Portrait of a Prince
Mewar, 19th century
Opaque watercolor heightened with gold on paper
8 3/4 x 6 in. (22.2 x 15.2 cm.)

Provenance:
The Isaacs Gallery, Toronto.
An important collection of Indian Miniature Paintings from a Private Toronto Estate.

A Sisodian Nobleman
Mewar, 18th century
Opaque watercolor heightened with gold on paper
Folio: 10 3/4 x 6 1/2 in. (27.3 x 16.5 cm.)
Image: 8 x 4 1/4 in. (20.3 x 10.8 cm.)

Raja Karan Singh (r. 1621-1628)
Mewar, Mid 18th century
Opaque watercolor heightened with gold on paper
10 1/4 x 7 in. (26 x 17.8 cm.)

Provenance:
Maison Soustiel, 1983.

Exhibited:
Miniatures orientales de l’Inde, Maison Soustiel, 1983.

A Gathering of Rishis 
Mewar, circa 1710
Opaque watercolors heightened with gold on paper 
Folio: 10 3/8 x 15 7/8 in. (26.4 x 40.3 cm.)
Image: 9 1/8 x 14 5/8 in. (23.2 x 37.1 cm.)

Inscribed: Two lines of black ink Devanagari script in the yellow panel at top – the invocation begins: Rama / Bala / … In pothi (horizontal) format.

Semi-clad Rishis sit offering oblations before a ceremonial fire. Set against a verdigris hillside with auspicious symbols sketched on the red-brown ground below – under a brilliant red canopy supported by five posts – red pennants wave above. Celestial devas in their vehicles offer praise. At the upper right a king of the devas (probably Indra) addresses two holy men. Likely an illustrated folio from the Ramayana of Tulsidas – the Bala Kanda section. For a related folio (possibly from the same manuscript) see: Simon Ray exhibition catalog, London, 2003, cat. 43 pps. 96-97.

An Illustration to the Rasikapriya of Keshavdas
The Circle of Sahibdin
Rajasthan region, Mewar, circa 1645
Opaque watercolors heightened with gold on paper
Folio: 9 1/4 x 7 3/4 in. (23.5 x 19.7 cm.)
Image: 8 1/2 x 7 in. (21.6 x 17.8 cm.)

Inscribed: Three lines of black and red ink Devanagari script in the yellow-buff panel above.

A blue-skinned lord stands at the entrance to Radha’s pavilion. A deaf and night-blind doorkeeper sits at the entry with his stick. Radha is lying down. Her servant stands within a brilliant crimson-colored rectangular interior room. The entire composition compartmentalized by black lines and (principally) primary colors of red, blue and yellow juxtaposed with stark whites against a rich black exterior and green foliage. The upper story of the house with lattice windows and a jutting domed balcony. The subject of this rasa is described by Dehejia (2013) as Radha’s manifest self-endeavor.
There are numerous published examples of paintings executed in this important Mewar style of the royal atelier of Udaipur during the mid Seventeenth Century. The name Sahibdin has emerged as perhaps the most innovative and distinctive artist (and likely master) of that atelier. Several sizable series are known depicting Rasikapriya (Lovers? Breviary) and Ragamala subjects in squarish vertical format as here – as well as epic series like the Ramayana in pothi (horizontal) format. So strong was his influence that name Sahibdin has been associated with miniatures attributable to his hand – and to related works by other artists within his circle – or even by artists influenced by him. The present painting most likely produced by artists working in the circle of Sahibdin within the royal atelier.
Other mid-Seventeenth Century paintings by (or in the manner of) Sahibdin are in public and private collections worldwide. See: Dehejia, H.V., Rasikapriya: Ritikavya of Keshavdas in Ateliers of Love New Delhi, 2013, cat. 5:15, P.188. Dehejia, H.V. (ed.), A Celebration of Love, New Delhi 2005, pps. 130-133. Mason D. et al., Intimate Worlds: Indian Paintings from the Alvin O. Bellak Collection, Philadelphia, 2001, cat. 20, pps. 70-71.

A Leaf from a Panchatantra Series (or ‘Panchakhyana’ Series)
Mewar, circa 1725
Opaque watercolor heightened with gold on paper
Image: 7 1/2 x 7 1/8 in. (19 x 18 cm.)
Folio: 13 x 10 3/8 in. (33 x 26.5 cm.)

Provenance:
Private collection.
Bonhams New York, 11 September 2012, lot 124.
Christie’s New York, 27 September 2017, lot 251.

An Equestrian Portrait of Maharana Bhim Singh of Mewar
Udaipur or Devgarh, mid 19th century
Opaque watercolor heightened with gold on paper
Image: 10 1⁄2 x 9 in.
Folio: x 11 1⁄2 x 9 7⁄8 in.

Provenance:
The collection of Robert O Muller.

Literature:
Will Heinrich, “Art: Tiny Works Full of Wonder”, New York Times, 17 August 2019.
Will Heinrich, “Art: Bold Colors from Rajasthan” in “The Week in Arts: An End to ‘The Affair’; A Lincoln Center Horror Show”, nytimes.com, 17 August 2019.

Two illustrations from the Ramayana depicting Sita in Ravana’s Palace
Mewar, early 18th century
Gouache and gold on paper
9 ½ x 15 ¾ in. (24.1 x 40 cm.) (sight)

Provenance:
Purchased in the U.S. in 1972 and descended in the Steig family.

