164
A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS Delhi S
1/132
Description
A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS
PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION
Delhi School, Mughal Northern India, first half 19th century
Opaque pigments, ink, and gold on wove paper, comprising eight vertical-format portraits of Mughal Emperors and their Timurid ancestors seated on golden thrones on a courtly terrace overlooking lush gardens and natural backgrounds, each sitter identified by characterising attributes, favoured attire, and turban models, encased within concentric decorative borders in polychromes and gold, the pictorial style typical of Late Mughal Delhi School official portraits in both three-quarters and profile views, each album page numbered in the upper left corner and accompanied by black ink nominal inscriptions identifying the portrayed ruler, the front top golden border with inscriptions in cursive English, the oval golden cartouches above each sitter and the reverse in Persian nasta’liq script, the reverse marked with a rectangular dynastic grid in-filled with names, dates and brief biographical details, each mounted, glazed and framed, each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame.
These eight finely painted portraits were most likely once part of an Indian courtly album collecting the likenesses and official portraits of Mughal rulers and elite members of the court, linking their dynastic heritage directly to the Central Asian Timurids. For an analogous example, please see Sotheby’s Dubai, 13 November 2013, lot 71. The represented sitters are named as follows: Timur (d. 1405); Miran Shah, son of Timur (d. 1408); Sultan Umar Sheikh Mirza II, son of Abu Sa'id Mirza (d. 1494); Emperor Babur, son of Umar Sheikh Mirza II and founder of the Mughal dynasty (d. 1530); Emperor Jahangir, son of Akbar (d. 1627); Jahandar Shah, son of Bahadur Shah (d. 1713); Muhammad Shah, grandson of Bahadur Shah (d. 1748); and lastly, Ahmad Shah Bahadur, son of Muhammad Shah (d. 1775). Each portrait is numbered in the upper left corner, starting from number 1 with Timur and finishing with number 19 with Ahmad Shah Bahadur. Originally, the album would have most certainly contained other portraits of Mughal emperors, such as Akbar and Shah Jahan, as well as the last three members of the dynasty ruling in the first half of the 19th century, who elected Delhi as their capital and settled there until the British forces took over.
Portraiture has always played a crucial role in the development of the visual arts of South Asia. From the dawn of the Indian civilisation onward, the figural image encountered in sculptures, coins, architectural settings, and frescoes acted as a powerful reminder of the dharmic hierarchy ruling the world. Nevertheless, until the early 17th century, when the Mughal Empire was fully formed and established in these lands, portraits were often derived from conventional representations with repeating, standard lakshanas (identifying qualities or cognitive attributes) rather than individual likenesses. One of the most remarkable artistic achievements accomplished by the Mughals in India was to foster and spearhead the emergence of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic World (Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 1 - 3). It is known that Mughal Emperors Akbar and Jahangir were eager collectors of portraits of courtly personalities and must have been impressed by specimens of European portraiture, which circulated at their courts thanks to both diplomatic exchanges with the West and the three Jesuits' missions between the 1580s and 1590s (S. Stronge, Painting for the Mughal Emperor: the Art of the Book 1560 – 1660, 2002, p. 120). Such fascination is best recorded in the A’in-I Akbari, where Abu’l Fazl mentions that 'the Emperor (Akbar) ordered to have the likenesses (surat) of all the grandees of the realm. An immense book was thus formed: those who have passed away, have now received a new life, and those who are still alive, have immortality promised them'.
