, and engraved from the original drawing in the Possession of the East India Company. The map includes a great amount of detail and shows roads, military outposts, rivers and geographic features such as mountainous terrain . A census has located three states of the map, of which this is the third with cities in the Kathmandu Valley named and Berar also named. The map features typical arched shape writing denoting features like the mouth of the Ganges as well as the bay of Bengal. Borders with neighboring Bhutan and Tibet are also featured with older spellings. The top right of the map features an artistic work titling the map, depicting both European and Indian subjects and some depictions of Indian wildlife.
James Rennell (1742–1830) was an influential English geographer, historian, and oceanographer. He is credited with creating the first roughly accurate map of India and publishing the Bengal Atlas (1779), both of which played a crucial role in advancing British colonial interests in the Subcontinent. Rennell is most renowned
for conducting the first scientific survey of India. During his service in the Royal Navy from 1756 to 1763, he acquired the expertise needed to become a skilled colonial surveyor. In 1762, he accompanied Alexander Dalrymple on an expedition to the Philippines. Later, Rennell joined the East India Company in India, where he served as Surveyor General of Bengal (1764–1777) and of Bihar and Odisha (1767–1777). He departed India in 1777 and settled in London, where he continued his geographical research and publishing efforts until his passing in 1830.
William Faden (1749–1836) was a distinguished Londonbased mapmaker and publisher. From 1773 to 1776, he collaborated closely with the prolific cartographer Thomas Jeffreys. In 1783, he took over ownership of the Jeffreys firm and was appointed Geographer to the King that same year. Faden specialized in mapping North America and maintained an extensive collection of British county maps, making him a valuable partner for the Ordnance Survey. He was responsible for publishing the first Ordnance map in 1801. His cartographic skills also earned the admiration of the Admiralty, which acquired some of his plates and reissued them as official naval charts. After retiring in 1823, he passed his successful business to James Wyld, a former apprentice.
Figure of Nandi India, circa 18th century Marble
5 1/2 x 3 x 7 1/4 in. (13.97 x 7.62 x 18.42 cm.)
Provenance:
Private Connecticut collection, by repute.
The sacred white bull and vehicle of Shiva, Nandi serves as guardian, gatekeeper, and vahana to the mighty destroyer god. In the Ramayana, it was Nandi who cursed Ravana, king of Lanka and the main antagonist who kidnaped Rama’s consort Sita. As gatekeeper, Nandi refused Ravana’s request to meet with Shiva. Ravana taunted and teased Nandi in an attempt to get his way, but this only irritated the bull, causing him to curse the demon king and foretell that Lanka would be burned to the ground by a monkey. This later came to fruition when Hanuman rescued Sita and destroyed Ravana’s kingdom. While Nandi has been inseparable from Shiva due to being his vahana , through this narrative Nandi is shown to also have agency within his own right.
Nandi’s role as the vahana of Shiva originaates very early, and his iconography is consistently connected to the destroyer god especially as a guardian of entry ways to Shaivite temples. His association with Shiva also is meant to convey a fertility aspect; early Indian culture relied heavily on dairy and as a result the status of the dairy cow was uplifted. This was also reinforced by the Indian worldview of milk being an inherently fertile substance. In this way, Nandi’s role is multifaceted, surviving as the vehicle of Shiva, being a consequential
figure in the Ramayana, and having symbolic value.
In this piece, Nandi is carved out of marble, and sits in a relaxed position on a base created from the same stone. He features his typical bells that rest around his neck and one of his front legs is slightly bent as if in the process of standing.
Figure of Bhu-Devi, Consort of Vishnu
South India, 18th century
Bronze
12 1/5 in. (31 cm.) high
Provenance:
Private Italian collection, given to the owner’s father by Giuseppe Tucci in the 1940s.
Bhu-devi, the Earth-Goddess, is one of the consorts of Vishnu. When Vishnu incarnated on Earth as Varaha, the anthropomorphic boar, he rescued Bhu-Devi from the deep ocean where she was in the clutches of the demon Hirankshya. It is after this episode that Varaha is said to have married Bhu-Devi. According to the South-Indian cultural practices Vishnu, Lakshmi, and Sridevi are worshiped as a trinity. Also, note that the delineation of Lakshmi and Bhudevi is extremely similar except for Bhu-devi’s breast-band, which enables identification of the same. Here, Bhu-Devi is standing in the Abhanga posture on a double lotus base, her right hand holds a lotus, adorned with jewelry, hair piled into conical Jatamukuta (crown), the serene expression on her face and her almond shaped eyes are typical of the iconic style of SouthIndian bronzes.
An earlier comparable of Bhu-Devi from the Victoria and Albert Museum (IM.137-1927) depicts similar iconographic attributes of Bhu-Devi.
Indian Clay Figures
Attributed to Jadunath Pal
Krishnanagar, India, 19th century Clay, hair, cloth 11 ¼ in. (28.6 cm.) and under, high
Provenance:
Private Ohio Collection.
Krishnanagar, a province of Bengal, has a long history of clay modeling which began in the mid-18th century when Maharaja Krishnachandra Roy (r. 1728–1783) established potteries in the region in order to create religious idols (Chose, 44–45). While clay figurines were traditionally limited to figures of deities from the Hindu pantheon, the Maharaja’s introduction of the Hindu practice of Barwari Puja (community worship) created a large and diverse clientele for clay modeling. Clay scenes made for group worship began including figures of human attendants that served the clay gods. These human figures soon became popular on their own, encouraged by the Western demand for realistic representations of the people, plants, and animals of India (Chatterjee, 208).
The practice reached its zenith in the late 19th century, when such figurines were considered national treasures and were often sent to international exhibitions to represent India. In particular, the Pal family garnered much renown for their exceptional skill in the craft, the most famous of whom was Jadunath Pal (1821–1920). An article written for the Glasgow International Exhibition in 1888 recounts that:
“The figures made by [the Pal family] have acquired great celebrity, and they have repeatedly gained medals and certificates in most of the International Exhibitions held since 1851. There is considerable delicacy and fineness in their work; the figures are instinct [sic] with life and expression, and their pose and action are excellent.” (Mukharji, 59).
The writer continues that Jadunath Pal in particular had “no equal in India in this kind of work” (Mukharji, 63).
The present set, representing a variety of Indian castes, is attributed to Jadunath Pal, who often included the contributions of specialist tradesmen in his work–the clothing was made not by modelers, but by actual tailors, and if a figure was accessorized with a basket or a necklace, they often came directly from the professionals themselves, giving the figures an exceptional realism. While many of the figures are missing the implements of their trade that would once have distinguished them from one another, the delicate positioning of their bodies and their animated appearance nevertheless bring them to life. Not only were these figures once outfitted with real clothing and tools, but also with human hair. While this novel feature is now missing on a majority of the figures, the largest of the group—an
elderly man with a wonderfully articulated stomach and a string of beads around his neck—still retains his original patch of hair.
See a similar group by Jadunath Pal which was exhibited at the Melbourne International Exhibition in 1880 and gifted to the National Gallery of Victoria by the India Commission of the Melbourne International Exhibition (acc. ST 40409-40414).
References:
Chatterjee, S., People of Clay: Portrait Objects in the Peabody Essex Museum, Museum History Journal, 2013.
Chose, B., Traditional Arts and Crafts of West Bengal: a sociological survey , Papyrus, Calcutta, 1981.
Mukharji, T. N., Art Manufactures of India: specially compiled for the Glasgow International Exhibition, Superintendent of Government Printing, Calcutta, 1888.
Ritual Spear Head with Skull
Tibet, 19th century
Silver and bronze
22 3/4 in. (57.8 cm.) length
Provenance:
From a private collection, Chicago, Illinois.
This well forged and large ritual mdung (Tibetan word for spearhead) is made out of silver and bronze and features a skull head at the base of the socket. At the root of the blade is a bulbous knob, fully decorated with an engraved crosshatch design. The skull head, symbolizing impermanence and mortality, takes on animalistic traits with its wide, toothy grin of 44 bared teeth, four sharp fangs, and eye sockets that sit deep in the center of the face. The angular double-edge blade is intentionally blunt, reflecting its ceremonial purpose.
Chowrie Handle
Eastern India, Odisha, 19th century
Gilt-silver 11 ¼ in. (28.6 cm.)
Provenance:
Sotheby’s, New York, 20 September, 2005, Lot 87.
The chowrie (Sanskrit: चौरी) is the Indian flying whisk, used in a regal context as a fan for the royalty held by a servant, it is also a demonstration of wealth and status. The present piece features an ornate handle with a segment for hand grip while the section above is an ornate chimeric creature. The creature stands on its hind legs and face backwards; it notably features the body of a lion, typical to a royal context but also has an avian-like face with a beak.
Amulet
Company School, 19th century Gold, diamonds, pearls and enamel 34 in. (86.3 cm.) chain
Provenance:
Acquired in New York 1980’s, by repute.
This magnificent amulet employs many different design elements in its form, from the lengthy golden interlocked chain that features consistent swirl designs, to larger fixtures at the pendant area. The first notable decorative element is the flower design at the highest point of the pendant section; this fixture is used to bring the chain together, and is made from diamonds and enamel. Delicate aesthetic chains hang from the sides of this fixture down to the next with some slack to always appear loose. From this small piece a non-functional bell hangs with botanical elements adorning it.
While an amazing show of wealth and craftsmanship, this piece is the subject of much uncertainty for scholars of the subject. Clear influence outside of India is present in its design and shape, but whether or not that be from the English, Dutch or French East Indian Companies, Middle Eastern influence or some mixture of these is unclear.
Scholarly input has read the amulet to possibly have French influence, citing the coat-of-arms style badge. This could be corroborated by multiple European nations having an East Indian Company whose iconography persisted in the region. Other scholars have read a Middle Eastern or even a general European/heraldic influence.
No portion of this piece is left untouched by the artisan’s hand, from the very trim of the chain and connecting pieces featuring smaller scored dots lining the trim.
The highlight of this piece is the military badge-style locket that appears at the pendant section, the front is adorned with cut diamonds above and below a crown and stars. The diamonds below the crown form a regalstyle symmetrical botanical motif, complimented by gold leaves on either side that support additional bells like a set of earrings. The back of the badge pendant is a shallow oval locket with a hinge at the top.
The final design element lies in the crescent moon that frames the bottom of the badge pendant, and it features diamonds and vine motifs throughout. From the crescent moon and flanking bells, tassels hang in a triangular shape and level out with those that hang from the side bells. These tassels all end with a small pearl at the bottom. Each diamond in the piece is fixed in a dark blue or black enamel. This piece exemplifies splendor and artistic liberty limited not by available materials, such a piece would have been commissioned and/or worn by someone of high status.
Signed Gyokuryuken Sanmi
A Rock Crystal Sphere on a Silver Dragon
Japan, Meiji Period, late 19th century 6 ⅝ in. (16.8 cm.) high
Provenance:
Christie’s New York, 16 March 2021, lot 37.
This Meiji-period decorative sculpture features a luminous rock crystal sphere resting in the centertop of a masterfully cast and chiseled silver dragon. The fierce-looking dragon, incised with the signature of Gyokuryuken Sanmi (also known as Kazumi) on the underside within an oblong cartouche, is coiled in a dynamic pose, showcasing exquisite craftsmanship. Its eyes, teeth, and claws are richly adorned with gilt, and the eyes themselves are inlaid with shakudo, lending a striking contrast to the silver form. The body of the dragon is meticulously covered in scales and horns that run down the spine to the tail.
Accompanying the piece is a Gemological Institute of America (GIA) certificate, number 6214457397, dated February 10, 2021, which verifies that the sphere is genuine rock crystal.
The dragon holds profound significance in Japanese art and mythology, and is associated with the holy nature of Shinto and wisdom of Buddhism. From the Kofun period (4th–7th centuries) onward, dragon imagery has appeared in Japanese visual culture, adorning stonewalled tomb chambers alongside legendary creatures such as tigers, phoenixes, and gryphons. In Shinto tradition, the dragon deity Ryujin dwells beneath the
sea, wielding a mystical jewel that governs the ocean’s tides. Within esoteric Buddhism, the dragon is often depicted alongside a sword, symbolizing the rope and double-edged blade wielded by Fudo Myo-o, the fierce protector of Buddhist teachings.
This work stands as a testament to the technical brilliance and artistic refinement of the Meiji period (1868–1912), a time when Japanese artisans mastered the fusion of traditional symbolism with intricate metalwork, creating objects of both aesthetic and spiritual significance.
