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Lot Essay
The artist Sajnu is considered by Archer to herald ‘phase two’ of Mandi painting, bringing with him stylistic conventions from the Kangra valley where it is believed he trained and greatly influencing the direction of later Mandi painting (W.G. Archer, Indian Painting from the Punjab Hills, London, 1973, p.361). We know that he was active in Mandi by the first decade of the 19th century from several signed works including a portrait of Raja Ishwari Sen dated 1808 (B.N. Goswamy and E. Fischer, Pahari Masters: Court Painters of Northern India, Zurich, 1992, p.311). The Raja seems to have been the greatest patron of Sajnu whose workshop is recognisable for its pastel palette, sensitive rendering of faces and angular, zig-zagging architectural compositions – all of which we find in the present painting. Although not related to Nainsukh and Manaku, Sajnu relates stylistically to the two brothers to the extent Goswamy and Fischer include him as part of the wider “family” (Goswamy and Fischer, op.cit, p.311).
Sajnu and his workshop is responsible for both a Baramasa and Hamir Hath series for his great patron Raja Ishwari Sen. A painting from the Baramasa was sold at Sotheby’s London, 07 October 2015, lot 291 whilst an illustration to the Hamir Hath was sold in Christie’s New York, 22 September 2021, lot 457.
Sajnu and his workshop is responsible for both a Baramasa and Hamir Hath series for his great patron Raja Ishwari Sen. A painting from the Baramasa was sold at Sotheby’s London, 07 October 2015, lot 291 whilst an illustration to the Hamir Hath was sold in Christie’s New York, 22 September 2021, lot 457.