AN ILLUSTRATION TO THE RASAMANJARI OF BHANU DATTA: A LORD IN CONVERSATION WITH A NAYIKA, ATTRIBUTED TO GOLU

In excellent overall condition with four pinholes and abrasions to the extreme left edge of the folio border and slight loss to paper on upper left margin of the folio border. Inscription in Devanagari on verso. Exhibited in a temporary frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The painter Golu, son of Devidasa, was the third of three generations of Pahari artists from Nurpur in Himachal Pradesh who undoubtedly grew up surrounded by active artistic production. His grandfather Kripal created a Rasamanjari series in 1670 and his father Devidasa produced another version in 1695. The present and following paintings may be referred to as Rasamanjari III. Golu likely became head of the sizable atelier at Nurpur under the patronage of Raja Daya Dhata (r.1700-1735) whose portrait-like face we see depicted here as the hero of the present painting.  

Other paintings from this dispersed series were included in the recent exhibition Wonder of the Age: Master Painters of India 1100-1900, held at the Metropolitan Museum of Art in 2011-2012. Other folios have been published from the Nasli and Alice Heeramaneck Collection, the William Theo Brown and Paul Wonner Collection and the George P. Bickford Collection.

For reference see W.G. Archer, Indian Paintings from the Punjab Hills, London, 1973, cat. 12 (i / ii), vol. I pp. 392-395 and vol. II p. 306; W.G. Archer, Visions of Courtly India, London and New York, 1976, cat. 71, pp. 134-135; Bonhams New York, September 2014, lot 115; Stanislaw Czuma, Indian Art from the George P. Bickford Collection, Cleveland, 1975, cat. 106;Alice Heeramaneck, Masterpieces of Indian Painting formerly in the Nasli M. Heeramanek Collections, Verona, 1985, cat. 93 and 95, pp. 108-109 and Linda York Leach, Indian Miniature Paintings and Drawings, Cleveland Museum of Art, 1986, pp. 310-12, fig. 136.