For comparison of a silver ornament of a dragon and crystal ball, see Joe Earle, Splendors of Meiji, Treasures of Imperial Japan, Masterpieces from the Khalili Collection (St. Petersburg, Fla.: Broughton International, Inc., 1999), pl. 135.
A
Collection of Indian Rupee Coins
Provenance:
Acquired from a Private New York Collection, 2019.
Mahmud Shah II (r. 1510-1531, Khalji Dynasty)
Indian Rupee Coin
Malwa Sultanate, AH 927 (1520-21)
Copper
Size: 15 x 16 mm. Weight: 7.94 g.
(Side 1, above) Legend: mahmud shah al-khalji bin nasir shah
(Side 2, below) Legend: al-sultan bin al-sultan
The earliest coin in this collection is from the Malwa Sultanate period of Indian history which spanned from 1401-1562, the latest coin dates to 1906 featuring “King & Emperor Edward VII”. This selection of coins showcase multiple eras of Indian history and leadership such as Mughal and British rule. The Mughal coins are dated through the islamic calendar (AH, Anno Hegirae, which is Latin for “in the year of the Hijrah”), whereas the later coins use Gregorian dating.
The earliest coin dates from the Malwa Sultanate period and has a distinct square shape. This coin is likely from the reign of Mahmud Shah II (1510-1531). The significance of this coin is debated as it may have outlived the time period of his rule.
Akbar (r. 1556-1605)
Indian Rupee Coin
Mughal Empire, circa AH 981 (1573)
Silver Diameter: 24 mm. Weight: 11.36 g.
This is the first Mughal rupee, and was introduced by Sher Shah Suri, and made under the rule of Akbar.
Akbar (r. 1556-1605)
Indian Rupee Coin
Mughal Empire, AH 987 (1579)
Silver Size: 21 x 20 mm. Weight: 11.41 g.
These distinctly squared shaped coins were made under Akbar and were called jalalah.
Shah Jahan (r. 1628-1658)
Indian Rupee Coin
Mughal Empire, AH 1052 (1642)
Silver Diameter: 19 mm.
was commissioned by the
This coin
famed builder emperor, Shah Jahan, responsible in part for the iconic Taj Mahal.
King William IV
Indian Rupee Coin
East India Company Period, 1835
Silver
Diameter: 30.5 mm. Weight 11.66 g.
This coin dates to the East India Company period and features King William IV on the front and the value of one rupee on the back inside a decorative wreath.
Queen Victoria
Indian Rupee Coin
East India Company Period, 1840
Silver Diameter: 30.5 mm. Weight: 11.66 g.
This coin dates to the East India Company period and features Queen Victoria on the front and the value of one rupee on the back inside a decorative wreath.
King and Emperor Edward VII
Indian Rupee Coin
British India, 1905
Silver Diameter: 30.5 mm. Weight: 11.66 g.
This coin dates to British India and features King & Emperor Edward VII on the front and the value of one rupee on the back inside a decorative wreath.
King and Emperor Edward VII
Indian Rupee Coin
British India, 1906
Silver Diameter: 30.5 mm. Weight: 11.66 g.
This coin dates to British India and features King & Emperor Edward VII on the front and the value of one rupee on the back inside a decorative wreath.
Majnun in Wilderness Deccan, India, 17th century
Opaque watercolor on paper heightened with gold 17 x 12 ¾ in. (43.18 x 32.8 cm.)
Provenance:
Acquired from a New York Collection in 1950’s, by repute.
The present painting depicts Majnun, a figure from a classic Persian and Arabic legend, in the solitude of nature. Often compared to Romeo and Juliet, the love story of Majnun and Layla was written by 12th century Iranian poet, Nizami Ganjavi, and is inspired by 7thcentury Arabic poet Qays ibn al-Mulawwah and his lover, Layla bint Sa‘d.
Qays, a young poet, falls deeply in love with Layla, but her family forbids their union, fearing scandal. Consumed by his love, Qays becomes “Majnun” (madman) and retreats into the wilderness, composing verses dedicated to Layla. Though she is married to another, their love remains pure, but unfulfilled. Ultimately, both die of heartbreak, indicating that their true love will transcend the physical world and become eternal.
In the painting, Majnun is surrounded by a variety of wild animals including a white dog, a sleeping lion, water fowl, and gazelles and appears emaciated as he kneels below a large tree with downturned eyes and a somber expression. Layla sits at a considerable distance in front of Majnun, alongside other members from her village who bow in a gesture of respect. Heartbreak and sorrow can be felt not only from Layla’s downturned
gaze, but the surrounding lush landscape. Deep hues of yellow, red, and blue in the sky cast a melancholy glow over the rocky terrain in the background while a winding dark blue river flows through the foreground, creating a divide between the two star-crossed loves. An ornate border decorated with botanical motifs, heightened with gold leaf, frame the intimate scene.
A Courtesan Dancer
Deccan, Golconda or Hyderabad, last quarter of the 17th century
Ink with embellishments in gold on paper
Image: 7 3/4 x 2 5/8 in. (19.7 x 6.7 cm.)
Folio: 13 7/8 x 10 in. (35.2 x 25.4 cm.)
Provenance:
Saeed Motamed Collection.
Christie’s London, 7 October 2013, lot 118.
The young dancer’s long wavy black hair falls in slender tresses down her back and over her shoulder. She is dressed in a Safavid Persianate manner and faces the viewer in three-quarter pose. She places her weight on one leg and twists rhythmically, her left hand raised up above her head and her right playfully pinching out a strand of hair. A feathered and gold cap with strands of pearls, gold bracelets and necklaces adorn her figure from head to foot.
Her near-frontal pose suggests that she is a courtesan— only a princess would be allowed a regal profile view. The present portrait is similar to a published painting of a Yogini with a Mynah Bird (Chester Beatty Museum, Dublin, Ireland, accession no. In 11A.31) holding a mynah bird, depicted half length and boldly smiling, full face. Both women project a similarly insouciant attitude.
Although the identity of this courtesan is unknown, she is depicted with realistic features, capturing a true representation of the sitter in a Mughal style. By this time, the Mughals conquered the Deccani Sultinate finalizing their triumph over the region. This portrait was executed when Mughal aesthetics dominated the Deccan, demonstrated here in the realism and empty background with a carefully patterned outer border.
Brahma with Devotees
Bikaner, India, circa 1630-1640
Opaque watercolor heightened with gold on paper 10 ⅛ x 7 ⅝ in. (25.7 x 19.5 cm.)
Provenance:
From an important European collection. Christie’s New York, 20 March 2019, lot 710.
A third of the Trimurti along with Vishnu the Preserver and Shiva the Destroyer, Brahma assumes the position of the creator god. He is credited with writing the four Vedas, a collection of hymns and religious texts dating to 1500 and 1000 BCE that were originally transmitted orally until eventually copied down. The Brahma Purana tells that initially, Brahma had five heads, but became too conflated with power and hubris, saying he was the greatest of the Trimurti, so Shiva had to remove the fifth head to humble the god.
In the present composition, Brahma is shown with his typical four heads being worshipped by four devotees. These figures could represent the vedas – the Rig Veda, the Sama Veda, the Yajur Veda, and the Atharva Veda embodied in human form to honor Brahma as their creator. The Philadelphia Museum of Art draws a similar conclusion with their Mankot painting, Adoration of Cosmic Vishnu. In these archetypal scenes, Brahma is typically seen atop a lotus sprouting from Vishnu’s navel; however, in the museum’s copy, Brahma appears to be giving homage with the other gods while four individual men appear on the lotus growing from Narayana, speculated to represent the vedas rather than
Brahma. The Bikaner painting likely adheres to this symbolism; for more, see Philadelphia Museum, accession number 2001-43-3.
An Illustration from a Markendeya Purana Series: The Devimahatmya
Mughal, circa 1700
Ink, opaque watercolor, heightened with gold on prepared paper
12 ⅜ x 8 ⅜ in. (31.4 x 21.2 cm.)
Provenance:
Allen and Matilda Alperton, San Francisco, CA, by repute.
Acquired from Eugene Bernald, circa 1976, by repute.
The Devi Mahatmya, a revered section of text within the Markandeya Purana, is one of the most significant scriptures in the Shakta tradition, celebrating the Goddess Shakti as a supreme cosmic force. Comprising 700 verses across 13 chapters, it narrates the divine battles in which the Goddess, in her many manifestations, vanquishes powerful demons who threaten the balance of the universe. The text is structured around three major episodes: her defeat of the demons Madhu and Kaitabha, her triumph over the buffalo demon Mahishasura, and her ultimate victory against the brothers Shumbha and Nishumbha. These stories symbolize the triumph of good over evil and establish the Goddess as the embodiment of power, wisdom, and divine justice.
The present artwork captures a moment from one of these epic battles, though without inscriptions or identifying markers on the piece, it is difficult to pinpoint the exact episode depicted. The eight-armed Goddess stands at the center, facing a formidable horde of demons advancing from the left. Some of the asuras retain human-like features but are adorned with horns and antlers, while others appear in more grotesque, animalistic forms. Among them, a few charge into battle on horseback, while one demon,
seated atop an elephant, looms over the fray. At the rear, another figure beats a pair of kettle drums, rallying the army into action.
In the foreground, the Goddess’s vahana, the lion, pounces upon a demon, who may have emerged from behind the severed body lying below—a visual motif frequently referenced in the text. While the Devi Mahatmya often describes the Goddess manifesting in multiple forms to combat demonic forces, this artist has chosen to emphasize her singular presence, heightening the sense of her divine power. She stands resolute facing nearly two dozen adversaries, symbolizing the triumph of cosmic order over chaos.
Portrait of a Maratha Nobleman
North Deccan, India, Maratha Confederacy, 18th century
Opaque watercolor heightened with gold on paper 14 x 10 in. (35.6 x 25.4 cm.)
13 1/2 x 9 1/2 in. (34.3 x 24.1 cm.)
Provenance:
Acquired in New York in the 1980’s, by repute.
This 18th-century painting from the North Deccan, India, captures the grandeur of a nobleman’s procession. The composition is steeped in both regal authority and artistic refinement to convey the visual language of power and prestige.
At the heart of the composition, a Maratha nobleman, likely a high-ranking courtier or military leader, is depicted riding a richly adorned horse. His ornate attire and pagadi (turban) on his head are embellished with gold detailing and reflect his elevated status.
The Maratha Empire (1647-1818), known for their military prowess and administrative acumen, cultivated a distinct visual culture that merged Persian courtly aesthetics with indigenous Deccan artistic traditions. The artist meticulously renders the hierarchical arrangement of the nobleman’s entourage, including spear-bearers and soldiers, reinforcing the structured and disciplined nature of Maratha governance. The soldiers’ synchronized movements and elaborate green-and-gold attire evoke a sense of military unity. Few attendants follow behind his horse and hold ceremonial regalia like a chowerie (fly-whisk) to signal his sovereignty and protection under divine authority.
A striking feature of the painting is the lush lotusfilled lake in the background, punctuated by elegant waterfowl. This idyllic setting provides a symbolic contrast to the military grandeur in the foreground, alluding to the nobleman’s role as both a protector and a patron of prosperity. The lotus, an enduring symbol of purity and divinity, may also indicate the nobleman’s righteousness and legitimacy.
The naturalistic and refined palette heightened with gold and the meticulous attention to textile and florafauna detailing in the landscape reveals the hand of a skilled court painter. This portrait remains a testament to the artistic sophistication and imperial ambitions of the Maratha Confederacy.
Princess Strolling Across a Palace Terrace at Night Lucknow, Awadh, India, circa 18th century
Gouache painting on paper heightened with gold leaf Image: 7 1/8 x 4 7/8 in. (18.1 x 12.4 cm.)
Folio: 17 x 12 in. (43.2 x 30.5 cm.)
Provenance:
Doris Wiener Gallery, New York, 1969 (documentation available upon request).
This exquisite miniature painting from 18th-century Lucknow embodies the refinement and poetic sensibility of late-Mughal and Awadhi courtly aesthetics. The composition depicts a princess walking barefoot across a palace terrace late at night in an intimate moment, engaged in an act of quiet contemplation with a subtle sense of resolve. The artist employs a darkened background to evoke the enveloping night sky, enhancing the luminosity of the central figure whose delicate features, dress, and jewelry gleam in contrast. Awadhi miniatures often incorporate a diverse range of painting techniques, with specific interest in the interplay of light and shadow, as well as a more precise rendering of volume and spatial depth.
