Muhammad 'Adil Shah II (r.1627-56) entertained on a terrace, Deccan, Bijapur, second half 17th century, probably adapted in Kishangarh, early 18th century

gouache heightened with gold on paper, inner blue borders filled with scrolling flowers in gold, with outer margins of large leafy gold plants

Private collection, London, since 1970s.

In generally good overall condition, colours vivid and gold bright, adapted at the lower section, minor paint flaking, 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."

inscriptions

On the reverse in Persian in nasta'liq script and Devanagari:

'Picture of Sultan Mahmud (sic), the king of Bijapur and dancing girls [with] … singing  … and … fighting with swords, shields and …. And dancing. The huge tomb of this Sultan is in Bijapur and can be seen from 12 karoh or kuroh (a measure of distance nearly 2 miles, but varying in different parts). Not seen one like it among other Deccani kings.  Deccanis revere and honour it'

This finely-painted scene depicts Muhammad 'Adil Shah, Deccani emperor at Bijapur between 1627 and 1656, with his consort on a cushion-laden diwan, being entertained by musicians, dancers, and displays of weaponry. The execution of the main subject can be compared to another portrait of the ruler formerly in the Nasli and Alice Heeramaneck Collection, and now in the Los Angeles County Museum of Art (see Pal 1993, pp.326-7, no.99). In both paintings the treatment of the face is very close, and on both occasions Muhammad 'Adil Shah is depicted with a long 'firangi' sword with koftgari basket hilt. A sword of a similar type is included in the present sale as lot 250. For other paintings of Muhammad 'Adil Shah, see Zebrowski 1983, pp.122-134.

Whilst the 'feel' of the present painting is very much Deccani, a number of the figures appear to be more in the style of Kishangarh, particularly the standing figure to the lower right, and the three ladies wielding swords to the middle left. Combined with the repainted section at the bottom edge of the painting, and the style of the gold foliage in the outer margins, it seems quite plausible that the painting may have moved shortly after its execution in the late seventeenth century, and been slightly adapted to suit the differing tastes away from the Deccan in Kishangarh, as painting there flourished in the early eighteenth century.