Despite the keen 'turn to the individual' promoted in the visual arts under Akbar's and Jahangir's reigns, Mughal portraiture and the formalisation of a 'stately image' reached their most accomplished form in the mid to late 17th century, under the rule and patronage of Shah Jahan (The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 12). By this stage, it had been established that official portraits of Mughal emperors must show the sitter in profile, and not in the Persian-style three-quarters view, as it was considered less formal and thus, reserved to lesser noble members of the court (Ibidem, p. 102). Testifying this rule, our eight portraits are divided into two groups: the four sitters of direct Central Asian lineage are all shown in three-quarters, following Persian portraiture's conventions; whilst the remaining four rulers of the Mughal dynasty are shown in profile. The use of both views in the same album set has been explained by scholars as the Mughal artists' conscious attempt to create historical distance between the current rulers and their ancestors (Laura Parodi in Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 9 - 10). Nevertheless, their Central Asian heritage is exemplified in the Mughals' passion for record-keeping and their keen interest in historical and observational documentation, which are mirrored in the visual arts commissioned at the time. Timurid rulers had already shown an attraction towards physiognomy and figural studies in the 15th century (Ibidem, pp. 64 - 65). As a consequence, their artistic legacy influenced the canons set and followed by their descendants, and the Mughals were no different. Initially through the collection of Timurid studies, and then later on, with the commission of new official royal portraits, the Mughals aimed at not only vaunting their prestigious dynastic descent but also immortalising themselves and their courts through the means of portraiture.
The sacks of Delhi in 1739 and 1756 and internal dynastic frictions placed a temporary halt in the courtly production, but the first half of the 19th century witnessed a late flowering, a so-called last hurrah, for Mughal portraiture. Before the final dissolution of the Empire in 1858, artists working at the Delhi courtly atelier, such as Khayrallah and Ghulam Murtaza Khan, produced extremely fine portraits of Mughal rulers and their descent, blending features of the 16th and 17th-century production with a new naturalism derived from Western portrait models (J. P. Losty in The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 44). The Delhi artists' attempt to revive the dynasty's past glories and distinguished lineage despite the Empire's decline led to the creation of a few high-calibre portrait courtly albums and the group in the present lot must have been among them.
each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame
Qty: 8
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS
PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION
Delhi School, Mughal Northern India, first half 19th century
Opaque pigments, ink, and gold on wove paper, comprising eight vertical-format portraits of Mughal Emperors and their Timurid ancestors seated on golden thrones on a courtly terrace overlooking lush gardens and natural backgrounds, each sitter identified by characterising attributes, favoured attire, and turban models, encased within concentric decorative borders in polychromes and gold, the pictorial style typical of Late Mughal Delhi School official portraits in both three-quarters and profile views, each album page numbered in the upper left corner and accompanied by black ink nominal inscriptions identifying the portrayed ruler, the front top golden border with inscriptions in cursive English, the oval golden cartouches above each sitter and the reverse in Persian nasta’liq script, the reverse marked with a rectangular dynastic grid in-filled with names, dates and brief biographical details, each mounted, glazed and framed, each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame.
These eight finely painted portraits were most likely once part of an Indian courtly album collecting the likenesses and official portraits of Mughal rulers and elite members of the court, linking their dynastic heritage directly to the Central Asian Timurids. For an analogous example, please see Sotheby’s Dubai, 13 November 2013, lot 71. The represented sitters are named as follows: Timur (d. 1405); Miran Shah, son of Timur (d. 1408); Sultan Umar Sheikh Mirza II, son of Abu Sa'id Mirza (d. 1494); Emperor Babur, son of Umar Sheikh Mirza II and founder of the Mughal dynasty (d. 1530); Emperor Jahangir, son of Akbar (d. 1627); Jahandar Shah, son of Bahadur Shah (d. 1713); Muhammad Shah, grandson of Bahadur Shah (d. 1748); and lastly, Ahmad Shah Bahadur, son of Muhammad Shah (d. 1775). Each portrait is numbered in the upper left corner, starting from number 1 with Timur and finishing with number 19 with Ahmad Shah Bahadur. Originally, the album would have most certainly contained other portraits of Mughal emperors, such as Akbar and Shah Jahan, as well as the last three members of the dynasty ruling in the first half of the 19th century, who elected Delhi as their capital and settled there until the British forces took over.