The princess is dressed in an elegantly pleated and embroidered golden skirt with a deep orange blouse. She gently draws her sheer dupatta (shawl) forward with one hand to partially veil her face, and perhaps wishing to remain hidden in the night. The fabric of her dress is rendered with an exquisite attention to textile detailing, showcasing the artist’s ability to convey the rich and graceful qualities of the princess. Soft shading across her form brings a sense of volume and dimensionality to the central figure. She is also adorned with a string of pearls draped around her neck, wrists, forehead,
and toes with various jewels embellished throughout, emphasizing her regal presence. Looking more closely, alta (red dye) decorates the tips of her fingers, toes, and the soles of her feet, denoting her status as a married woman. She also holds up a small diya (candle) to her face. Her ethereal presence in this scene is further accentuated by her serene expression and the soft upward curve of her lips.
A series of finely painted jharokhas (arched windows) frame the princess in the evening scene, and floral motifs decorate the structure on the right. A crimson red balustrade in the background anchors the composition spatially and adds a rhythmic contrast to the princess’s gentle stride. The restrained yet vibrant color palette, with the interplay of warm ochres, muted blues, verdant greens, and bold reds, reflects the refined sensibilities of the period. Such nocturnal vignettes, often laden with poetic and literary associations, were favored subjects in courtly ateliers, illustrating themes of solitude, anticipation, and the fleeting nature of beauty.
The miniature painting is encased by a large vibrant yellow and red floral border, its repeating pattern heightened with gold leaf. The verso of the painting
includes a panel of Arabic-Persian calligraphy in Nastaliq script with a floral emblem at the top. The panel is surrounded by a dark green border speckled with gold leaf throughout. The lines of script are addressed to God (or the beloved, a royal figure, the benevolent, the calif, etc.) and reads as follows:
Oh, thou who has solved world’s problems with your benevolence; solve people’s problems with your benevolence.
No other but thou is the granter of prayers; all prayers are granted because of thou.
It’s only your benevolence that is heartwarming; grant us your benevolence to warm our hearts.
(Translation provided by Yass Alizadeh, PhD, Clinical Associate Professor, Persian Program Coordinator, Middle Eastern and Islamic Studies, New York University.)
Refer to a painting for a comparable recto and verso of this piece at the Victoria and Albert Museum in South Kensington (IS.14-1949). This painting is from a similar period and includes a floral border and calligraphy panel as well.
Calligraphy incsriptions on artwork’s verso
Vishnu and Garuda Approach an Ascetic Bikaner, India, 18th century
Watercolor heightened with gold on paper
Image: 8 ½ x 6 in. (21.6 x 15.2 cm.)
Folio: 10 ½ x 8 in. (26.7 x 20.3 cm.)
Provenance:
Acquired in New York in the 1980’s, by repute.
This piece portrays the timeless iconography of Vishnu atop his vahana, Garuda. Garuda’s depictions differ depending on the origin, with some cases showing him much more bird-like and others featuring only his wings or face as avian. Here he is given a bird face with green feathers and small wings that appear off of his sides, the rest of his body is human. Vishnu appears very regal, with three of his four arms bent outwards. Some notable aspects of the pair’s depictions include the lotus and chakra weapon he holds and both his and Garuda’s embellished crowns.
The piece is neatly segmented with an immediate foreground river and the focal point of the Preserver and vahana approaching the bowing ascetic in a friendly manner. Separating the foreground and background is another river with folkish miniature depictions of people in boats, as well as on the shoreline. Trees are used to border the architectural portions of the piece and are drawn in a geometric style.
The small figures of people that are somewhat hidden in the background of the piece may be a device used to further highlight the importance of the gods while also telling the viewer of the scale of the gods.
Portrait of Shitab Rai, Naib Diwan of Bihar Late Mughal, Murshidabad, 1770-1780
Opaque pigments with gold on paper
Image: 3 3/4 x 2 5/8 in. (9.5 x 6.7 cm.)
Folio: 9 x 5 3/8 in. (22.8 x 13.7 cm.)
Inscribed on the verso: Mahraja Setavroy Subah of Bahar
Provenance:
Françoise and Claude Bourelier Collection, Paris. Artcurial, Paris, November 4, 2014, no. 237.
This finely executed portrait presents Shitab Rai, the Naib Diwan (a deputy collecting revenue for the East India Company) of Bihar under the Mughal administration, seated in an intimate, enclosed space, holding the mouthpiece of a hookah. During this period, oval portraiture in the Mughal provincial style was becoming increasingly popular, likely influenced by European portrait miniatures. Despite the Treaty of Allahabad in 1765, which transferred revenue collection rights to the East India Company, the Mughal regime continued to oversee various administrative matters, particularly in Patna. Shitab Rai played a crucial role as an intermediary in negotiating the treaty between the Company, led by Robert Clive, and Mughal Emperor Shah ‘Alam II along with the Nawab of Awadh, Shuja’ al-Daula. He is also remembered for organizing relief efforts during the devastating famine of 1770, publicly shaming the East India Company into taking similar action. However, he was later arrested and dismissed from his position, passing away shortly thereafter in 1773.
This oval portrait is set on a simple album page and is framed in white with rufflettes. It depicts Shitab Rai dressed in a white turban adorned with a jeweled ornament (sarpech) and a wide gold fabric belt over
the center waist. The soft-pink color of his jama attire adds a touch of elegance. He reclines against decorative cushions embroidered with gold while holding one underneath his hand. The composition is distinctive as its compact setting creates a sense of closeness, almost confinement, between the viewer and figure. A simple enclosed room in the background is lined with frilled decorations that line the meeting point of the ceiling and walls. Shitab Rai’s expression remains neutral with a bold and unwavering look in his eyes as he possibly engages with an unseen guest to whom he graciously extends the hookah mouthpiece. His face and form are rendered with fine detailing that lend to the depth of his features—wrinkles and pronounced shading around his eyes, mouth and hands.
Compare this portrait of Shitab Rai to a similar portrait of him in Murshidabad ‘Company’ style album in the British Library (Archer 1972, no. 39xxvii, unillustrated).
Key Image to Colonel Mordaunt’s Cock Match at Lucknow
London, England, circa 1794
Engraving
13 3/4 x 9 1/4 in. (34.93 x 23.5 cm.)
Provenance: Acquired from Grosvenor Prints in London, United Kingdom, 2022.
This rare and significant key image captures a defining scene of 18th-century colonial life in India. The engraving is the key for Johann Zoffany and Richard Earlom’s renowned 1792 mezzotint Colonel Mordaunt’s Cock Match at Lucknow. Examples of this scarce piece are seldom seen in the market; the most known copies reside in major art museums, specifically in the U.K. and U.S.
The key identifies and names 19 attendees present at the match, listed as follows: (1) Asof a Dowla, Nabob Vizier, (2) The Nabob, Salar Jung, (3) Hafeen Rezza Khaun, (4) Coll. Martin, (5) Coll. Mordaunt, (6) Coll. Polier, (7) Mr. Wombwell, (8) Mr. Wheeler, (9) Mr. Johnson, (10) Lieut Pigot, (11) Lieut Golding, (12) Mr. Taylor, (13) Mr. Orr, (14) Mr. Gregory, (15) Mr. Humphry, (16) Mr. Zoffanij, (17) Cock Fighter to Coll. Mordaunt, (18) Do. to the Nabob Vizier, (19) Do. to Mr. Gregory.
The album leaf holding the print also features an 1803 letterpress page from a periodical that laments the practice of cockfighting, noting its popularity in Sumatra and its debated and declining appeal in Great Britain.
Reference Image: Colonel Mordaunt’s Cock Match at Lucknow, Johann Zoffany and Richard Earlom, 1792 (Tate Britain, UK)
A Yogi in a Landscape
Hyderabad, Deccan, late 18th century
Gouache heightened with gold on paper
Image: 8 7/8 x 4 1/2 in. (22.51 x 11.4 cm.)
Folio: 14 3/4 x 9 7/8 in. (37.5 x 25 cm.)
Provenance:
From a private French collection, 2011.
A princely yogi stands balancing on tip-toe, one leg pendant, beside a leafy, slightly arched tree. The figure holds a winding branch as a crook, mounted with mauve blossoms at the top and a serpent’s head below. The branch twists around his leg, also acting as a leash for his tamed jackal. A grotto and a peacockfeathered tree sit behind him. A yellowish-green hilly landscape stretches out in the background with the marble turrets of a fortress peeking out behind.
This may be an image of the eleventh-century yogi Gorakhnath. However, there is no identifying inscription on the front or back of the painting to confirm the figure’s identity. A painting of a similarly-styled ascetic in Losty’s Indian Paintings 1590-1880, is inscribed with the name “Gorakhnath,” the founder of the Nath sect. Similarities include the landscape and the curiously winding staff. An important temple devoted to Gorakhnath is located in Ahmadnagar in the Northern Deccan. The present work likely originated south of this, in a location near Hyderabad.
Portrait of an Elephant Rajasthan, Mewar, late 18th century Pigments and gold on paper 9 1/3 x 10 in. (23.6 x 25.4 cm.)
Provenance:
Christie’s London, 25 October 2016, lot. 85. Private French Collection.
Throughout the centuries, the rulers of India displayed an unwavering admiration for elephants, utilizing them for their power and majesty in battle and as ceremonial mounts. The Mughal Emperor Akbar (r. 1556-1605) had a keen interest in elephants, and although he was only emulating the reverence of former native rulers, his influence helps explain the animal’s wide popularity in Indian miniatures from his reign onward. Rajput rulers who owed allegiance to the Mughals followed suit, giving names to and commissioning portraits of their favorite elephants. Thus, Mughal, Rajput, as well as Deccani paintings abound in such portraits and studies of elephants, exhibiting the adeptness with which artists captured the animal’s strength and grace.
The present portrait is no exception. The subject is modeled naturalistically, as is usually the case with elephants in Indian painting. It stands in profile, with its front foot chained and its back secured with rope. The elephant is adorned with a golden band around its tusk as well as stripes of red paint running along the top of its head and a circle marking the temple. The devanagari inscription in the top border reads “Hathi Pat Sahib Kas,” where “Hathi,” meaning elephant, precedes the animal’s name. A similar elephant depiction from Mewar, dated 1760, appears in Pal’s Elephants and Ivories, fig. 45, pg.
55. Note the similar rendering of the ears, the shading demarcating the shape of the animal’s legs, as well as the piercing life-like gaze emanating from the elephant’s eye—the detail which, in conjunction with the soft curvature of the trunk, renders the subject particularly charming.
For a comparable painting, reference A Royal Elephant in Simon Ray Indian and Islamic Art 2024 Catalogue, no. 27.
Raja Andhrai Singh Smoking Hookah Bundi, Rajasthan, India, late 18th century
Gouache heightened with gold on paper
Image: 8 x 6 in. (20.3 x 15.2 cm.)
Folio: 9 x 7 1/8 in. (22.9 x 18.1 cm.)
Inscribed above in white ink Devanagari script in the red border: raja shri andhrai singh ji ki sabi sai pura ka
Provenance:
Acquired in New York in the 1980’s, by repute.
Smoking from the stem of a hookah, a Raja sits against a large bolster cushion, his elbow resting against a matching cushion as an attendant fans him with a fly whisk. Symbols of his religious devotion mark his face in the form of the tilaka on his forehead and the delicate white patterns stamped on his face and neck in sandal paste. While his proper right hand holds the stem of his hookah, his left clutches at a string of prayer beads, of which he also wears around his neck. Beside him rests a small punch dagger, as well as an assortment of cucumbers, oranges, and small plums.
The saffron yellow of the Raja’s jama and matching pagri is complemented by the brilliant verdigris background–a characteristic feature of Bundi painting. These vibrant colors are repeated on the floral carpet upon which the Raja sits. An almost identical rug is depicted in another Bundi portrait depicting Raja Dip Singh in the Los Angeles Museum of Art (acc. M.86.417.2). One may note the very Bundi-esque (and somewhat irrational) placement of the canopy poles that hover in mid-air behind the nobleman, a trait also shared by the LACMA portrait.
The portrait is identified by the Devanagari inscription in the upper red border as Raja Andhrai Singh, likely a
ruler from one of the fiefdoms in the orbit of Bundi or Jaipur. A related portrait of a Bundi nobleman named Umed Singh with his sons and courtiers, formerly in the Collection of Stuart Cary Welch, has a similar composition and color palette with its participants, likewise, seated on a white terrace enclosed by a marble balustrade (Milo Cleveland Beach, Rajput Painting at Bundi and Kota, Asconda, Artibus Asiae, 1974, fig. 29). In both these paintings, as is often the case in Rajasthani painting, the historical and the idealized coalesce, leaving the viewer with an aesthetic experience that does not necessarily require deep understanding to appreciate.
For a comparable painting, reference Maharaja Dip Singh of Kaparan (Kapren) at LACMA (M.86.417.2).