In the present two contiguous illustrations (numbered “99” and “100”) of the Aranyakakanda book of the great Ramayana, the demon King Ravana appears in his palace surrounded by his wives and the daughters of gods and other divine creatures he has previously captured. Before him stands Sita, the wife of Rama, who he has imprisoned. His fortress at Lanka is guarded by his animal-headed minions.

Both folios are representative of a playful style associated with  the Rajput principality of Mewar. The red and yellow borders, the prominence of primary colors in the overall compositions, the execution of foliage with pointed leaves splaying out in a circular fashion from a central point; and the sharp profiles of each figure, closely match that of a folio from a dispersed manuscript depicting Rama and Lakshmana searching the forest for Sita dated to circa 1680-1690 at The Metropolitan Museum of Art (acc. 1974.148).

Two illustrations from the Ramayana depicting Sita in Ravana’s Palace
Mewar, early 18th century
Gouache and gold on paper
9 ½ x 15 ¾ in. (24.1 x 40 cm.) (sight)

Provenance:
Purchased in the U.S. in 1972 and descended in the Steig family.

In the present two contiguous illustrations (numbered “99” and “100”) of the Aranyakakanda book of the great Ramayana, the demon King Ravana appears in his palace surrounded by his wives and the daughters of gods and other divine creatures he has previously captured. Before him stands Sita, the wife of Rama, who he has imprisoned. His fortress at Lanka is guarded by his animal-headed minions.

Both folios are representative of a playful style associated with  the Rajput principality of Mewar. The red and yellow borders, the prominence of primary colors in the overall compositions, the execution of foliage with pointed leaves splaying out in a circular fashion from a central point; and the sharp profiles of each figure, closely match that of a folio from a dispersed manuscript depicting Rama and Lakshmana searching the forest for Sita dated to circa 1680-1690 at The Metropolitan Museum of Art (acc. 1974.148).

Illustration to the Ramayana: Vasishtha Teaches Rama and Lakshmana
Mewar, 1700–1710
Opaque watercolor heightened with gold on paper
Image: 9 ¼ x 14 ¾ in. (23.5 x 37.5 cm.)
Folio: 10 ¼ x 15 ⅞ in. (26 x 40.3 cm.)

The present painting depicts a scene (numbered ‘71’ in the inscription above) from the Bala Kanda, the first book of the Valmiki Ramayana which recounts the upbringing of Rama and Lakshmana. Instructed by Rishi Vasishtha, the brothers learn a variety of skills necessary for leading lives as princes of the realm. They’re shown wrestling two mustachioed men against a pale-green backdrop in the top left corner, studying the Vedas in a small architectural element, learning to swim in the water feature at the bottom left, receiving instruction from Rishi Vasishtha in the center, and riding elephants and charioteering to the far right.

The illustration displays a number of features characteristic of the Mewar style—in particular, the red and yellow borders, the prominence of primary colors throughout the composition, and the foliage that spreads out radially. In his discussion of a similar folio, Dr. Pratapaditya Pal remarks that:

We find [here] a Mewar artist, even as late as the year 1700, preferring a simple, direct mode of representation to the use of illusionistic devices that would create a more pictorial composition. We seem to be watching a performance on a stage that lacks a backdrop, where the details of the setting are left to the audience’s imagination. (Pal, p. 100)

Compare to another Ramayana folio depicting the Abduction of Sita, currently at the Los Angeles County Museum of Art (acc. M.86.345.3). Note the bold colorblocked background partitioned by undulating green stripes and broken up by scattered white flowers—a common feature of Mewar paintings from the period.

References:
Pal, P., The Classical Tradition in Rajput Painting from the Paul F. Walter Collection, Pierpont Morgan Library, New York, 1978.

Illustration to the Ramayana: Rishi Vishvamitra Visits King Dasharatha
Mewar, early 18th century
Opaque watercolor on paper
Image: 8 ⅝ x 14 ⅝ in. (20.3 x 35.6 cm.)
Folio: 10 ⅛ x 15 ⅝ in. (25.4 x 38.1 cm.)

This folio (numbered ‘242’ in the inscription above) illustrates a scene from the Bala Kanda, Book one of the Valmiki Ramayana, wherein Rishi Vishvamitra visits the court of King Dasharatha. Rishi Vishvamitra, who was living in the forest performing Vedic rituals, was repeatedly disturbed by the demons Mericha and Subahu. Wanting to rid himself of the bothersome demons, Rishi Vishvamitra pleads with King Dasharatha to send his four sons to the forest with him, asserting that he and the other sages in the king’s court are aware of Rama’s capabilities—even though Rama is only sixteen, he can easily slay Mericha and Subahu. Reluctantly, the king agrees.

The discussion between Rishi Vishvamitra and King Dasharatha is depicted in the right half of the composition, with the figures seated against large bolster cushions atop a stark white carpet. They are flanked by four attendants, two standing and waving chowries, the other two seated on a deep green floral-patterned carpet. To the left, Rama and his three brothers, Lakshmana, Bharata, and Shatrughna, sit in conversation on a white floral terrace.

The architectural elements and backgrounds are executed in the bold colors of the traditional Rajasthani palette, from the rich brown of the terrace surrounding an outdoor fountain, to the bright reds and greens of the palace. While painted in the Rajasthani style, Mughal influence can be seen in the dark shading on the armpits of many of the men–a feature that soon became regular in Mewari paintings of this type. Compare to a similarly composed folio from a Mewari Ramayana series at the Norton Simon Museum (acc. P.2008.2.5).