From ca. 1715 to 1964
Personal collection of the Maharaja of Bikaner
From ? to 2003
Francesca Galloway, London 
From 2003 to 2018
Catherine Glynn Benkaim, Beverly Hills, California, purchased from Francesca Galloway, London in 2003
Arthur M. Sackler Gallery, partial gift and purchase from Catherine Glynn Benkaim
 We were unable to trace the painting between 1964, when it certainly was in Bikaner, and 2003, when it certainly was in London.
- Previous Owner(s) and Custodian(s)
Maharaja of Bikaner Bikaner, Rajasthan state, India
Catherine Glynn Benkaim
Verso: in Nagari: samvat 1803 miti bhadva(n) sudi 5 s(h)abi maharaja sujan singhji ri kam uste ahmad s(h)ha muhamad ro
Samvat 1803 bright half of the month of Bhadon, 5th day, likeness of Maharaja Sujan Singh. Work of the Master (Ustad) Ahmad, (son of) Shah Mahmud
Inspection date: Sunday 10th August 1746
Verso: Purple stamp of the personal collection of the Maharaja of Bikaner 1963, [dated notation entered by hand on] 17.8.64; inventory no. 5317
245 in Green ink and BKNIR 35-1655 in red pencil
Raja Sujan Singh of Bikaner (born 1690, reigned 1700 -- 1735) enjoys a hookah from a terrace that overlooks a flowering garden and a misty landscape. The painterly sky, with swathes of gold wash near the trees and dilute washes in the sky, skillfully evokes hazy light. The painting's palette, its atmospheric landscape, and the distant white city on the hill point to the role that Deccani painting played in transforming Bikaner painting from a brightly-colored provincial idiom to a highly refined aesthetic in the late seventeenth century.
The painting's pastel tones of lavender, pink, and salmon, its soft greens and diffused mauves, and the distant white city on the hill can be most directly traced to painting from the Deccani court of Bijapur. Although Bikaner rulers had long ties to the Deccan, having served there as Mughal generals from the 1570s, Sujan Singh's father, Maharaja Anup Singh (r. 1674-98), became the governor of Bijapur following Emperor Aurangzeb's conquest of the kingdom. That close contact with Bijapur becomes visible in the folios of a magnificent Bhagavata Purana that Anup Singh commissioned. The Sackler's superb folio from Anup Singh's Bhagavata Purana (c.1690-1700, S2018.1.46) demonstrates the synthesis of styles achieved by Bikaner paintings at the end of the seventeenth century, as well as the emotional depths that they instilled in landscapes bathed in golden light. Sujan Singh's portrait extends the synthesis of his father's sacred narrative into the genre of royal portraiture.
- Collection Area(s)
- South Asian and Himalayan Art
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