Reference: Beach, Milo Cleveland. Rajput Painting at Bundi and Kota. Ascona: Artibus Asiae Supplementum XXXII, 1974.
Shiva and Parvati Worshipped by Deities Kangra, India, 18th-19th century Gouache on card heightened with gold leaf 7 1/2 x 8 1/2 in. (19.1 x 21.6 cm.)
Provenance:
The Harry and Ann Malcolmson Collection, Toronto, by 1968 (documentation upon request). The Isaacs Gallery, Toronto, Canada.
Shiva (Sanskrit: शिव) and Parvati (Sanskrit: पार्वती) are one of the three chief divine couples in Hinduism. Shiva is known through many different forms and in a variety of iconic scenes. In his calm form, he is seen with his wife, Parvati, and their two sons, Ganesha and Kartikeya (often in a scene dubbed “the holy family”. True to his common epithet, he is also the Nataraja, the lord of dance; when Shiva dances the tandava he will complete the cyclical nature of the universe and bring it to darkness.
Parvati is goddess of fertility, motherhood, power, beauty and the chief consort of Shiva. Parvati is largely seen as a benevolent passive goddess, kind and as the mythological example of a good Hindu wife. She is identified as Shiva’s shakti, or the source of his power and in this way she has influence on a cosmic level.
In this piece, Shiva and Parvati are seated under a banyan tree on the skin of a jaguar. Shiva’s vahana, Nandi, is seated to his left while Parvati’s Jaguar is to her right, creating a sort of symmetry for the viewer. Shiva is dressed in the skin of a tiger and his loyal snake, Vasuki, decorates his neck, while Parvati is dressed modestly in a sari with the dupatta over her head. Gold leaf is used to accentuate their jewelry and the bells of their vahanas respectively. In front of them are a number of
worshipping deities such as the four-headed Brahma and the four-armed Vishnu, and the form of Indra covered in eyes, further highlighting their importance within the pantheon.
The entire piece is framed by a dark color botanical border with white flowers, typical for the Kangra region.
Krishna and Consort Receiving Royal Guests
Rajasthan, India, 18th/19th Century
Gouache on card heightened with gold leaf 12 x 19 in. (30.5 x 48.3 cm.)
Provenance:
The Harry and Ann Malcolmson Collection, Toronto, by 1968 (documentation upon request).
The Isaacs Gallery, Toronto, Canada.
Set within an architectural marvel, the deep blueskinned Krishna is seated on an ornate throne, draped in golden-yellow garments. His consort, likely Rukmini or Radha, sits beside him in a position of honor. The scene captures a moment of divine reception, as two royal guests approach with folded hands and floral offerings, signifying reverence. Surrounding them, elegantly adorned female attendants engage in gestures of hospitality, some holding chowries (fly whisks), a symbol of royalty and divinity.
The intricately designed palace reflects both Mughal and Rajput architectural influences, featuring domed pavilions, enclosed balconies, and finely arched openings—hallmarks of Rajasthani palace architecture. Enhancing its grandeur, stylized trees are arranged across the façade, evoking a paradisiacal setting.
Executed in gouache on card and heightened with gold leaf, the painting shimmers with delicate embellishments, particularly in the figures’ clothing and jewelry, further emphasizing the opulence of the scene.
Baz Bahadur and Rupmati Riding at Night Mughal, probably Awadh, circa 1800
Opaque watercolor heightened with gold on paper
Image: 7 3/4 x 10 1/8 in. (19.7 x 25.7 cm.)
Folio: 8 3/8 x 10 7/8 in. (21.2 x 27.6 cm.)
Published:
Daniel J. Ehnbom, Indian Miniatures: The Ehrenfeld Collection, New York, 1985, no. 30, pp. 76-77.
Provenance:
The Ehrenfeld Collection, California.
Sotheby’s New York, 6 October 1990, lot 19.
Carlton Rochell Asian Art, New York.
The Sterling Collection, U.S., 2011.
Baz Bahadur of Mandu, the last King of the Malwa Sultanate (r. 1555-1562), is depicted here riding with his beloved Rupmati on a pair of horses. They gallop in sync through the darkened night landscape, rearing up in perfect unison as the lovers gaze into each other’s eyes. They seem to glow with an otherworldly radiance, their energy illuminating the green bush behind them like a spotlit stage. A lotus-filled pond with a pair of birds bathing is depicted below.
Although the Muslim Baz Bahadur and the Hindu Rupmati were historical figures who lived and loved during the reign of the Mughal Emperor Akbar, their inspiring story has transcended into folklore and poetry. Baz Bahadur was initially led to Rupmati by music he heard on a hunt. After years of palatial and romantic bliss, the two were divided by the 1661 Mughal conquest of Mandu, whereupon Rupmati chose death over being taken captive. Thus, they are the archetypal tragic lovers—an Indian version of Romeo and Juliet— and are represented here in this stunning miniature as idealized types, raised to heroic perfection.
While it is apparent that these are not actual portraits, we can nevertheless immediately recognize them as Baz and Rupmati with the help of longstanding visual
conventions associated with their story: Baz Bahadur bears a long spear, two quivers of arrows, a bow, and a sword. Their eyes meet as their caparisoned horses lift them in a united stride.
Krishna and the Serpent Kaliya Madhya Pradesh state, India, former kingdom of Datia, circa 1800
Gouache heightened with gold on prepared paper 14 ½ x 11 in. (36.8 x 27.9 cm.)
Provenance:
From a Park Avenue Collection, acquired throughout the 1970s and 1980s.
Sotheby’s New York, 19 May 1982, Islamic Works of Art, Lot 13.
Created in the former kingdom of Datia around 1800, this painting depicts a pivotal episode from the Bhagavata Purana in which Krishna subdues the serpent king Kaliya, a multi-headed serpent (naga) seen on the lower right of piece. The scene unfolds along the banks of the Yamuna River, where Kaliya’s venom had poisoned the waters, endangering the health and lives of the region’s inhabitants. In response, Krishna leaps into the river to challenge the serpent’s many hoods, asserting his divine authority. The wives of Kaliya, depicted with serpent-like lower bodies on the upper left, beseech Krishna for mercy as they recognize his supreme power. Their pleas are met with compassion, and Krishna spares Kaliya, restoring purity to the river and harmony to the land.
The composition is rich in narrative details, with expressive figures and inscriptions, verdant landscapes, and divine beings observing the event from above. Executed in vibrant gouache with gold highlights, this work exemplifies the refined artistic tradition of Madhya Pradesh, blending dynamic movement with meticulous detail to convey Krishna’s role as both a protector and a divine force of balance.
Compare this artwork to two similar depictions of the scene: one nearly identical example in the Asian Art Museum’s collection, The Encounter Between the Hindu God Krishna and the Serpent Kaliya, from a manuscript of the Bhagavata Purana (object no. 2005.64.39), and an alternate representation in the Harvard Art Museum’s collection, Krishna Quells the Serpent Kaliya (painting, recto), an illustration from the Bhagavata Purana (object no. 1974.112).
Noble Hunting Procession with Falcons
Jaipur, India, circa 1800
Gouache heightened with gold on prepared paper
Image: 10 x 14 in. (25.4 x 35.6 cm.)
Folio: 12 x 9 ½ in. (30.5 x 24.1 cm.)
Provenance:
From a Park Avenue Collection, acquired throughout the 1970s and 1980s.
Sotheby’s New York, 15 June 1979, Fine Oriental Miniatures, Manuscripts, Islamic Works of Art, and 19th Century Paintings, Lot# 61.
Amidst a vibrant landscape, two noblemen, possibly Rajput rulers, lead an elaborate hunting procession, a pursuit reserved for royalty and aristocracy. They are elegantly attired in magnificent garments with intricate gold embellishments and are seated atop richly adorned blue and brown steeds. The rulers each hold a falcon—a symbol of power, strategy, and noble sport. Their retinue, dressed in opulent textiles and jeweled headpieces, carries additional falcons and weaponry, emphasizing their readiness and support in the hunt.
In the foreground, a sleek cheetah, a prized hunting companion, moves with poised energy alongside a pack of eager hounds, their bodies adorned with decorative harnesses. The background features a grand architectural complex nestled along the banks of a serene lake, where swans gracefully wade. The domes and arches of the palace evoke the splendor and grandeur of Jaipur courtly life.
Executed with meticulous detail in gouache and heightened with gold, this painting encapsulates the discipline, prestige, and pageantry of royal hunting traditions in early 19th-century Rajasthan.
Prince and Lady Rajasthan, India, 19th century
Gouache on card heightened with gold leaf 9 x 4 1/8 in. (22.9 x 10.5 cm.)
Provenance:
The Harry and Ann Malcolmson Collection, Toronto, by 1968 (documentation upon request).
The Isaacs Gallery, Toronto, Canada.
The present folio depicts two semi-divine, regal, seated figures in an outdoor courtyard scene with a white pavilion and a lush flora and fauna in the background. Typical of Rajasthani miniature paintings, the composition is in a flat, two-dimensional perspective, and is framed within a vivid red border. It can be characterized by an overall bold color palette, meticulous detailing, and stylized facial features.
At the heart of the painting, a male figure adorned with pearls and gemstone jewelry gracefully sits crosslegged in lotus position upon a gray-black animal skin rug and against a dark red cushion. His head bears a bejeweled crown or headdress, signifying divine or royal status and his outstretched right hand holds strings of pearls, a gesture of discourse or blessing as he engages with the female figure seated before him. The woman, dressed in a richly ornamented red and gold sari with delicate jewelry, conveys a sense of reverence or devotion through her posture and expressive facial features, suggesting a moment of spiritual connection or courtly interaction. Her hands open in a gesture of respect as she gazes upon the prince in front of her. Both figures are rendered in typical Rajasthani style with faces depicted in profile and elongated-shaped eyes, pointed noses, and small, well-defined lips. A
distinctively curved eyebrow line extends from the nose bridge to the side of each face, reflecting the figures’ idealized beauty.
Dense foliage fills the top of the painting and is detailed with flowering trees with the head of a peacock slipping into view from just behind the roof of the white pavilion structure. The garden enlivens the scene and evokes a verdant paradise, often depicted in miniature paintings as scenes for divine or romantic encounters. Botanical ornamentation is mirrored in the foreground of the scene with small, repeating blossoms that decorate the floor and white and green paneled railings which draw the viewer’s gaze to the courtyard scene.
The Sanskrit or Devanagari inscription along the upper register suggests its inclusion in a larger body of text, possibly a devotional or literary manuscript.
Illustration from the Bhagavata Purana: The Abduction of Rukmini
Rajasthan, India, 19th century Gouache on card 7 ½ x 10 ¼ in. (19.1 x 26 cm.)
Provenance:
Private Canadian Collection, acquired in London, United Kingdom, circa 1977.
The present illustrations relate the story of the union of Krishna with his consort Rukmini.
Rukmini, princess of Vidarbha, was promised to King Sisupala against her will. In despair for her situation, Rukmini prayed that Krishna would save her. Krishna heard her prayers and whisked her away in his chariot as she was leaving the temple. This act of abduction, known as rakshasa (a warrior’s way of claiming his bride through abduction), led to immediate retaliation.
Her brother, Rukma was enraged by the incident and pursued Krishna in his own chariot. Krishna was far more skilled and defeated Rukma in the battle but spared him at Rukmini’s request. Instead, Krishna punished him by shaving his head.
In this piece, we can see the climax of the fight between Krishna and Rukma. The piece is set on a symmetrical green background with arrows that litter the floor. Only Rukma is left to fight and his status is shown through the golden crown that sits atop his head. The tide of this battle is directly conveyed with the asymmetry on the side of Rukma, his charioteer is left under the collapsed horses and his hat is
tossed aside. While Rukma himself appears locked in combat in a defensive position with his sword and shield.
Rukmini sits in a very passive position and her head is tilted downwards while Krishna hurls a volley of arrows at her brother. She appears smaller in the golden chariot, likely a way to emphasize the majesty of Krishna. He is dressed in striking yellow clothing and features a similar crown to Rukma. All of this is set against a typical red folio with some white lines for added design.
Ganesha Enthroned Kangra, India, circa 1800-1850
Opaque watercolor heightened with gold on paper 10 3/4 x 11 in. (27.3 x 27.9 cm.)
Provenance:
Private New York Collection acquired in the 1990’s, by repute.
The bestower of good fortune, remover of obstacles, and god of new beginnings sits here enthroned, consuming sweets. He appears at ease, his gaze as relaxed as his posture, encouraging his snake to take part in the snack. The tilaka and crescent moon which grace the divine elephant-headed god’s temple are marks of his divinity and transcendent knowledge. He is attended to by two lavishly dressed women in full jewelry sets and layered textiles in hues that create continuity in the palette and connect the attendants to their object of veneration. Playful patterns and bright colors give great vibrancy to this miniature painting of the widely adored god, Ganesha.