Portraiture has always played a crucial role in the development of the visual arts of South Asia. From the dawn of the Indian civilisation onward, the figural image encountered in sculptures, coins, architectural settings, and frescoes acted as a powerful reminder of the dharmic hierarchy ruling the world. Nevertheless, until the early 17th century, when the Mughal Empire was fully formed and established in these lands, portraits were often derived from conventional representations with repeating, standard lakshanas (identifying qualities or cognitive attributes) rather than individual likenesses. One of the most remarkable artistic achievements accomplished by the Mughals in India was to foster and spearhead the emergence of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic World (Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 1 - 3). It is known that Mughal Emperors Akbar and Jahangir were eager collectors of portraits of courtly personalities and must have been impressed by specimens of European portraiture, which circulated at their courts thanks to both diplomatic exchanges with the West and the three Jesuits' missions between the 1580s and 1590s (S. Stronge, Painting for the Mughal Emperor: the Art of the Book 1560 – 1660, 2002, p. 120). Such fascination is best recorded in the A’in-I Akbari, where Abu’l Fazl mentions that 'the Emperor (Akbar) ordered to have the likenesses (surat) of all the grandees of the realm. An immense book was thus formed: those who have passed away, have now received a new life, and those who are still alive, have immortality promised them'.
Despite the keen 'turn to the individual' promoted in the visual arts under Akbar's and Jahangir's reigns, Mughal portraiture and the formalisation of a 'stately image' reached their most accomplished form in the mid to late 17th century, under the rule and patronage of Shah Jahan (The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 12). By this stage, it had been established that official portraits of Mughal emperors must show the sitter in profile, and not in the Persian-style three-quarters view, as it was considered less formal and thus, reserved to lesser noble members of the court (Ibidem, p. 102). Testifying this rule, our eight portraits are divided into two groups: the four sitters of direct Central Asian lineage are all shown in three-quarters, following Persian portraiture's conventions; whilst the remaining four rulers of the Mughal dynasty are shown in profile. The use of both views in the same album set has been explained by scholars as the Mughal artists' conscious attempt to create historical distance between the current rulers and their ancestors (Laura Parodi in Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 9 - 10). Nevertheless, their Central Asian heritage is exemplified in the Mughals' passion for record-keeping and their keen interest in historical and observational documentation, which are mirrored in the visual arts commissioned at the time. Timurid rulers had already shown an attraction towards physiognomy and figural studies in the 15th century (Ibidem, pp. 64 - 65). As a consequence, their artistic legacy influenced the canons set and followed by their descendants, and the Mughals were no different. Initially through the collection of Timurid studies, and then later on, with the commission of new official royal portraits, the Mughals aimed at not only vaunting their prestigious dynastic descent but also immortalising themselves and their courts through the means of portraiture.
The sacks of Delhi in 1739 and 1756 and internal dynastic frictions placed a temporary halt in the courtly production, but the first half of the 19th century witnessed a late flowering, a so-called last hurrah, for Mughal portraiture. Before the final dissolution of the Empire in 1858, artists working at the Delhi courtly atelier, such as Khayrallah and Ghulam Murtaza Khan, produced extremely fine portraits of Mughal rulers and their descent, blending features of the 16th and 17th-century production with a new naturalism derived from Western portrait models (J. P. Losty in The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 44). The Delhi artists' attempt to revive the dynasty's past glories and distinguished lineage despite the Empire's decline led to the creation of a few high-calibre portrait courtly albums and the group in the present lot must have been among them.
each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame
Qty: 8
Arts of India and the Islamic Lands
Sale Date(s)
Lots: 276
Venue Address
Azca Auctions
1 Butterwick
Metro Building
London
W6 8DL
United Kingdom
For Azca Auctions delivery information please telephone 020 3911 6741.
Important Information
Viewing and auction will take place at the following address:
Metro Building, 8th Floor
1 Butterwick
London, W6 8DL
Terms & Conditions
Terms and Conditions for Buyers
These terms apply to Azca Auctions LTD.
1. Definition
In these Terms and Conditions, the words ‘Azca Auctions’ refer to the ‘Auction House’. Similarly, the words ‘we’, ‘us’, etc. refer to ‘Azca Auctions’. The word ‘you’ refers to the ‘Buyer’.
