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Lot Essay
In this memorable portrait, the nautch dancer Peearee Jan stands hand on hip and looks out directly and defiantly, as if somehow challenging the viewer. As in the portrait of Kandar Bakhsh (lot 44), the artist's immensely skillful portrayal of Peearee Jan has allowed us to glimpse her character and psychological outlook.
There are only five single-figure portraits of nautch girls published in Archer and Falk's comprehensive study of the Fraser Album. Of those, three are presented in this sale. Peearee Jan, illustrated here, Kandar Bakhsh (lot 44) and Malaguire (lot 42), are all depicted in splendidly rich and colourful clothes. They wear eye-catching and widely flared trousers, diaphanous shawls and slippers with extravagantly upturned toes, as well as elaborate ear coverings, necklaces, bangles and belts. There is a real richness to their outfits. From the inscription on this painting, which identifies the subject as Peearee Jan Khanegi, we understand that this is their 'indoor costume'. As Goswamy writes, this portrait and others from the Fraser album which depict women, “are wholly different from all those delicate princess and idealized nayikas that one generally sees in Indian painting. These are obviously women of pleasure but of undoubted rank, possessed of a distinct and high place in the society of the times” (Goswamy 2011, p.777).
A painting of A Group of Nautch Girls by Ghulam Ali Khan painted in Delhi ca.1800-25 and formerly in the Collection of Edwin Binney 3rd is now in the San Diego Museum of Art (1990.395; published Goswamy 2011, fig.4, p.776). That painting has been interpreted as depicting the course of a courtesan’s life, from the young ingenue to the proprietress of an establishment. To the right of the painting is a figure who bears strong resemblance to Peearee Jan – both in her dress and in the slightly wary expression on her face. If it is indeed the same person, then this provides a fascinating artistic link and insight into the lives of Delhi nautch dancers.
There are only five single-figure portraits of nautch girls published in Archer and Falk's comprehensive study of the Fraser Album. Of those, three are presented in this sale. Peearee Jan, illustrated here, Kandar Bakhsh (lot 44) and Malaguire (lot 42), are all depicted in splendidly rich and colourful clothes. They wear eye-catching and widely flared trousers, diaphanous shawls and slippers with extravagantly upturned toes, as well as elaborate ear coverings, necklaces, bangles and belts. There is a real richness to their outfits. From the inscription on this painting, which identifies the subject as Peearee Jan Khanegi, we understand that this is their 'indoor costume'. As Goswamy writes, this portrait and others from the Fraser album which depict women, “are wholly different from all those delicate princess and idealized nayikas that one generally sees in Indian painting. These are obviously women of pleasure but of undoubted rank, possessed of a distinct and high place in the society of the times” (Goswamy 2011, p.777).
A painting of A Group of Nautch Girls by Ghulam Ali Khan painted in Delhi ca.1800-25 and formerly in the Collection of Edwin Binney 3rd is now in the San Diego Museum of Art (1990.395; published Goswamy 2011, fig.4, p.776). That painting has been interpreted as depicting the course of a courtesan’s life, from the young ingenue to the proprietress of an establishment. To the right of the painting is a figure who bears strong resemblance to Peearee Jan – both in her dress and in the slightly wary expression on her face. If it is indeed the same person, then this provides a fascinating artistic link and insight into the lives of Delhi nautch dancers.