Nobleman Paying Homage to Ganesha Kangra, attributed to Purkhu, circa 1810
Gouache heightened with gold on paper
Image: 14 ¾ x 11 in. (37.47 x 27.94 cm.)
Folio: 16 x 12 in. (40.64 x 30.48 cm.)
Provenance:
Acquired in New York in early 2000’s, by repute.
The imposing figure of Lord Ganesha appears seated on a lotus throne accompanied by his vahana, the rat, and a maharaja. Wreaths of white flowers, as well as strands of pearls and jeweled pendants, hang from his neck and drape across his corpulent belly. As the elephantheaded son of Shiva, he bears a crescent moon and third eye on his forehead, characteristic marks of his father. In each of his four arms he holds an attribute: an axe, a strand of pearls, his own broken tusk, and a bowl of ladoo. His trunk turns sharply to take a sweet from the bowl of ladoo as he gazes directly at the viewer. It is a testament to the skill of the artist that Ganesha is rendered in the frontal pose, an angle many Indian artists struggled depicting, preferring instead the side profile.
The Maharaja at Ganesha’s side is most likely the painting’s patron. Wearing a white and gold jama and matching pagri , with a trimley cut beard and katar tucked into his belt, he holds his hands together in obeisance. While Ganesha appears to be the focus of painting, the portrait really is that of the Maharaja, serving as a way to show his religious devotion as well as to elevate the Maharaja by depicting him in the audience of a god.
The entire group appears seated underneath a jewel encrusted outdoor pavilion fit for the lord of beginnings; A liberal application of gold leafing covers its entire surface, broken up by alternating pink and green gems, delicate rows of pearls, and intricate stippling throughout.
It’s three scalloped archways, held up by decorative columns topped by acanthus leaves, mirror the three royal umbrellas at the pavilions’ zenith. The gold of the pavilion is contrasted by the uniform silver of the outdoor terrace, now oxidized, which also appears on Ganesha’s axe as well as on his bolster cushion. In the background, flowering creepers reach out above the lush foliage towards the strip of blue sky in the upper register which is belied by a vast expanse of undulating white clouds outlined in brilliant gold.
The Goddess Kali Attributed to Sajnu Mandi, North India, circa 1810
Opaque watercolors heightened with gold on paper 12 1/2 x 9 1/2 in. (31.8 x 24.2 cm.)
Provenance:
Private Swiss Collection.
Christie’s, London, 10 June 2015, Lot 70.
The goddess depicted in a classical stance after her killing spree, the third eye surmounts her tongue struck out in between protruding fangs, clad in a belt of decapitated hands and a necklace of severed heads as jagged hair runs down her shoulders. The manifestation of destruction and barrenness is seen brandishing a curved sword (kharga), holding a decapitated head, with a foot over Shiva’s body. Jackals and vultures surround the scene smelling death in the blood- saturated air. The illustration is centered in an octagonal medallion, the spandrels embellished with gold scrolling foliate tendrils, in black borders with scrollwork, wide pink margins containing further depictions of her emanations, cusped cartouches above and below with a vulture and a rat.
Mahakali, or “The Great Kali,” embodies the dual aspects of time and destruction, as well as the creative power (Shakti) fundamental to the cosmos. She is juxtaposed with Shiva, who symbolizes pure consciousness. This artwork is emblematic of monistic Shaktism and resonates with the Nondual Trika philosophy of Kashmir Shaivism. The depiction of Kali standing upon Shiva signifies the activation of the universe through Shakti, without which consciousness remains inert, akin to a corpse (Shava). This interplay highlights the necessity of balance between the forces of creation and destruction.
The distinctive elaborate margins of this work with cusped cartouches containing attendants of Kali and associated animals are similar to those found on a painting of Raja Isvari Sen of Mandi worshiping Shiva attributed to artist Sajnu (W.G. Archer, Indian Paintings from the Punjab Hills, London, 1973, fig. 46, p. 275).
About Sajnu: “Painting at Mandi, a relatively large kingdom in the Punjab Hills, did not really get underway until the middle of the eighteenth century. It reached an apogee of creativity during the reign of Raja Isvari Sen, who was under the cultural sway of painting mad Kangra and Guler, the two kingdoms which supplied a number of Isvari Sen’s favorite artists. His leading court painter was Sajnu, originally from Kangra or Guler. Sajnu, like Nainsukh and the Basohli Master of the Early Rasamanjari before him, did much to transform the style of painting everywhere in the Punjab Hills. Early nineteenth century Pahari painting was greatly influenced.” (McInerney, Terence; Kossak, Steven; and Haidar, Navina. Divine Pleasures: Painting from India’s Rajput Courts. New York: The Metropolitan Museum of Art, 2016 pg. 238. Print.)
Nayika Bhed Mugdha: Navala Vadhu (The Newly Wedded)
Kangra, India, circa 1810
Opaque watercolors heightened with gold on wasli 10 ¼ x 7 ¾ in. (26 x 20 cm.)
Provenance:
Private Swiss Collection.
Sotheby’s New York, March 21 and 22, 1990, lot 103.
Nayikas are a classification of heroines often in relation to dance or romance. They are put into a fourfold grouping by Keshav Das, according to age: up to sixteen ( bala ), from sixteen to thirty ( taruni ), from thirty to fiftyfive ( praudhaI ), and over fifty-five ( vriddha ) “The old and the learned say that tender in the years, this Nayika grows gradually, and her brilliance increases day by day” (M.S. Randhawa). This particular scene is an example of Mugdha or Navodha, which is subsequently divided into Navala-Vadha (the newly wedded).
The nayika can often be identified through common elements of her profile, a demurely lowered gaze, defined features and jet black hair. Her fine nose, small red lips and shapely chin are enhanced by her subtle smile. Whether the figure is a courtesan or princess, this is an idealized rendering of a nayika, her features displaying the classic look of a perfect Pahari heroine found in countless miniatures since the development of the Kangra style.
Here the maiden is seen dressed in green and draped by a delicate translucent orhani, garbed in elaborate jewelry seeking comfort from a companion. The piece is framed by an oval opening with floral motifs and a rosy pink border.
Reference: Randhawa, M. S. Kangra Paintings on Love. New Delhi: National Museum, 1962. Print. Pgs. 34, 35, figure 11.
Maiden with a Mirror Kangra, India, circa 1810
Opaque watercolor heightened with gold on paper
Image: 4 7/8 x 3 ⅝ in. (12.4 x 9.2 cm.)
Folio: 6 x 4 ⅞ in. (15.2 x 12.4 cm.)
Provenance:
The Collection of Hellen and Joe Darion, New York, by February 1968 (no. 39).
The wide and focused eye of the young maiden directs the viewer’s gaze directly to the figure’s hand with which she applies kajal in a mirror held by an affectionate child. She has already adorned herself with a tikka (hair ornament), nath (nose ring), earrings, necklaces, armbands, and rings. The vermillion on each of her fingertips matches that of the three layers of her diaphanous garments, decorated with green edges matching the window valence above. She appears to be preparing herself for an important event for which the child below has already been groomed. The child’s lavender dress matches the magenta and yellow textile that hangs over the base of the window, creating a pleasingly cohesive color palette.
The charming portrait is unmistakably Pahari, epitomizing a bold and colorful tradition that embraces naturalistic Mughal techniques. This type of architectural framing (a view through a window) is typical among paintings from Kangra, in particular, as is the deep blue border with a gold foliate motif and a secondary support of speckled pink paper.
A Nayika Writing a Note Kangra, India, circa 1810-1830
Opaque watercolor heightened with gold on paper
Image: 8 ¼ x 6 in. (21 x 15.2 cm.)
Folio: 9 ¾ x 7 ¾ in. (24.8 x 19.7 cm.)
Provenance:
The Collection of Hellen and Joe Darion, New York, by February 1968.
Within the frame of an arched window, a nayika (heroine) sits on a carpeted terrace dressed in a flowing green sari and orange veil with gold trim. She wears large ear and nose rings, strands of pearls and numerous jewels and ornaments. Her female companion awaiting the finished note to deliver to her beloved. Below, writing implements on a covered gold and jeweled plinth appear along with a knife, scissors, a small gold cup and a bowl.
The central female represents the consummate Kangra heroine, with a demurely lowered gaze and an archetypal profile, sharply defined features and jet black hair. Her fine nose, small red lips and shapely chin are enhanced by her subtle smile. Whether the figure is a courtesan or princess, this is an idealized rendering of a nayika, her features displaying the classic look of a perfect Pahari heroine found in countless miniatures since the development of the Kangra style. The present painting is a wonderful example of the pan-Pahari style of Kangra originated at Guler as a response to the increasing influence of naturalistic Mughal painting.
Illustration to Kirata-Arjuniya Episode, from a Mahabharata Series
Kangra, India, circa 1820
Opaque watercolor on paper, heightened with gold Image: 13 3/4 x 18 1/2 in. (34.93 x 47 cm.)
Folio: 15 1/2 x 19 7/8 in. (39.4 x 50.5 cm.)
Provenance:
Acquired from Doris Weiner Gallery, by repute. Private Virginia collection, thence by descent.
A Sanskrit epic, written by Bhairavi in the 6th century, the Kirata-Arjuniya episode revolves around the encounter of Pandava Prince Arjun with Lord Shiva (in disguise of a Kirata, a mountain dwelling hunter).
During the Pandavas’ exile, Arjuna encountered a demon in the form of a boar. After Arjuna killed the boar in self-defense, a dispute arose with Shiva, disguised as a hunter, claiming he had shot first. Despite Arjuna’s use of divine weapons, he couldn’t defeat the hunter. Recognizing the hunter as Shiva, Arjuna sought forgiveness. Shiva revealed his identity, and blessed Arjuna with powerful weapons, including the Pashupatastra, strengthening him for the Kurukshetra War.
This artwork beautifully encapsulates the quintessence of the Kangra style by incorporating a distinctive bold border adorned with foliate motifs that gracefully traverse the composition. The airbrushed portrayal of trees and the opulent landscape, coupled with the application of linear perspective for depth, depicts the typical Kangra paintings of its era. Notably, the majority of figures are depicted inside or quarter profile. The meticulous detailing of weaponry, jewels, and clothing in the depictions of Arjuna as a warrior
prince and Shiva as the Kirata hunter underscores the exquisite artistry inherent in Kangra miniatures.
Refer to a similar painting (accession no. M.70.38.1) from the Los Angeles County Museum of Art which comprises the same subject matter.
Composite Camel
Marwar, India, circa 1820 - 1830
Opaque watercolors and gold on paper
Image: 9 x 7 ¼ in. (22.8 x 18.4 cm.)
Folio: 13 ¼ x 9 ¼ in. (33.6 x 23.5 cm.)
Provenance:
Private West Coast Collection acquired 1970’s, by repute.
Originating from the Islamic world, the composite animal figure eventually migrated east into Indian iconography and became a popular subject in the North. These figures appeared as early as the 16th century in India, constituting a spike in creation of these composites through the 17th century. The composite figure was likely inspired by Buraq, the legendary beast on which Muhammad made his mi’raj (night journey) to paradise as described in the Qur’an. Some scholars speculate that the composite figure comes from animalistic cults that practiced in pre-Islamic Central Asia.
The rider is oftentimes a peri, a supernatural being descended from fallen angels excluded from heaven until they achieve forgiveness from on high. The peri in this composition is shown playing harp, her stunning wings of blue, turquoise, purple, and deep green unfurled behind her. The composite figure shown here takes the form of a camel, made up of four human figures and a variety of animals, including an elephant, a monkey, birds, and lions. The feet are composed of rabbits, a fish serves as the tail, and a snake encircles the face to mimic reins. It is possible that the present painting is a replica of an earlier Mughal or Deccani work, as Pahari artists were known to do this from time to time.
Kali Dances on Two Lovers Kangra, Himachal Pradesh, circa 1840
Ink, opaque watercolor, and gold on paper
Image: 8 1/2 x 5 3/4 in. (21.5 x 14.6 cm.)
Folio: 11 x 8 1/8 in. (28 x 20.6 cm.)
Provenance:
Private European collection, by repute.
