INDIA, MUGHAL, DELHI SCHOOL, 19TH CENTURY

Details

The Delhi Darbar of Akbar II (r. 1806-1837)**
India, Mughal, Delhi School, 19th Century
Painted on ivory, depicting Akbar II seated upon a peacock throne within a golden pavilion surrounded by courtiers including his sons the future Bahadur Shah and Mizra Jahangir, and attended by the British Resident, Sir David Ochterlony in a tricorn hat; with ivory frame carved in deep relief depicting vignettes of Hindu deities including: Rama and Sita, Vishnu, Hanuman, Shiva, Saraswati, Brahma, and Parvati with Ganesha interspersed with scrollwork
Image: 14 5/8 x 10 7/8 in. (37.1 x 27.7 cm.); with ivory frame: 18¼ x 14½ in. (46.4 x 36.8 cm.)

Special notice

Notice Regarding the Sale of Material from Endangered Species. Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country

Lot Essay

The scene depicted likely took place in 1820 under the tenure of Sir David Ochterlony (1758-1825), who served as the British Resident from 1818-22. Compare to other darbar scenes depicted in E. Smart and D. Walker, Pride of the Princes: Indian Art of the Mughal Era in the Cincinnati Art Museum, 1985, cat. no. 19.; T. Falk and M. Archer, Indian Miniatures in the India Office Library, 1981, no.227i; and one sold at Christie's New York, 21 March 2001, lot 203. Some of the earlier darbar paintings are attributable to the court master painter, Ghulam Murtaza Khan with further copies ensuing. L. Leach suggests in Mughal and other Indian Paintings from the Chester Beatty Library, Vol. II, p. 812, that the varying copies were made as court souvenirs and possibly produced by several commercial workshops. Despite the waning power of the Mughals, Leach also notes that this grouping of dignitaries, painted from a Mughal perspective, depicts Ochterlony as a "compliant and even passive subject of Akbar Shah." op. cit, p. 812.

More from Indian and Southeast Asian Art Including 20th Century Indian

View All