2. Agency
As Auctioneers, we typically represent the Seller, whose identity is usually kept confidential. When you make a purchase at an auction, your contract for the purchase of the goods is with the Seller, not with Azca Auctions.
3. Buyer’s Premium
The Buyer’s Premium will be charged on each lot at 23% on the hammer price plus VAT on all lots.
a. VAT
Lots marked with a symbol are liable for VAT. The standard VAT rate will apply to both the hammer price and the premium. Marked lots indicate that the Buyer must pay VAT at the standard rate (currently 20%) on the hammer price and the buyer’s premium. Lots without a symbol are VAT exempt.
b. VAT Refunds
Buyers from outside the UK can receive a refund of the VAT charged on the Hammer Price and Buyer's Premium, or included within the Buyer's Premium instead of VAT, provided that the Buyer has:
1. Registered to bid using an address outside the UK; and
2. Discussed with us the necessary proof of export and the required timeframes to finalise the export process.
4. Export of Goods
Buyers planning to export goods should confirm if an export license is necessary and check for any specific restrictions on importing such goods, such as those containing prohibited materials like ivory.
5. Estimates
Estimates are formulated considering market conditions at the time of sale, along with factors like the item's condition, rarity, and quality. They do not provide a guarantee of the value of the item and the final selling price may fall either below or above the estimated range.
6. Reserves
Numerous Lots are presented with a reserve price, which is the confidential minimum selling price. The reserve price will never surpass the low estimate listed in the catalogue. Azca Auctions reserve the right to commence the bidding on any Lot below the reserve by making a bid on behalf of the seller and may choose to keep bidding up to the reserve price at their discretion. This can be done by responding to other bidders or by placing successive bids.
7. Inspection
Azca Auctions recommends Buyers to examine the Lots they are interested in prior to the sale.
8. Bidding
a. In person bidding: bidders must register their bid with Azca Auctions in order to receive a paddle prior to the sale.
b. Telephone bidding: bidders must contact Azca Auctions to place a telephone bid should they not be able to attend in person. Azca Auctions will not be held responsible over issues relating to connectivity, resulting in the failure of the bidder to obtain their lot.
c. Commission bidding: bidders must contact Azca Auction prior to the sale and submit their maximum bid in writing.
d. Proxy bidding: buyers may be able to bid by proxy. A letter of authorization and an ID will be requested by Azca Auctions prior to the sale.
e. Online bidding: bidders are able to bid online, however, Azca Auctions will not be held responsible over issues relating to connectivity, resulting in the failure of the bidder to obtain their lot.
9. Bidding Platforms
Azca Auctions offers free online bidding on www.azcaauctions.com. The Buyer may also bid on independent bidding platforms, where an additional fee can be imposed (see their terms and conditions for more details).
10. Proof of Identity and Financial Checks
As Auctioneers, we are required to carry out various checks on our customers in accordance with Money Laundering Legislation, sanctions legislation, and other relevant regulations.
Azca Auctions will request proof of identity prior to Buyers registering in the sales.
Accepted IDs include:
a. Valid passport or driving licence.
b. Proof of address.
c. A telephone number.
d. A Bank statement or proof of funds may be requested.
e. Company documents for corporate Buyers.
11. Ivory and Restricted Materials
Lots marked with the symbol ‘~’ have been identified during cataloging as containing organic material, which may be subject to import or export restrictions. Azca Auctions commits to fully complying with CITES and DEFRA regulations. Buyers are advised to familiarize themselves with all relevant regulations and should anticipate that arranging the export of items may take some time. Azca Auctions recommends that buyers consult their respective government authorities regarding wildlife import requirements before placing a bid.
12. Electrical Goods
These items are sold strictly as 'antiques' or 'decorative' pieces. If purchased for functional use, the Buyer should inspect it for compliance with safety standards by a certified electrician beforehand.
13. Watches and Clocks
All Lots are sold as they are described, and the absence of any mention regarding the condition of a clock or watch does not imply that the Lot is in good condition, free of defects, repairs, or restorations. Many clocks and watches have undergone repairs over their lifespan and may now contain non-original parts. Additionally, we do not guarantee that any clock or watch is in working order.