According to Hindu mythology, there was once a powerful demon named Raktabija who received a boon allowing him to replicate himself whenever a drop of his blood touched the earth. When the demon engaged in battle with the gods, Kali spread her tongue over the battlefield to prevent any of the demon’s blood from hitting the ground, thus facilitating his defeat. Kali, however, became drunk with bloodlust and after her victory, the goddess went on a rampage. She proceeded to kill anyone who crossed her path, adorning herself with the dismembered parts of her victims. Afraid that Kali would not stop until she destroyed all the cosmos, Shiva lays down on the battlefield in her path. Upon seeing her consort beneath her foot, she suddenly realized her mistake and halted her spree.
This striking 19th-century painting from Kangra, Himachal Pradesh, depicts the fierce goddess Kali in a moment of divine ecstasy and destruction. Rendered with exquisite detail in ink, opaque watercolor, and gold on paper, the composition is charged with the dramatic tension of tantric symbolism and religious devotion. Kali, the darkhued goddess of destruction, power, and transformation, stands triumphantly atop a copulating couple. In one hand she holds a raised blade still dripping with blood above her head, while other hands hold a severed head
and a double lotus plant. A garland of severed heads and arms wrap around her body serving as a testament to her fearsome nature. She defiantly sticks out her tongue as her long hair flows down from the crown of her head and guides the viewer’s eyes to the couple below her feet.
This imagery, deeply rooted in Tantric traditions, embodies the interplay of destruction and creation, with Kali (time) performing her cosmic dance to sustain the endless cycles of creation. The male figure below Kali, who may be identified as Shiva, submits to her overwhelming energy in an act of divine surrender. He lies beneath Kali’s more gentle and benevolent form, Parvati, who is adorned with delicate golden jewelry on her ankles, waist, arms, hands, and ears. The erotic elements within the composition, far from being mere sensual motifs, symbolize the unification of dualities—life and death, male and female, creation and destruction—concepts central to Hindu religious and spiritual traditions.
The painting’s refined execution, characteristic of Kangra miniatures, juxtaposes the raw power of Kali’s form with the delicate precision of her ornaments and the luminous quality of gold detailing. The swirling background, evoking flames and turbulent ether, enhances the dynamic tension of the scene.
A Nayika Preparing to Meet her Beloved Kangra, mid-19th century
Opaque watercolor heightened with gold on paper
Image: 7 2/3 x 5 in. (19.5 x 12.7 cm.)
Folio: 10 ½ x 7 in. (26.7 x 17.8 cm.)
Provenance:
Christie’s New York, 6 July 1978, lot 64. The collection of Dr. Alec Simpson.
A nayika kneels on a gold and jeweled plinth, naked except for a transparent wrap and gold jewelry. Her lithe body turns as she wrings out her long black hair on the white marble terrace of the zenana. The woman is accompanied by four attentive handmaidens holding vessels that contain body oils, perfumes, ointments and lac for the palms of her hands and soles of her feet. As she prepares to greet her lover, the air is tense with anticipation. The blue, cloudy sky is streaked with red, rendering an evening sunset. In the middle distance rises a gray lotus-filled pond, the blossoms and leaves large and freshly blooming. In the far distance, a village set among steep hillsides is visible. Amidst its population of cowherds and small structures, two tiny mounted nobles gallop in from the left and right.
Compare these landscape features to a work signed by the artist Har Jaimal in W.G. Archer’s Visions of Courtly India, 1976, no. 73 and 74.
Oldfield (Henry Ambrose, 1822-1871), Rajman Singh Chitrakar (1797-1865) & others
An India, Nepal, Kashmir & Afghanistan Album, circa 1850-1880
Photographs, watercolors, and drawings 15 1/2 x 17 in. (39.37 x 43.18 cm.)
Provenance:
Lieutenant General Sir James Hills-Johnes VC (18331919); thence by descent.
This is an important and extensive mid-19th century album documenting Hill-Johnes’ time in India, Nepal, Kashmir & Afghanistan. The album consists of 160 photographs and 13 original artworks, compiled by Lt. Gen. Sir James Hill-Johnes VC (1833-1919), including approximately 88 portrait and group photographs measuring from approx. 185 x 140 mm to 135 x 105 mm and smaller, 48 larger group, camp and landscape photographs approx. 175 x 235 mm, 24 large group and landscape photographs approx. 245 x 300mm, 12 large watercolours and drawings approx. 285 x 370 mm, and one smaller drawing approx. 115 x 190 mm, mounted on 66 leaves, contemporary black straight-grained half roan, sympathetically rebacked, label to upper cover with manuscript annotations, oblong folio.
Photographs include portraits of various officers, many with names captioned in ink; a group portrait of ‘G[overnor] G[eneral]’s Camp’, and below it a group shot of Col. Yule, Major Jones, Mr. Walters, Captain Stanley, Captain Baring, Captain Roberts V.C., Captain Hills V.C. and Sir E. Campbell Bart’, the latter attributed to Jean Baptiste Oscar Mallitte; a portrait of Lady Canning taken c.1861 by Josiah Rowe (British, c. 1809-1874); some Indian landscapes, such as the bridge over Hindon River, Ghaziabad; stock photographs by Samuel Bourne
of Government House, Calcutta; photographs by Clarence Comyn Taylor (1830-1879) of Maharaj Dhiraj Surendra Bikram Sah, King of Nepal (ruled 1846-1881); photographs of the family of Henry Ambrose Oldfield, doctor at the British Residency in Kathmandu, Nepal (1850-1863); portraits of Maharajah Jang Bahadur CB, Prime Minister & Commander-in-chief, Nepal; Raj Guru, the chief Hindu priest of Nepal and a brother of Jang Bahadur; and photographs from Kandahar, Afghanistan, amongst others.
Artworks include four large watercolours by Henry Ambrose Oldfield, including ‘A Gateway of Palace, Kathmandhoo,’ The Palace at Kathmandu’, ‘Interior of principal temple, Pashputty Nepal [sic, Pashupatinath]’ and ‘Swayambhunath Temple’; a group of 8 pencil landscape sketches in the style of Oldfield, but one is captioned “(Rajman)”, a likely attribution to the local artist from Patan, one of the first painters from Nepal to incorporate Western art practices, Rajman Singh Chitrakar (1797-1865); a “Company School” watercolour of a bison, also possibly by Rajman.
Maharana Sarup Singh of Udaipur Workshop of Tara Chand, likely by Parasuram Mewar, Udaipur, circa 1860
Gouache heightened with gold on paper Image: 16 1/2 x 12 3/4 in. (41.9 x 32.4 cm.)
Folio: 18 3/4 x 14 1/2 in. (47.6 x 36.8 cm.)
Provenance:
Acquired in New York in the 1980’s, by repute.
Maharana Sarup Singh (r. 1842-1861) of Udaipur stands nimbate in formal royal profile, holding a small betel nut or paan against a flat green ground with shrunken floral clusters at the forefront. He is dressed in a pleated, stark white muslin jama and transparent shirt with a matching orange and gold patka and pagri , adorned with aigrettes, pearls, gold and jewels. The Rana holds an upright sheathed sword and is posed regally in profile, like so many Rajput and Mughal nobles who preceded him. A katar can be seen tucked into his waistband.
Tara Chand was the principal master of the royal Udaipur painting workshops during the reign of Sarup Singh. Although Tara’s work was inherently conservative, recalling works from the ateliers of the earlier Maharanas of the eighteenth century, he introduced a new color palette, which includes some aniline colors brought in from Europe. These colors produced the arresting greens, oranges and teals that cannot be overlooked within the composition—the blue-green that fills the Rana’s golden nimbus stands in striking contrast with the emerald background. This blue-green halo color seems to have begun later in the activity of Tara’s workshop and becomes notably pronounced in paintings attributable to his
colleague Parasuram (ca. 1860).
For comparison, refer to a similar painting at the Metropolitan Museum of Art, object number 2019.123.
Jamini Roy (1887–1972)
Untitled (Woman Standing)
India, circa 1920
Tempera painting on cardboard 27 x 14 ¼ in. (68.6 x 36.2 cm.)
Provenance:
Private New York collection.
Private Pennsylvania collection.
One of the earliest and most important artists of the Indian modernist movement, Jamini Roy, began his artistic training in the European academic style. In response to a burgeoning sense of nationalism, from the mid-1920’s he became increasingly influenced by indigenous folk art and craft traditions as well as East Asian calligraphy. Roy was particularly inspired by the Kalighat style, producing minimalist works characterized by soft, curvilinear strokes showcasing the artist’s control of the brush. These paintings employed imagery from everyday life, such as mother and child figures, and were executed in monochromatic palettes.
The present artwork epitomizes the simplistic style Roy developed during this period in his career. Fluid, sweeping black strokes against a soft gray background form the outline of a woman standing in three-quarters view, her hands crossed in front and her head tilted coyly. Devoid of any identifying features, the painting evokes an inviting yet mysterious atmosphere, ultimately illustrating the artist’s mastery of the brush and contour. The piece is signed in Bengali at the lower right.
Arhat/Sthavira (Buddhist Elder) with Multiple Figures
Tibet, 1600-1699
Lineage: Gelug and Buddhist
Ground mineral pigments and gold on cloth
23 5/8 x 17 1/4 in. (60 x 43.8 cm.)
Published: Himalayan Art Resources, item no. 24887.
This painting, with its striking use of vivid colors set against a deep red background, is part of a rare series comprising nine or ten works. The series depicts the sixteen arhats alongside Buddha Shakyamuni and may also include representations of the patron Hvashang and the attendant Dharmatala. While Tibetan art frequently features the Buddha with the sixteen arhats, no other known sets are painted on a red ground like this one, making it truly unique.
Another painting from this collection, illustrating the arhats Nagasena and Abheda, is documented by Pratapaditya Pal in Himalayas (Chicago, 2003, p. 258, cat. no. 170). A third, possibly depicting Ajita and Kalika, is cataloged on Himalayan Art Resources (item no. 13637). At least one additional painting from the group exists in private hands, though it remains unpublished. In this particular work, the arhat on the left, holding a string of jewels, can be identified as Kanakavatsa, while the figure on the right, depicted with a fly whisk and a pointing gesture, could be either Vanavasin or Vajriputra, both of whom share similar iconographic attributes.
Each painting in the set features two arhats seated on cushions or blankets, attended by smaller figures and surrounded by lush landscapes. A defining characteristic
of the series is the presence of four Buddha figures seated on lotus bases amid banks of clouds at the top, with the central pair slightly elevated. Delicate gold highlights trace textile patterns, rocky mountain edges, and curling foliage, creating a striking contrast against the deep red background.
Pal notes that these red-ground paintings may belong to the gser thang tradition, given their use of gold to define figures, although most gser thang works are typically painted on a black background. The cloud formations in shades of green, blue, and purple, along with the swirling waters in the lower left, reflect the artistic influences of early to mid-Qing dynasty Chinese painting. While likely produced in Tibet during the seventeenth or eighteenth century, this series beautifully exemplifies the crosscultural synthesis of Chinese and Tibetan artistic traditions, particularly in the depiction of arhats from this period.
Dipankara Buddha with Arhats, Hvashang and Deities Thangka
Tibet, 18th century
Gouache on cotton
25 1/2 x 20 in. (64.8 x 50.8 cm.)
Exhibited:
“Mirrors of the Heart-Mind” at SAMA in 1988. Himalayan Art Resources (himalayanart.org), item no. 90511.
Provenance:
Southern Alleghenies Museum of Art (SAMA).
Central figure of Dipamkara, one of the Buddhas of the three times, Chinese style blue and green background, Amitayus Buddha at upper center, four arhats flank main figure, Hvashang at bottom left center, with Virupaksha and Dhritarashtra at the lower corners. This piece was originally produced as one of the side paintings of a group of three that would’ve included the primary image of Shakyamuni Buddha and all sixteen arhats.
Buddha Shakyamuni Tibet, 18th century
Ground mineral pigments and gold on cloth
Image: 24 x 15 in. (61 x 38 cm.)
Framed: 31 1/2 x 21 1/2 in. (80 x 55 cm.)
Published:
Himalayan Art Resources, item no. 8045.
Provenance:
Collection of late John Walden (1925-2013).
A golden image of Buddha Shakyamuni sits gracefully upon a stylized open lotus atop a craggy scholar’s rock in what resembles a Chinese literati’s courtyard—typical of Tibetan paintings from the eighteenth and nineteenth centuries. He is appropriately flanked by a peach tree (symbolizing immortality) sheltering two small birds and flowering branches under which two small deer laze. Beneath the historical buddha, who appears in his typical earth-touching gesture are a four-armed Lokeshvara (or ‘Chenrezig’ in Tibetan) and Vajrasattva (‘Dorje Sempa’), with sense offerings displayed between them. The three figures are among the most significant and essential to Vajrayana Buddhist practitioners.
