KRISHNA WITH BALARAMA AND SUBHADRA

Acquired 1988

Very slight age-related toning overall - otherwise in very good condition. Verso: Backed with joined sheets of old paper with red and black ink notations and inscriptions. Some stains and rust marks. Paper reinforcement strips applied in sections. Conservation framed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Seated on a raised golden dais within the pillars of an elaborate white marble pavilion,  Krishna with his arms folded across his chest, is accompanied by Subhadra and Balarama shown fingering a small jewel.  Ritual objects placed before them. 

Dark blue inner foliate design margins with white ruled lines and red-flecked pink outer borders.

The central figure depicted as Krishna wearing a peacock-feathered crown and accompanied by Balarama and his sister Subhadra.  His arms are crossed on his chest.  This pose also relates to Pahari images of another Vishnu avatar - the Buddha - where we may similarly note folded arms, frontally viewed with a meditative expression and a bejeweled pendent necklace.  A slightly earlier painting which has been attributed to Nainsukh of Guler depicts an example of the Buddha Avatar, front view and cross-armed, attended by two brahmin priests; see J. Cummins, Vishnu: Hinduism's Blue-Skinned Savior, New York, 2011, pp. 233-4, cat. 141-2.  Nainsukh had also notably executed an important and innovative group of portraits of his patron Balwant Singh of Jammu who was often similarly depicted frontally.

For two earlier Pahari paintings of the Buddha avatar, see J. Cummins, Vishnu: Hinduism's Blue-Skinned Savior, New York, 2011, pp. 233-4, cat. 141-2.