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Lot Essay
This painting is based on the composition of the painting in the British Library which, as noted in the previous lot note, was presented to an unnamed guest of Colonel Skinner’s in 1838 (acc.no.Add.Or.2598). Both take place on a carpeted terrace, with a tree in right hand corner, and a white marble pavilion to the left of the composition. The pose of the central figure is very similar. In some aspects, however, the scenes differ. While four musicians appear behind the dancers in our scene, five are present in the British Library painting. While the figure playing the sarangi in the British Library painting has grey hair, he is much more youthful in our painting: in fact, he resembles the sarangi player in the previous lot. Also younger is the dancer to the left of the central figure, who in this painting appears to be a child. The pigments selected by the artist appear different: the tarnished silver vessels on the floor in the previous lot are here executed in white pigment, perhaps specifically to avoid later deterioration. However, the similarities are so close that this painting and the British Library painting must be copies of one another. This painting, therefore, should also be understood as a painting of Colonel Skinner’s Nautch.
The evidence of Tazkirat al-Umara manuscripts suggests that Skinner’s artists were used to making copies of the same composition, and introducing subtle variations in them. The portrait of Kalyan Singh of Kishangarh in the Quaritch manuscript (McBurney 2014, fig.4) is identical in almost every respect to that in the British Library manuscript (Losty 2014): the prince appears identically attired, leaning on plush yellow cushions and laconically holding a gold-hilted sword and enamelled shield. The slightly different decoration of the marble palace wall behind him and the substitution of a blue curtain for a red one are the most significant changes. Similarly, when our painting is compared to the British Library example the most obvious changes are in the textiles – in this case a different carpet – and the architecture. The repeated niche designs containing floral sprays which appear in the portrait of the prince in the British Library manuscript correspond with those on the British Library painting of Kalyan Singh, while the larger panels on the Quaritch portrait are closer in style to those on ours. Other instances where variation between the Quartich and British Library albums is confined to the architectural detail and the textiles include the depictions of Raja Karam Singh of Patiala and Bhai Udai Singh of Kaithal, both of whom appear on different patterned carpets and in subtly altered interiors. In short, riffing on the patterns of textiles and architectural decorations in otherwise unaltered compositions was clearly a practice employed by Skinner’s artists.
It is therefore possible to assume that this painting, like its copy in the British Library, was executed in Skinner’s atelier and meant to be presented to one of James Skinner’s guests. All three copies of the Tazkirat al-Umara were presented to officers in the British Army (McBurney 2014, p.2). As a host, Skinner was extremely generous, and was well known for handing out pictures of his nautch performers, which Yuthika Sharma describes as ‘an essential complement to the experience of the nautch’ (Sharma 2022, p.292). As Emily Eden continued on her journey through Northern India after having met Skinner, she received a letter from him, insisting that "if the Miss Edens do not wish to mortify an old soldier, and bring down his grey hairs with sorrow to the grave, they will accept a pair of shawls he has ordered for them in Cashmere, which have just arrived". This painting is very likely to have also been intended as a souvenir.
The evidence of Tazkirat al-Umara manuscripts suggests that Skinner’s artists were used to making copies of the same composition, and introducing subtle variations in them. The portrait of Kalyan Singh of Kishangarh in the Quaritch manuscript (McBurney 2014, fig.4) is identical in almost every respect to that in the British Library manuscript (Losty 2014): the prince appears identically attired, leaning on plush yellow cushions and laconically holding a gold-hilted sword and enamelled shield. The slightly different decoration of the marble palace wall behind him and the substitution of a blue curtain for a red one are the most significant changes. Similarly, when our painting is compared to the British Library example the most obvious changes are in the textiles – in this case a different carpet – and the architecture. The repeated niche designs containing floral sprays which appear in the portrait of the prince in the British Library manuscript correspond with those on the British Library painting of Kalyan Singh, while the larger panels on the Quaritch portrait are closer in style to those on ours. Other instances where variation between the Quartich and British Library albums is confined to the architectural detail and the textiles include the depictions of Raja Karam Singh of Patiala and Bhai Udai Singh of Kaithal, both of whom appear on different patterned carpets and in subtly altered interiors. In short, riffing on the patterns of textiles and architectural decorations in otherwise unaltered compositions was clearly a practice employed by Skinner’s artists.
It is therefore possible to assume that this painting, like its copy in the British Library, was executed in Skinner’s atelier and meant to be presented to one of James Skinner’s guests. All three copies of the Tazkirat al-Umara were presented to officers in the British Army (McBurney 2014, p.2). As a host, Skinner was extremely generous, and was well known for handing out pictures of his nautch performers, which Yuthika Sharma describes as ‘an essential complement to the experience of the nautch’ (Sharma 2022, p.292). As Emily Eden continued on her journey through Northern India after having met Skinner, she received a letter from him, insisting that "if the Miss Edens do not wish to mortify an old soldier, and bring down his grey hairs with sorrow to the grave, they will accept a pair of shawls he has ordered for them in Cashmere, which have just arrived". This painting is very likely to have also been intended as a souvenir.