A Mandala Depicting Vajrabhairava
Qing Dynasty, 18th-19th century
Mineral pigments
42 1/2 x 27 3/4 in. (108 x 70.6 cm.)
Provenance:
East coast collection, acquired in the 1970s. Sotheby’s New York, 12 June 2020, lot 899.
This intricately detailed Tibetan Buddhist mandala represents Vajrabhairava, the wrathful manifestation of the bodhisattva Manjushri, venerated as a conqueror of death and a supreme embodiment of wisdom. The mandala’s sacred geometry is structured around a centralized square palace, meticulously crafted with architectural gates, symbolic of spiritual access to the enlightened state. Surrounding this palace are four concentric circles, each forming a protective layer that fortifies the sanctity of the deity’s celestial realm.
At the heart of the mandala, Vajrabhairava manifests in his ferocious, multi-headed, multi-armed form, holding ritual implements that signify his power to cut through ignorance and transcend worldly suffering. The palace interior is richly adorned with additional deities, reinforcing the ritual function of the mandala as a meditative aid for practitioners.Beyond the central enclosure, the composition expands outward, revealing an extensive pantheon of Buddhist figures. At the upper registers, enlightened Buddhas, bodhisattvas, and revered lamas are seated on lotus thrones amidst swirling clouds, symbolizing their celestial presence.
Executed in the refined Tibetan thangka tradition, this work reflects the stylistic and devotional influences of
the Qing Dynasty (18th-19th century), a period when Tibetan Buddhism enjoyed imperial patronage under emperors such as Qianlong. The intricate brushwork, combined with the use of mineral pigments, exemplifies the technical mastery of Buddhist artisans active during this era.
Green Tara with Monks and Deities
Tibet, 18th-19th century
Ground mineral pigments and gold on cloth
27 1/4 x 21 1/4 in. (69.2 x 54 cm.)
Published:
Himalayan Art Resources, item no. 7533.
Provenance:
Tibetan Thangka inherited from the original owner’s grandmother, while living in China, 1931.
Green Tara is the chief manifestation of the figure Tara, in different traditions being considered a goddess, bodhisattva or buddha. The different manifestations change the nature of what she represents; the Green Tara is a manifestation or protection and is considered a savioress or protectress. The other manifestations of Tara can change her qualities and her demeanor, such as the White Tara as a figure of maternal energy, and the Blue Tara a fierce remover of obstacles.
Tara is the subject of many different origins stories and is one with a contested history, nonetheless she is an important figure of the Buddhist and Hindu traditions. Tara is also seen as a very early feminist figure in the sphere of religion and spirituality. One origin story of her states that she was advised to be born again as a man should she attempt to achieve buddhahood.
The 14th Dalai Lama corroborates this story by stating that she then vowed to be born a woman through all her times as a bodhisattva, and again in her final life as a Buddha. This origin story helps dismantle conception about gender as a limiting factor in enlightenment.
In this piece, Tara is seated gracefully on a lush botanical throne with white flowers beneath Amitabha
and surrounded by her many manifestations. Green Tara is adorned in flowing clothing, necklaces and a crown on her head. Her majesty is exhibited through the red nimbus (halo) that appears behind her head and her auspiciousness and compassion through the lalitasana posture.
Vajrapani, Hayagriva, Garuda Combined Tibet, 19th century
Ground mineral pigments on cloth 29 ¼ x 20 in. (75 x 51 cm.)
Published:
Himalayan Art Resources, item no. 8047.
Provenance:
From a Private Italian Collection.
This fine thangka depicts Guhyapati Vajrapani, in his rare form of showing three wrathful deities: Vajrapani, Hayagriva and Garuda combined in one. The three deities are the emanation of Buddha’s enlightened mind, speech, and body, respectively. Thus, they together embody the perfect power of all Buddhas, and protect beings from harmful spirits that create disease, disharmony and obstacles. This special practice of the Vajrapani-Hayagriva-Garuda deity has a long history of lineage, passed down from Je Tsongkhapa’s teacher, Lhodrag Drubchen Lekyi Dorje (1326-1401), who had obtained enlightenment through the practice Vajrapani.
The upper register of this painting shows five figures with Amitabha Buddha on the far right, and four teachers on the left, all wearing the typical yellow cap of the Gelugpa lineage.
Dwelling in the middle of a mass fire, the VajrapaniHayagriva-Garuda deity has a body blue-black in color, with one face and two hands. The right hand holds a vajra and the left, raised to the heart in a wrathful gesture. His hair twists upwards, amongst which a horse head neighs sharply three times over-powering the Three Realms. The neighing of the horse on the right over-powers the male lineages, the one on the left over-
powers the female lineages, and the one in the middle bestows attainments on the practitioner. Below the horse is the King of Birds, Garuda, with a body white in color, beating the sword-wings, adorned within a jewel crown. His hair is adorned with a white spotted snake representing the Kings race. He wears a lower garment of tiger skin, adorned with all the jewel ornaments.
Vajrapani-Hayagriva-Garuda deity is particularly practiced in the Kriya Tantra classification, and grants protection from nagas. Executed strictly according to monastery scripture, he is accompanied by Buddha Nagaraja seated on the right, and Simhanada Avalokiteshvara seated on the left, who belongs to the Kriya classification, and is to remove sickness and disease, especially illness caused by nagas.
Few other identified examples are held at The Fine Arts Zanabazar Museum, Tashi Lhunpo Compilation, Beijing, and Rainy Jin & Johnny Bai collection (See Himalayan Art Resource, Buddhist Deity: Vajrapani, Three Combined Wrathful Ones).
Five Botanical Watercolors by William Roxburgh (1751-1815)
Provenance:
Acquired from Kennedy Galleries in 2002.
61
Bassia Latifolia [Broad-leaved Mahua or Mowha] [Pl. 19]
London: George Nicol, 1795-1819 [-1820]
Engraving, colored by hand on paper
Plate mark: 21 x 15 in. (53.3 x 38.1 cm.)
Sheet size: 23 3/4 x 18 1/4 in. (60.3 x 46.3 cm.)
Born in Scotland, William Roxburgh pursued medical studies at Edinburgh University before embarking on multiple voyages as a surgeon’s mate aboard East Indiamen, chartered East India Company ships by European trading companies. His travels eventually led him to Madras in 1776, where he assumed the role of assistant surgeon. Alongside his medical duties, he developed a keen interest in the plant life of the Carnatic, a region stretching between the Eastern Ghats and the Coromandel Coast. His botanical investigations intensified over the following years as he relocated—first to Nagore in 1779, and later, in 1782, to Samalkot, an isolated settlement roughly 200 miles north of Madras, surrounded by a diverse and abundant ecosystem. Roxburgh spent over a decade there, closely examining the area’s vegetation, before assuming leadership of the Calcutta Botanic Garden in 1793, a post he held until stepping down in 1814.
Even before formally taking on the role of botanist for the East India Company, Roxburgh was deeply committed to botanical documentation. For several years, he retained an artist to produce precise illustrations of various plant species, supplementing these depictions with extensive notes on their characteristics and applications. In 1791, he submitted the first series of these works to
the Court of Directors of the East India Company, who subsequently forwarded them to Sir Joseph Banks, the influential naturalist and scientific advisor. Impressed by Roxburgh’s research, Banks gave his official approval for its continuation on July 4, 1794. The editorial process was largely overseen by Jonas Dryander, Banks’s librarian, who later honored Roxburgh’s contributions by naming the genus Roxburghia after him. The defining species of this genus, Roxburghia gloriosoides, remains a testament to his lasting influence in the field of botany.
The following pieces are in the gallery collection and are from the major publication by Roxburgh titled Plants of the Coast of Coromandel. This publication was created over a 25 year period and depicts the vast flora of India in life-size detail.
61-65
Five Botanical Watercolors by William Roxburgh (1751-1815)
Provenance:
Acquired from Kennedy Galleries in 2002.
62
Ardisia Solanacea [Shoebutton Ardisia or Marlberry] [Pl. 27]
London: George Nicol, 1795-1819 [-1820]
Engraving, colored by hand on paper
Plate mark: 21 x 15 in. (53.3 x 38.1 cm.)
Sheet size: 23 3/4 x 18 1/4 in. (60.3 x 46.3 cm.)
63
Grislea Tomentosa [Pl. 31]
London: George Nicol, 1795-1819 [-1820]
Engraving, colored by hand on paper
Plate mark: 21 x 15 in. (53.3 x 38.1 cm.)
Sheet size: 23 3/4 x 18 1/4 in. (60.3 x 46.3 cm.)
Uvaria Tomentosa [Pl. 35]
London: George Nicol, 1795-1819 [-1820]
Engraving, colored by hand on paper
Plate mark: 21 x 15 in. (53.3 x 38.1 cm.)
Sheet size: 23 3/4 x 18 1/4 in. (60.3 x 46.3 cm.)
Diospyros Melanoxylon [Coromandel Ebony or Ebony Persimmon] [Pl. 46]
London: George Nicol, 1795-1819 [-1820]
Engraving, colored by hand on paper
Plate mark: 21 x 15 in. (53.3 x 38.1 cm.)
Sheet size: 23 3/4 x 18 1/4 in. (60.3 x 46.3 cm.)
65
Nathaniel Wallich (1786-1854)
Osbeckia Angustifolia [Pl. 251]
London, Paris & Strassburg: 1829-1832
Hand-colored lithograph by M. Gauci, printed by Engelmann & Co.
Image size (including text): 18 1/4 x 9 3/4 in. (46.3 x 24.8 cm.)
Sheet size: 20 3/4 x 14 in. (52.7 x 35.6 cm.)
Provenance:
Acquired from Kennedy Galleries in 2002.
A renowned Danish physician, botanist, and plant explorer, Nathaniel Wallich travelled to Nepal, Western Hindostan, Ava and Lower Burma in search of exotic flora and fauna and was responsible for introducing numerous Himalayan plant specimens to Europe. Ardently interested in the indigenous plants of India, where he was appointed Superintendent of the East India Company’s Botanical Garden at Calcultta in 1817, he began vigorously collecting and cataloguing specimens and helped found the Oriental Museum of the Asiatic Society (later called the Indian Museum in Calcultta).
Wallich published Plantae Asiaticae Rariories between 1829 and 1832, which was undertaken with the enthusiastic patronage of the East India Company. For this work, he drew on both specimens collected during his own trips and those supplied by contacts like Sir Stamford Raffles, and he employed artists including Vishnupersaud (or Vishnu Prasad), who Blunt considered the ‘most talented of the native Indian artists’. Maxim Gauci, perhaps the greatest of the early lithographers of botanical subjects, was responsible for translating the drawings onto stone.
A
Northern Shoveler
India (Company School), 19th century
Watercolor
11 1/10 x 17 1/2 in. (28.2 x 44.5 cm.)
Provenance:
Toby Falk (1942-1997).
This watercolor portrays a male Indian duck, likely a Northern Shoveler (Spatula clypeata), positioned to the right on a slender branch or strip of land against an unembellished background. The bird is depicted with a deep sky-blue head, accentuated by fine, darker blue strokes that follow the contours of its skull and neck, lending a sense of texture and lifelike detail to an otherwise stylized rendering. Its striking yellow and black eye meets the viewer’s gaze directly, creating a sense of engagement. The duck’s black and gray bill narrows inward before expanding into a broad, shovellike shape. Its body is adorned with a warm terracotta underside, while short, burnt-orange legs and webbed feet provide balance. The wings, painted in an array of olive green, turquoise, gray, and white, extend to the left, culminating in three prominent horizontal feathers. As with the head, the artist has incorporated delicate lines across the body to enhance the illusion of texture. The bird is perched upon an olive-green branch or a small patch of earth. Slightly smaller than a mallard, the Northern Shoveler is distinguished by its iridescent green head—appearing blue under certain lighting— and its specialized, spatula-shaped bill, which aids in filtering small plankton from the water.
During the late eighteenth and nineteenth centuries, a distinctive tradition of Indian watercolor painting emerged, focusing on meticulous studies of flora and fauna. This artistic movement was largely driven by the patronage of British officers in the East India Company, who commissioned local artists to create works that aligned with European aesthetic sensibilities, scientific curiosity, and a spirit of exploration. Many of these Indian artists, originally trained in late-Mughal painting techniques, adapted their styles to meet European expectations, incorporating elements of realism and perspective into their compositions. Their detailed studies of India’s wildlife, landscapes, and people resulted in a remarkable body of work that not only catered to colonial tastes but also provided an invaluable visual record of the subcontinent during the British era.
