A group of Afghan figures beneath trees, attributable to Ghulam 'Ali Khan, Delhi, circa 1815-20

gouache on paper, laid down on card, inscribed in nasta’liq script: 'Golam Hosein Khan Afghan Mansouri, Sanu Da’i [the nurse], Osman Khan Kudak [the child], Nader Khan Afghan, Sh...yar Afghan and Ramzan Khan'

Drouot Rive Gauche, Paris, 17 February 1978, lot 239
Jean Soustiel, Paris
Acquired in 1983

Miniatures orientales de l’Inde - 3, Jean Soustiel, Paris, 1983

Paris 1983, pp.108-9, no.146

In good overall condition, crack across bottom left corner, minor loss to top right corner, 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."

This study of Afghans is close to the style of Ghulam 'Ali Khan (active circa 1817-55), the leading Company School artist of the second quarter of the nineteenth century, who combined his work for British patrons such as William Fraser (1784-1835) and James Fraser (1783-1856) and Colonel James Skinner (1778-1841), the Anglo-Indian founder and leader of the famous irregular cavalry corps, 'Skinner’s Horse', with work for princes and rulers of the regional courts around Delhi, such as Banni Singh of Alwar (r.1815-57). It is probable that Ghulam 'Ali Khan was trained in the Mughal court in Delhi in the early years of the nineteenth century and worked there before starting to paint for British and other patrons. For a thorough study of this period and the various artists and patrons involved, including Ghulam 'Ali Khan, see Dalrymple and Sharma 2012, particularly pp.41-51; Archer and Falk 1989. For a stunning topographical view attributed to the same artist see lot 35 in this catalogue.

The largest groups of similar drawings - the Fraser Album - was discovered in Scotland in the 1970s and was dispersed at two auctions at Sotheby's in 1980 (London, 7 July 1980, lots 1-45; New York, 9 December 1980, lots 130-187). These drawings were included in a study of the historical background and art patronage of James and William Fraser in northern India between 1801 and 1835 (Archer and Falk 1989), and many have since appeared in other publications under their new ownership. See also Dye 2001, pp.386-7, no.167; Goswamy in Beach, Fischer and Goswamy 2011, vol.II, pp.769-778.

The figures in the present work are identified in small Persian script on the recto (from left):

Sanu Da’i [the nurse, also known as Munni Banu]; Othman Khan Kudak [the child]; Nader Khan Afghan; Ghulam Husain Khan Afghan; Shahbaz Khan Afghan; Ramzan Khan; ..? Muhammad Khan

Although not apparently part of the Fraser Album, the present work must have been closely associated with the Frasers' circle in Delhi and Haryana at the time, for three of the individuals portrayed here also appear in paintings in the Fraser Album, see Archer and Falk 1989, p.107, no.91 (Ghulam Husain Khan, an Afghan, inhabitant of the Fort of Ali Jan Khan in Kasur, with Munni Banu and her child); p.111, no.99 (Nadir Khan, an Afghan, son of Timoor Khan (fifth from left among a group of horse merchants).