A maiden holding her veil, attributable to Nihal Chand, Kishangarh, circa 1760

brush and ink heightened with gouache on paper, laid down on paper, on the verso, sketches in black chalk of a girl holding a flower, and the half-length portrait of a bearded man, possibly by another hand

Origins, Boston, U.S.A.
Acquired in 1967

In reasonably good overall condition, some losses to drawing edges, water stain to upper right quadrant, 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 delicate drawing shows the accentuated features and elongated doe-eye associated with the fully developed style of the Kishangarh school in the mid-eighteenth century, of which Nihal Chand was the most proficient proponent. The distinctive female portraiture of the period, which Nihal Chand popularised in so many of his paintings, is said to have evolved from the appearance of the royal courtesan Bani-Thani and the maiden here can be identified with the Radha-Bani Thani ideal of beauty.

Nihal Chand's career stretched from about 1725, when he trained under the influence of Bhavanidas, until his death in 1782. He worked for several royal patrons, the best-know of whom was poet-prince Savant Singh (1699-1764), whose cultural, religious and emotional sensibilities encouraged the romanticisation of the painting style. For the latest discussion of his style and illustration of his works see Haidar in Beach, Fischer and Goswamy 2011, pp.595-606.