- 277
Two ladies at their toilette, Jaipur, 1750-75
Estimate
25,000 - 35,000 GBP
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Description
- Gouache and paper
- 10.8 by 8cm.
Opaque watercolour heightened with gold on paper
Provenance
Ex-Kevorkian Collection, Paris, 1920s/1930s
Ex-private Collection, France
Francesca Galloway, London
Private Collection, London
Ex-private Collection, France
Francesca Galloway, London
Private Collection, London
Literature
"Ladies à la Toilette" in Sringar: An Exhibition Celebrating Divine and Erotic Love, Francesca Galloway Catalogue, 2007
Condition
Painting in generally good condition, scattered paint loss in lower half of the painting, particularly in the figures' bodies and clothes, some in upper half as well, some light scratches. Some staining throughout as well, particularly in lower middle band of painting. Slight losses in paper in lower middle, and some creasing. Nibbles, small losses and staining around edges.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
At once sensuous and formal, bold and delicate, colourful and restrained, this fine painting exemplifies the qualities of Jaipur paintings at its best.
In style and execution, both ladies bear a striking similarity to two ladies that are part of a fragmentary painting depicting Maharaja Pratap Singh in his harem now in the Freer Sackler Museum of Art, inv. no. S1997.70. Executed in Jaipur and measuring 46.4 by 44.5cm, it was painted by the famous court artist Sahiba Ram (circa 1740-1800), a member of the Kachavaha dynasty. The present painting, which predates the Freer example by about thirty years, can be seen as a precursor and one of the earliest examples of this tradition of large-scale painting in Jaipur.
Focusing in on two beautiful women at their toilette, it captures a deeply intimate moment, evoking a voyeuristic but chaste impression as both ladies remain in profile. According to Mughal conventions of female portraiture, retaining such a sense of modesty was important, as only women of questionable chaste would be more inviting in their posture. The two women on this painting also appear to be part of the same zenana as indicated by their similar clothing, jewellery and application of henna. Glimpses of another protruding hem of a sari appears on the left side of the painting, suggesting the original presence of a third figure, much in the same way that a painting in the Rietberg Museum, Zurich is composed (Cimino 1985, no. 52).
The extreme sensuality of their gestures, as one combs the other’s voluptuous long hair, is off-balanced by the geometric quality of the composition. Classic of Jaipur painting, the corporeal is offset by bright planes of colour and patterns. One can feel the hardness of the marble balustrade in the background from which peak out shrubs of nature. Perhaps a link can be made between this setting and the ‘window’ portraits which became popular in Mughal art in the seventeenth century through the transmission of prints of Renaissance paintings (for an interesting comparison, see: “A lady at a window, Mughal, circa 1750” in Topsfield 2004, pp.298-299). Further traces of Mughal influence make their way in this care and attention to fine details, notably in the subtle appearance of the trivali (three creases of the belly) on the woman to the right side.
The fine execution and modeling of each face is reminiscent of that on a portrait of a princess holding a wine flask from Bikaner, dated about 1700 in the Museum of Fine Arts Boston, inv. no. 64.2025. Notable are the characteristic almond eyes with perfectly drawn out eyebrows, long aquiline noses, and gently pouted lips on softly moulded chins (Desai 1986, no.62, p.78).
Finally, two preparatory cartoons attributed to the artist Sahib Ram made for Pratap Singh’s library in the City Palace of Jaipur (r. 1779-1803) and now in the Metropolitan Museum of Art reveal the enduring ideals of female beauty in Jaipur art, with a similar execution of design. The celebrated ‘Head of Krishna’ (inv. no. 1918 18.85.2), shows the continued aesthetic taste for long almond eyes, fine locks, and gently waving hair into the 1800s with a predilection for jeweled adornments. It was suggested that the artist was inspired by a ‘beautiful girl, perhaps one who danced as the god at the Jaipur court’ (Welch 1976, no. 60, pp.108-9). The other drawing in the Metropolitan Museum of Art (Accession Number 18.85.4) depicts two female musicians, one behind the other, with a purity of lines transforming it into a formally precise drawing from which the small details such as the trivali have disappeared.
It is rare to find early paintings from Jaipur in Western collections because the royal collection was never dispersed. This painting represents a rare painting from Jaipur of fine quality, further notable for its early date and significant size.
In style and execution, both ladies bear a striking similarity to two ladies that are part of a fragmentary painting depicting Maharaja Pratap Singh in his harem now in the Freer Sackler Museum of Art, inv. no. S1997.70. Executed in Jaipur and measuring 46.4 by 44.5cm, it was painted by the famous court artist Sahiba Ram (circa 1740-1800), a member of the Kachavaha dynasty. The present painting, which predates the Freer example by about thirty years, can be seen as a precursor and one of the earliest examples of this tradition of large-scale painting in Jaipur.
Focusing in on two beautiful women at their toilette, it captures a deeply intimate moment, evoking a voyeuristic but chaste impression as both ladies remain in profile. According to Mughal conventions of female portraiture, retaining such a sense of modesty was important, as only women of questionable chaste would be more inviting in their posture. The two women on this painting also appear to be part of the same zenana as indicated by their similar clothing, jewellery and application of henna. Glimpses of another protruding hem of a sari appears on the left side of the painting, suggesting the original presence of a third figure, much in the same way that a painting in the Rietberg Museum, Zurich is composed (Cimino 1985, no. 52).
The extreme sensuality of their gestures, as one combs the other’s voluptuous long hair, is off-balanced by the geometric quality of the composition. Classic of Jaipur painting, the corporeal is offset by bright planes of colour and patterns. One can feel the hardness of the marble balustrade in the background from which peak out shrubs of nature. Perhaps a link can be made between this setting and the ‘window’ portraits which became popular in Mughal art in the seventeenth century through the transmission of prints of Renaissance paintings (for an interesting comparison, see: “A lady at a window, Mughal, circa 1750” in Topsfield 2004, pp.298-299). Further traces of Mughal influence make their way in this care and attention to fine details, notably in the subtle appearance of the trivali (three creases of the belly) on the woman to the right side.
The fine execution and modeling of each face is reminiscent of that on a portrait of a princess holding a wine flask from Bikaner, dated about 1700 in the Museum of Fine Arts Boston, inv. no. 64.2025. Notable are the characteristic almond eyes with perfectly drawn out eyebrows, long aquiline noses, and gently pouted lips on softly moulded chins (Desai 1986, no.62, p.78).
Finally, two preparatory cartoons attributed to the artist Sahib Ram made for Pratap Singh’s library in the City Palace of Jaipur (r. 1779-1803) and now in the Metropolitan Museum of Art reveal the enduring ideals of female beauty in Jaipur art, with a similar execution of design. The celebrated ‘Head of Krishna’ (inv. no. 1918 18.85.2), shows the continued aesthetic taste for long almond eyes, fine locks, and gently waving hair into the 1800s with a predilection for jeweled adornments. It was suggested that the artist was inspired by a ‘beautiful girl, perhaps one who danced as the god at the Jaipur court’ (Welch 1976, no. 60, pp.108-9). The other drawing in the Metropolitan Museum of Art (Accession Number 18.85.4) depicts two female musicians, one behind the other, with a purity of lines transforming it into a formally precise drawing from which the small details such as the trivali have disappeared.
It is rare to find early paintings from Jaipur in Western collections because the royal collection was never dispersed. This painting represents a rare painting from Jaipur of fine quality, further notable for its early date and significant size.