gouache heightened with gold on paper, each laid down on stout coloured paper with white rules, numbered on reverse, bound in a gold-tooled red morocco binding decorated with a central medallion set on a ground of scrolling acorns and roses, with Dyson Perrins bookplate, 6 flyleaves
27.3 by 21.7cm.Condition reportMinor loss and rubbing to borders, miniatures in good condition, pigments bright and clear, some minor surface rubbing and scattered specks of staining, minor rubbing and abrasions to binding, 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."ProvenanceEx-collection Charles William Dyson Perrins (1864-1958).
The Arcade Gallery, London.
Purchased from the above by the current owner in 1979.Catalogue noteThe miniatures are as follows:
1. A love-sick lady attended by her maid.2. Ladies listening to music on a palace terrace.3. Todi Ragini a lady playing the vina to a deer.4. An illustration from the Khamseh of Nizami: Shirin mourning over Farhad.5. A princess watching her departing lover.6. Shri Raga A prince listening to music.7. A music party on a zenana terrace overlooking a lake.8. Ladies playing chaupar at night.9.Tanka Ragini, a love-sick lady reclining in her room.10. Hindola Raga, a lady on a swing attended by maids.11. Madhumadhavi, a lady taking cover from the storm.12. Baz Bahadar and Rupmati resting whilst hunting.13. A lady with a pet fawn approached by a duenna.
These Provincial Mughal miniatures are comparable to a series of ragamala illustrations from Murshidabad circa 1760 that bear the collector's seal of Sir Elijah Impey (see Falk and Archer 1981, pp.472, no.368i). This period in Murshidabad painting saw a move away from the cooler palette associated with the patronage of Ali Vardi Khan (1740-56) and was characterised by the use of brighter colours, firmly stated compositions and a fine use of gold to bring out the richness of the pigments (ibid, p.192). Interestingly the composition of the illustration of Shirin mourning over the corpse of Farhad relates closely to a painting by Mir Kalan Khan that McInerney has dated to the artist's early phase of circa 1735-40 (McInerney 2011, pp.607-22).
The later binding was carried out by the renowned bookbinder Katharine Adams who was associated with William Morris and his circle. Some of the most prominent book collectors of the early twentieth century requested her to bind their prized books and manuscripts. The binding of these miniatures was commissioned by the famous collector Charles William Dyson Perrins who amassed one of the largest and most important collections of manuscripts and printed books in the world. In the early 1900s Perrins acquired Indian and Iranian as well as European manuscripts which included "two superb Mughal manuscripts, a Khamseh of Nizami and a Diwan of Anwari, both illustrated for Emperor Akbar by his most esteemed court painters" (Geneva 1985, p.27). When Perrins died in 1958 the Khamseh of Nizami along with the Gorleston Psalter were bequeathed to the British Museum and the rest of the collection was sold in these rooms in 1958, 1959 and 1960.
gouache heightened with gold on paper, each laid down on stout coloured paper with white rules, numbered on reverse, bound in a gold-tooled red morocco binding decorated with a central medallion set on a ground of scrolling acorns and roses, with Dyson Perrins bookplate, 6 flyleaves
27.3 by 21.7cm.Condition reportMinor loss and rubbing to borders, miniatures in good condition, pigments bright and clear, some minor surface rubbing and scattered specks of staining, minor rubbing and abrasions to binding, 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."ProvenanceEx-collection Charles William Dyson Perrins (1864-1958).
The Arcade Gallery, London.
Purchased from the above by the current owner in 1979.Catalogue noteThe miniatures are as follows:
1. A love-sick lady attended by her maid.2. Ladies listening to music on a palace terrace.3. Todi Ragini a lady playing the vina to a deer.4. An illustration from the Khamseh of Nizami: Shirin mourning over Farhad.5. A princess watching her departing lover.6. Shri Raga A prince listening to music.7. A music party on a zenana terrace overlooking a lake.8. Ladies playing chaupar at night.9.Tanka Ragini, a love-sick lady reclining in her room.10. Hindola Raga, a lady on a swing attended by maids.11. Madhumadhavi, a lady taking cover from the storm.12. Baz Bahadar and Rupmati resting whilst hunting.13. A lady with a pet fawn approached by a duenna.
These Provincial Mughal miniatures are comparable to a series of ragamala illustrations from Murshidabad circa 1760 that bear the collector's seal of Sir Elijah Impey (see Falk and Archer 1981, pp.472, no.368i). This period in Murshidabad painting saw a move away from the cooler palette associated with the patronage of Ali Vardi Khan (1740-56) and was characterised by the use of brighter colours, firmly stated compositions and a fine use of gold to bring out the richness of the pigments (ibid, p.192). Interestingly the composition of the illustration of Shirin mourning over the corpse of Farhad relates closely to a painting by Mir Kalan Khan that McInerney has dated to the artist's early phase of circa 1735-40 (McInerney 2011, pp.607-22).
The later binding was carried out by the renowned bookbinder Katharine Adams who was associated with William Morris and his circle. Some of the most prominent book collectors of the early twentieth century requested her to bind their prized books and manuscripts. The binding of these miniatures was commissioned by the famous collector Charles William Dyson Perrins who amassed one of the largest and most important collections of manuscripts and printed books in the world. In the early 1900s Perrins acquired Indian and Iranian as well as European manuscripts which included "two superb Mughal manuscripts, a Khamseh of Nizami and a Diwan of Anwari, both illustrated for Emperor Akbar by his most esteemed court painters" (Geneva 1985, p.27). When Perrins died in 1958 the Khamseh of Nizami along with the Gorleston Psalter were bequeathed to the British Museum and the rest of the collection was sold in these rooms in 1958, 1959 and 1960.
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