JYESTHA, THE MONTH OF HEAT, AN ILLUSTRATION TO THE BARAHMASA SERIES, ATTRIBUTED TO USTAD MURAD, RAJASTHAN, BIKANER, CIRCA 1720-25

Opaque watercolour and silver on paper, inscribed on reverse 'Murad  Baksh'

Generally fair to good condition. Some flaking along top edge and on white pigments of architecture and on white and pink areas of foreground terrace. Slight discolouration at lower right below trees. Borders with some abrasions. 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 illustration is from an important series by Ustad Murad illustrating the twelve poems of Barahmasa, part of the Rasikapriya of Kesavadas, a late 16th century Hindu text classifying the different types of nayikas.

Cary Welch suggested that Murad was originally from the Deccan and may have been recruited at Aurangabad by Raja Karan Singh of Bikaner (for his portrait see previous lot), whereas other scholars have implied that he was trained at the Mughal court, or at least in Mughal techniques (Guy and Swallow 1990, no.120; Losty 2010, p.88). For an essay on related themes of Deccan/Bikaner links see Glynn 2000.

The central figure in the present work is possibly a representation of Raja Zorawar Singh of Bikaner (r.1736-1745). Cary Welch's handwritten notes on the backboard of the frame make a comparison with a portrait of Zorawar by Ustad Murad from 1722, illustrated in Goetz 1950, fig. 88. Another illustration of Zorawar Singh by Ustad Murad dated 1629 was sold in our New York rooms, 2 November 1988, lot 61. A third portrait of Zorawar is illustrated in Archer 1960, pl.54.

All Murad's illustrations display the distinctive muted palette, architectural composition and pointed facial features. When discussing the example in the James Ivory Collection, Jerry Losty comments:
"Murad has a very distinctive figurative style and unusual palette. His faces have sharp pointed noses, receding chins and slanting eyes. His figures are willowy, his hand gestures are theatrical and expressive, and his figures seem to float in space. It is interesting to note that although presumably trained originally in a Mughal style he introduces this typically Rajput visual device of undefined [background] space..." (Losty 2010, p.88).

For other illustrations by Murad from the same Barahmasa series see Guy and Swallow 1990 no. 120, Welch and Beach 1965 no. 30, Colnaghi 1978 no. 63, Patnaik 1985, no.30, p.95; Aitken 2010, pp. 33-34 and Losty 2010, no. 35 (where the example in the James Ivory Collection is listed as having been a gift from Cary Welch in 1967).

Cary Welch's handwritten notes on the backboard of the frame are as follows:
"Ahmad son of Murad is ptr. - [inscription on picture]
"Bikaner, from a Bharamasa series, c.1720, anticipates spirit of Kishangarh painting by some forty or fifty years -
?Showing Zorawar Singh as Kumar - ? (Z.S. ruled 1736-1745)
even architecture and drapery is imbued with vegetal life -
compare with Goetz fig.88, portrait of Zoroawar Singh, as Kumar, done in 1722, by same artist, Ustad Ahmad Murad.