L12223

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Lot 89
  • 89

A Portrait of Sayyid Sayf Khan Barha, India, Delhi, circa 1800

Estimate
4,000 - 6,000 GBP
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Description

Gouache with gold on paper, inscription of identification at lower right "shabihi sayyid Sayfkhan Barha", borders with floral designs in colours and gold on cream paper in the style of the Shah Jahan Albums

Provenance

In the Collection of William (1784-1835) and James Fraser (1783-1856)
By direct descent to Malcolm R. Fraser Esq

Condition

In good condition, very minor section with light rubbing on the two bottom-hand corners, colours bright, as viewed.
"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

This painting is a direct copy of a well-known miniature by Nanha in a royal Mughal album known as the Kevorkian Album in the Metropolitan Museum of Art, New York (55.121.10.4V, sold in these rooms 12 December 1929).

Sayyid Ali Asghar Barha Sayf Khan was a favourite of Emperor Jahangir. From a prominent and important aristocratic family, he was a confidant of Jahangir and was renowned for his valour. He distinguished himself in battle on many occasions and was involved in the campaign against Rana Amar Singh of Mewar and in the Deccan campaign. He died in 1616 of cholera. For further information about him and for an illustration and discussion of the original after which this work is painted see Welch et al 1987, no.21, pp.122-123.