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Lot Essay
The present painting is identified by inscription as Dhanasri Ragini, although it deviates from the typical depiction, that of a forlorn woman drawing her lover. Rather Dhanasri sits against a cushion, caressing a rabbit on her lap as she listens to her sakhi. The women are painted in cleanly modeled forms, precise design and sharply delineated faces.
Additional paintings from this series are at the Rietberg Museum (published B. N. Goswamy, Jeremiah P. Losty and John Seyller, A Secret Garden: Indian Paintings from the Porret Collection, 2014, pp. 178-181, cat. nos. 90 and 91), the Virginia Museum of Fine Arts (acc. nos. 2017.24, 2017.25,and 2017.26.) and the Los Angeles County Museum of Art (acc. no. M.81.57) . Two additional paintings also formally in the Alma Latifi collection, Sandhuri Ragini and Vinoda Ragini, are illustrated in W.G. Archer, Indian Paintings from the Punjab Hills, London, 1973 nos. 31i and ii, p 179. Archer notes that the series is of significance to Bilaspur painting, as it bridges between the early and later styles of Bilaspur painting.
Additional paintings from this series are at the Rietberg Museum (published B. N. Goswamy, Jeremiah P. Losty and John Seyller, A Secret Garden: Indian Paintings from the Porret Collection, 2014, pp. 178-181, cat. nos. 90 and 91), the Virginia Museum of Fine Arts (acc. nos. 2017.24, 2017.25,and 2017.26.) and the Los Angeles County Museum of Art (acc. no. M.81.57) . Two additional paintings also formally in the Alma Latifi collection, Sandhuri Ragini and Vinoda Ragini, are illustrated in W.G. Archer, Indian Paintings from the Punjab Hills, London, 1973 nos. 31i and ii, p 179. Archer notes that the series is of significance to Bilaspur painting, as it bridges between the early and later styles of Bilaspur painting.