Due to the intricate mechanisms in clocks and watches, Buyers should note that a general service, battery replacement, or additional repairs, for which the Buyer is solely responsible, may be required. Importantly, the Buyer should be informed that the importation of certain watches like Rolex, Frank Muller, and Corum into the United States faces significant restrictions. These watches cannot be shipped to the USA and must be personally imported.
14. Wines and Spirits
In accordance with industry standards, estimates are assumed to have considered the fill level.
For the purposes of these Terms and Conditions, the term 'Fill Level' refers to the space between the cork base and the liquid in the bottle, which can vary with age or the condition of the wine or spirit.
Azca Auctions does not guarantee the drinkability of the wine or spirit. Buyers should be aware of the potential for taste alteration due to factors like age, storage conditions, oxidation, and more.
15. Jewellery
Numerous gemstones are treated to improve their appearance, a widely embraced practice in the global jewellery industry. While heat-induced colour enhancements are commonly enduring, they might compromise the durability of certain gemstones. Gems treated with oil may necessitate reapplication of oil periodically. In cases where no gemological report is included in the catalog, prospective Buyers should recognize that the gemstones or pearls might have been enhanced in some manner.
16. Settlement
The net sum due to the Buyer is typically settled 28 days after the date of the sale via bank transfer or credit card payment. Cash payments over 10,000 GBP and third-party payments will not be accepted.
Azca Auctions reserves the right to refuse payment should they think that payment doesn’t comply with their anti-money laundering regulations.
17. Failure to Settle
In the event that full payment for a Lot is not met in accordance with these Terms and Conditions, Azca Auctions, acting as the Seller's agent and on our own behalf, retains the right to exercise one or more of the following actions at our absolute discretion, without affecting any other rights we may have:
a. Cancel the sale of that Lot or any other sold Lots to the Buyer;
b. Offer the Lot for re-sale through auction or privately;
c. Arrange for the removal, storage, and insurance of the Lot at the Buyer’s cost;
d. Retain the sold Lot until full payment is received;
e. Refuse bids from the Buyer in future auctions.
18. Transfer of Property
Ownership of the goods will transfer to the Buyer only after Azca Auctions has received full payment for the lots (including applicable taxes, and shipping costs).
19. Storage
Storage charges will be incurred if items are not collected within four weeks. These charges will amount to £5 plus VAT per lot for small items, £10 plus VAT for medium items, and £25 plus VAT for large items per day. In addition, there will be an extra transfer charge of £10 plus VAT per lot for large furniture sent to an outside warehouse. If an item remains uncollected two months after the auction date, Azca Auctions reserves the right to sell the item at auction without reserve. From the ‘hammer price,’ Azca Auctions may deduct any amounts owed to them, as well as expenses from all auctions where the item was included, along with storage, loss, and damage warranty charges.
20. Collections
Purchased and unsold lots can be collected during Azca Auctions' opening hours. Any delay must be communicated to Azca Auctions in advance.
21. Shipping
Azca Auctions will not be responsible for packing, posting or delivering items purchased through an auction, however, a list of suggested shippers will be available for Buyers.
22. Loss or Damage
Azca Auctions will not be liable for any loss or damage to frames or glass covering prints, paintings, or other works. Since old frames are frequently fragile and susceptible to deterioration, while Azca Auctions will make every effort to ensure their safekeeping, they will not provide compensation for any loss or damage resulting from changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defects, or errors in processing.
23. Data Protection
The Seller acknowledges that any personal information conveyed to Azca Auctions may be disclosed solely for business purposes to a third party (ie: shippers,) or as mandated by law.
Azca Auctions will not utilize personal information for any other purpose without the Seller's prior consent. Azca Auctions affirms that personal data provided by any party will never be sold, lent, or traded.
Should Azca Auctions disclose information with a third party, its responsibility is to respect the privacy and confidentiality of its clients.
24. Amendments
The current Terms and Conditions may be amended prior to the sale.
