Important Notice

KISHANGARH, CIRCA 1760
Gouache on paper heightened with gold
Image: 9.75 x 8.25 in (24.7 x 20.9 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Tandan Collection

Portraits from the Kishangarh court typically depicted their subjects seated, or standing erect, on a palace terrace, with a panoramic landscape in the background. In the present lot, two royal courtiers are in discussion, seated on a white terrace, leaning against bolsters. In the background, is a marble palace with a capped pavilion, while scarlet boats, a common feature in Kishangarh paintings, appear in the lake behind the courtiers. They are catered to by an attendant, whose "naturalistic, rounded treatment" (Beach et. al. eds., Masters 1650-1900, p. 605) bears resemblance to early Mughal paintings by Bhavanidas.

Bhavanidas was an artist active in the Mughal court under Bahadur Shah until his death in 1712, when Bhavanidas relocated to the Rajput kingdom in Kishangarh in search of a new patron. He made a "decisive impact on both painting traditions there and also upon his own development as an artist. Bhavanidas's close collaboration with his new patron Maharaja Raj Singh (r. 1706-1748) led to the flowering of a highly expressive style, and the introduction of new genres, which evolved further under a succeeding generation of painters." (Beach et. al. eds., Masters 1650-1900, p. 531)

The "exquisite beauty" associated with Kishangarh miniatures can be seen in the fine detailing and composition, where the architecture is treated with as much intricacy as the human figures.

KISHANGARH, CIRCA 1760
Gouache on paper heightened with gold
Image: 9.75 x 8.25 in (24.7 x 20.9 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Tandan Collection

Portraits from the Kishangarh court typically depicted their subjects seated, or standing erect, on a palace terrace, with a panoramic landscape in the background. In the present lot, two royal courtiers are in discussion, seated on a white terrace, leaning against bolsters. In the background, is a marble palace with a capped pavilion, while scarlet boats, a common feature in Kishangarh paintings, appear in the lake behind the courtiers. They are catered to by an attendant, whose "naturalistic, rounded treatment" (Beach et. al. eds., Masters 1650-1900, p. 605) bears resemblance to early Mughal paintings by Bhavanidas.

Bhavanidas was an artist active in the Mughal court under Bahadur Shah until his death in 1712, when Bhavanidas relocated to the Rajput kingdom in Kishangarh in search of a new patron. He made a "decisive impact on both painting traditions there and also upon his own development as an artist. Bhavanidas's close collaboration with his new patron Maharaja Raj Singh (r. 1706-1748) led to the flowering of a highly expressive style, and the introduction of new genres, which evolved further under a succeeding generation of painters." (Beach et. al. eds., Masters 1650-1900, p. 531)

The "exquisite beauty" associated with Kishangarh miniatures can be seen in the fine detailing and composition, where the architecture is treated with as much intricacy as the human figures.