The Goddess Kali with Hanuman, a lioness and a pangolin, attributed to the Early Master at the Court of Mandi, Mandi, circa 1640-50

brush and ink on paper, inscribed on the recto in takri script "Kaliva", on the verso, in a later hand, sketches in pencil of an elephant with mahout, musicians and a dog, together with a lioness on the recto in the same hand

Michael and Henrietta Spink Ltd., London, 1992

Glynn in Beach, Fischer and Goswamy 2011, p.409, 415 and 418-9, fig.10

In fairly good overall condition, some creasing, 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 small but important drawing has been attributed to "The Early Master at the Court of Mandi" (not to be confused with "The Master at the Court of Mandi") by Catherine Glynn (see Glynn in Beach, Fischer and Goswamy 2011, vol.I, pp.409, 415 and 419, fig.10). The artist responsible for this intense drawing has been identified as the major artist at the Mandi court in the mid-seventeenth century, responsible for introducing and developing a style directly influenced by Mughal painting (see Glynn 1983, Glynn 1995, Glynn in Beach, Fischer and Goswamy 2011, pp.407-424). Glynn comments that the figure here, through her attributes, represents the goddess Kali and suggests that the crowned bear in the doorway adjacent may be Jambavan, the bear-king from the Ramayana (ibid., pp.415, 419). However, despite the bear-like face, the animal has a tail and this may indicate that it is a monkey, and therefore may represent Hanuman. The scaly creature below the lioness resembles a pangolin, however, this was interpreted as an aquatic animal by Glynn (ibid. p.418). Drawings from the early period of Mandi painting are very rare. The figure of Kali here can be compared with a figure of Makhali of circa 1635-50, attributed by Glynn to the same hand (see Glynn 1983, fig.23, Glynn in Beach, Fischer and Goswamy 2011, p.419, fig.11).