This artwork was previously within the collection of Toby Falk, a leading scholar in the field of Indian painting who is recognized for his significant contributions to the study of Indian and Islamic art. He played a key role in producing some of the most authoritative academic works on the subject and, in collaboration with Mildred Archer, catalogued the esteemed collection of the India Office Library. Among his notable publications with Archer is India Revealed: The Art and Adventures of James
and William Fraser 1801-35 (1989), which explores the collections of James and William Fraser—prominent patrons of Company School paintings during their time in early 19th-century India. Falk’s writings remain fundamental resources for researchers and art historians today.
Compare this painting to a similar artwork sold at Christie’s London during ‘The Art Of The Islamic And Indian Worlds Including Rugs And Carpets’ Auction titled A Serow (Capricornis Sumatraenis) or a Fish (1777–1783) by Bhawani Das within The Art Uk’s Wellcome Collection, accession no. 566627.
James Hunter (1755-1792)
Picturesque Scenery in the Kingdom of Mysore, from Forty Drawings Taken on the Spot
Published by Edward Orme, Bond-Street, London, 1804-1805
41 hand-colored aquatint plates in an album Oblong folio: 16 1/2 x 21 1/2 in. (41.91 x 54.61 cm.)
Provenance: Private Collection, London. Forum Auctions Fine Books, Manuscripts and Works September 26, 2019.
James Hunter (1755–1792) was a lieutenant in the Royal Artillery, serving under Marquess Cornwallis in British India. As a military artist, he documented both military and everyday life through his sketches, offering a glimpse into late 18th-century South India. Hunter participated in the campaigns against Tippu Sultan and other military operations in the region. His works include detailed landscapes of Bangalore, Mysore, Tamil Nadu, Kancheepuram, Madras, Arcot, and Sriperumbudur. These paintings were later published in the third section of A Brief History of Ancient and Modern India, embellished with colored engravings by Edward Orme (London) between 1802 and 1805, as well as in Picturesque Scenery in the Kingdom of Mysore (18041805). The album, Picturesque Scenery in the Kingdom of Mysore (1804-1805), has an oblong folio and includes 41 hand-colored aquatint plates, most with tissueguards. printed title, and dedication printed. The album opens up to a portrait of Tipu Sultan on left and title page on right, followed by a dedication page to The Royal Highness, Princess Elizabeth. The cover of the album is detached.
Tippoo Sultan From an original Picture in the possession of The Marquis Wellesley, plate 1 1804
Plate one from ‘Picturesque Scenery in the Kingdom of Mysore’ by James Hunter showing a portrait of Tipu Sultan (1753 -1799), the Muslim king of Mysore who waged war against the British during the late 18th Century. According to Hunter, this picture is based on a portrait which was owned by Richard Colley Wellsley (1760-1842). In 1799, during the Fourth Mysore War, Wellesley was the Governor General of India. Tipu Sultan died during this battle while defending his capital at Srirangapattnam.
Artwork descriptions courtesy of British Museum.
Seringapatam 30002, plate 2 1804
The ancient fortress city of Seringapatam (now called Srirangapatna or Srirangapatnam) was the capital for the Muslim Rajas of Mysore, Haidar Ali (c.1722 - 1782) and his eldest son, Tipu Sultan (1753 -1799). It was located on an island in the Cauvery (Kaveri) River approximately 9 miles from Mysore and 75 miles from Bangalore. The name is derived from the ancient Hindu temple of Sri Ranganatha Swami which is located at the western end of the island. The city became the site of two of the most famous sieges of the AngloMysore Wars (in 1792 and 1799).
Artwork descriptions courtesy of British Museum.
North Front of Tippoo’s Palace, Bangalore, plate 9 1804
This aquatint is based on a picture by Hunter, and shows the north side of Tipu Sultan’s palace at Bangalore. Tipu Sultan (1753 -1799) and his father Haidar Ali (c. 1722 - 1782) were the Muslim rajas who campaigned against the British in the Anglo-Mysore Wars of the late 18th Century. The palace (1791) took ten years to build and was used as a summer retreat. It was a two-storeyed ornate wooden structure with pillars, arches and balconies flanked by gardens on either side. The eastern and western projecting balconies of the upper floor contained the seat from where Tipu conducted affairs of the state. An inscription on the wooden screen describes the palace as the ‘Abode of Happiness’. Artwork descriptions courtesy of The British Museum.
A View of Mount St. Thomas, near Madras, plate 20 1804
This aquatint is based on a picture by Hunter depicting St. Thomas’ Mount, Madras (Chennai). According to local legend, St. Thomas was martyred on this mountain in 52 AD, hence its name. Close to the seashore, an impressive Basilica was built over the tomb of St. Thomas. Between the 14th and 15th centuries, the beach church fell to ruins and in 1522 the Portuguese moved the Apostle’s remains to a new tomb and built a new church, which was given the status of a cathedral in 1606.
Artwork descriptions courtesy of The British Museum.
(Above) Sayyid Hussein Ali (Firoz Jang) Speaking to Courtiers
Company School, Patna, circa 1820
Gouache heightened with gold on paper
Image: 9 ⅛ x 11 ⅝ in. (23.2 x 29.5 cm.)
Folio: 11 3/4 x 9 1/8 in. (29.8 x 23.2 cm.)
(Below) Sayyid Hasan Ali Receives a Minister
Company School, Patna, circa 1820
Gouache heightened with gold on paper Image: 9 ⅛ x 11 ⅝ in. (23.2 x 29.5 cm.)
Folio: 11 1/2 x 9 1/8 in. (29.2 x 23.2 cm.)
Provenance: U.S. Persian Rug Dealer, 1990’s.
In this set of Company School paintings, Sayyid Hasan Ali is seated on a rounded European-style cushion chair, holding in one hand the stem of a hookah while an unidentified attendant slowly waves a peacock-feather morchal above his head. He wears a long white jama and a Mughal-style cap lavishly ornamented with gold pearls and precious gems with a feather-topped sarpech at its peak. Both scenes take place on a terrace covered with a dhurrie rug that overlooks a lovely garden in the distance. The manner in which the sky is depicted, as well as the phenomenal individual portraits of all the characters in the composition, is evidence that this work has been done by a master artist from Patna in Bihar.
In Sayyid Hussein Ali (Firoz Jang) Speaking to Courtiers, he gestures out with his right hand as if in conversation with four subordinates who listen in front attentively. The name ‘Sayyid Hasan Ali,’ as well as the other figures in the painting, are known from the identifying inscriptions above and below each participant. The inscription written under the primary figure seated on a chair reads, ‘Bakshi-Ul-Mumalik Amir-Ul-Umra Sayyid Hussein Ali Khan Saheb Bahadur Feruz Jang’. Among the group seated on the ground from left to right are ‘Ratan Chand’, ‘Jalal Khan’, ‘Sayyid Dilawar’ and at far right ‘Tulsi Ram’.
In Sayyid Hasan Ali Receives a Minister, he sits perfectly upright holding a sheathed ceremonial sword in his left hand as he listens to a minister read a petition from a long scroll. An inscription under the primary seated figure reads, ‘ZaminUl-Dula Qutb-Ul-Mulk Sayyid Hasan Ali Khan Al-Maruf Abdulah Khan Zafar-Jang Bahadur.’ Additional inscriptions above the other figures identify them as follows. The inscription above the standing minister reads, ‘Sayyid Abdul Jalil Wasti Belgrami’, and the kneeling figures from right to left read,’Sayyid Saiful-Din Khan’, ‘Sayyid Gairat Khan’ and ‘Sayyid Alam Ali Khan’ on the left.
The Mughal Emperor Farrukhsiyar (r. 1713-1719) conferred the title of ‘Abdullah Khan Qutb-ul-Mulk’ on Hasan Ali and the title ‘Amir-ul-Umra Firoz Jang’ on Hussain Ali, in gratitude for their political support. These brothers are regarded as “king makers” in Indian history as they were instrumental in facilitating Farrukhsiyar’s ascension to power and acted as a continuing force behind his hold on the throne. They subsequently became key players in the emperor’s demise. After consolidating their position with Farrukhsiyar, Hussein Ali engaged himself in merrymaking and left his duties to his confidant ‘Ratan Chand’, a bania by caste and a very mean and corrupt official.
The compositions of the durbars, the rounded naturalistic faces of each participant (some in threequarter view), the use of perspective with the receding lines of the dhurrie carpet, and complex spray of blossoming foliage behind, are all evidence of European influence. As such, these can be described as Company School paintings. The Company Style developed throughout the eighteenth and nineteenth centuries in response to the dominating power of the British East India Company, giving the painting school its name. These works were created by native artists who reinvented their Indian artworks for British patrons.
woodblock prints by hiroshi yoshida
70-80
Woodblock Prints by Hiroshi Yoshida from the Series: India and Southeast Asia (1931-1932)
Woodblock prints, signed Yoshida, in pencil in Roman script Hiroshi Yoshida, sealed (unless otherwise noted)
70
A Gate to the Stupa of Sanchi (Sanchi no mon) 1931-1932
Vertical oban: 15 ½ x 10 3/4 in. (39.4 x 27.3 cm.)
Renowned for his mastery of the Shin-Hanga (“new print”) style, 20th-century artist Hiroshi Yoshida left an enduring legacy as a woodblock printmaker. He was 44 years old when he met Japanese publisher Watanabe Shozaburo, a key figure in driving the Shin-Hanga movement. This encounter led Yoshida to explore woodblock printing—the medium for which he became known.
Yoshida was associated with the Watanabe group for about three years before becoming his own publisher. This transition is marked by the Jizuri seal, found in the left margin of his prints. The term jizuri, meaning “self-printed,” served as a key indicator that Yoshida personally oversaw the entire printing process.
His prints exude a meditative quality, with delicate contours that capture light and atmosphere. He skillfully depicted both natural and architectural landmarks from around the world, seamlessly blending traditional Japanese techniques with Western artistic sensibilities—a hallmark of the Shin-Hanga style.
An avid traveler, Yoshida visited Europe, Africa, and the Americas twice before his thirties, enjoying hiking and climbing in natural environments. Inspired by the prints
of India by English printmaker Charles Bartlett, he later journeyed to the country to document his impressions and artistic vision.
Yoshida’s body of work comprises over 500 woodblock prints, each celebrated for its technical precision and lyrical depictions of nature and the people of the regions he visited.
The Palace of Udaipur (Udaipuru no shiro)
Vertical oban: 15 ½ x 10 3/4 in. (39.4 x 27.3 cm.)
Shalimar Garden, Lahore (Sharamaru Gaaden) 1931-1932
Vertical oban: 15 ½ x 10 3/4 in. (39.4 x 27.3 cm.)
73 (above)
The Third Cave Temple in Ellora (Erora no daisan no dokutsu jin) 1931-1932
Horizontal oban: 10 ¾ x 15 1/2 in. (27.3 x 39.4 cm.)
74 (below)
The Golden Pagoda at Rangoon (Ranguun no kinto) 1931
Horizontal oban: 10 1/2 x 15 3/4 in. (26.7 x 40 cm.)
1931
75 (above)
Golden Temple in Amritsa (Amurissaa)
On left margin sealed Jizuri (self-printed)
Horizontal oban: 10 5/8 x 15 3/4 in. (27 x 40 cm.)
76 (below) Snake Charmers (Hebizukai)
1932
On left margin sealed Jizuri (self-printed)
Horizontal oban: 11 1/2 x 15 3/4 in. (29 x 40.1 cm.)
1932
Signed in ink Yoshida, in pencil in Roman script Hiroshi Yoshida, sealed, on left margin sealed Jizuri (self-printed)
15 ¾ x 21 ¾ in. (40 x 55.2 cm.)
Night in Taj Mahal, No. 6 (Taji Maharu no yoru, dai
1932
Signed in ink Yoshida, in pencil in Roman script Hiroshi Yoshida, sealed, on left margin sealed Jizuri (self-printed)
15 ¾ x 21 in. (40 x 53.3 cm.)
77 (above)
Morning Mist at Taj Mahal, No.5 (Maharu no asagiri daigo)
78 (below)
roku)
1932
Signed in ink Yoshida, in pencil in Roman script Hiroshi Yoshida,
11 1/8 x 15 ¾ in. (28.3 x 40 cm.)
from Afghanistan:
1932
Signed in ink Yoshida, in pencil in Roman script Hiroshi Yoshida, sealed, on left margin sealed Jizuri (self-printed) 11 1/8 x 15 7/8 in. (28.3 x 40.3 cm.)
79 (above)
Caravan from Afghanistan (Afuganisutan no kyaraban)
sealed, on left margin sealed Jizuri (self-printed)
80 (below)
Caravan
Moonlit Night (Afuganisutan no kyaraban tsuki yo)
