A Leaf from the Devi Mahatmya: Homage of the Gods
Guler, circa 1850
Opaque watercolor heightened with gold on paper
8 3/4 x 12 2/3 in. (22 x 32 cm.)

Provenance:
Collection of the Marquess of Tweeddale.
Sotheby’s New York, 16 & 17 September 1998, lot 561.
Private collection, United States.

Leaf 24 from the Devi Mahatmya: The Beauty of Ambika
India, Guler, circa 1790
Opaque watercolor heightened with gold on paper
8 1/4 x 12 in. (20.9 x 30.5 cm.)

Provenance:
Christies, London, 10 October 1989, lot 70.

Sumbha, enthroned on a terrace under a canopy, two attendants behind him, hears news of Ambika from Chanda and Munda who come before him, as a demon stands behind him.

“Then Chanda and Munda, two servants of Shumbha and Nishumbha happened to see that Ambika (Kausiki) looking extremely beautiful. They reported to Shumbha:
“O great king there is an exceedingly beautiful woman whose queenly beauty is illuminating the Himalaya. No-one has ever seen such sublime loveliness anywhere. Find out who that goddess is and take possession of Her, O Lord of Asuras. She is a gem among women, with exquisitely beautiful limbs which illuminate the four directions with their lustre. There she stands, O King of Demons.

You deserve to see Her.

Lord! Whatever precious stones, jewels, elephants, horses and so on are in the three worlds, all now decorate your house, O King! You have obtained the precious elephant Airavat, also the fabulous tree Parijata, as well as the wonderful horse Ucchaishrava, which was Indra’s. Here in the courtyard stands the gem-studded chariot drawn by swans, brought here from Brahma the Progenitor. Here is the treasure Mahapadma from Kubera and the unfading lotus garland Kinjalkini, the gift from the ocean. Varuna’s umbrella, which showers gold, now stands in your house with the superb chariot that once belonged to Prajapati.

Lord! You have snatched Utkrantida, the missile of Yama by which he gives exit to all creatures.

Your brother now possesses the noose of the Ocean King. Nishumbha also has all the gems from the Ocean while you have the two fire-proof garments from Agni.

O Demon king, as all these gems have been given you why not also seize this jewel among women?”

The Rishi said:
After listening to all this from Chanda and Munda, Shumbha sent out the mighty demon Sugriva as his messenger to the Devi. He said:

“Go and convey my invitation to Her in a gentle way so that She will be affectionate toward me.”

Going over to the lovely mountain seat of the Goddess, the messenger spoke in a sweet, soothing tone, saying:

O Devi, I am the messenger of Shumbha, Lord of the Demons and Sovereign of the three worlds. He has vanquished all his foes among Asuras and even the Gods were unable to resist him. He sent me here to Your presence. Listen to what he says, his message is this:
“All the three worlds are mine. Even the Gods obey me. I eat all the offerings which once were theirs. All the finest jewels of the three worlds are now mine. Even Indra’s elephant, Airavata, I now have. With salutations the Gods have even offered me the glorious horses called Ucchaihsravas which arose at the churning of the milk ocean.

O magnificent lady! All the other objects which belonged to the Gods or Gandhavas or Nagas, all are now in my possession. We regard You, O Devi, as the jewel among womankind. Therefore, come to us, we who are the connoisseurs of gems. Come to me or to my powerful younger brother Nishumbha, O Lady of the quick side-glances, You are indeed a sparkling jewel. By marrying me You will gain incomparable wealth. Think of the advantage and become my wife.”

The Rishi said:
When this was said, the adorable Goddess Durga who sustains and protects the universe, smiled thoughtfully and said:

“What you say is true, no doubt. Shumbha is indeed sovereign of the three worlds together with Nishumbha. But how may I nullify My former vow? Please listen to this vow I once made in ignorance: I once declared I would only marry one who could be My equal in strength, one who could defeat Me in battle and remove My pride, only he could be my husband.

So let Shumbha come here, or Nishumbha the great Asura, let him vanquish me without delay and gently take my hand in marriage.”

The messenger said:

O Devi! This is arrogance! Do not talk this way to me! Name a single god from the three worlds who is capable of standing against Shumbha and Nishumbha!

In fact all the Gods were unable to face even the other Asuras in battle. So how could You, a single woman do this on your own? If Indra and all the other Godheads united could not defeat Shumbha, how will You, a woman, dare to face him?

It would be better that You heed my message and go to Shumbha and Nishumbha yourself. Otherwise you will suffer the humiliation of being dragged there by the hair.

The Devi said:

It is true. Shumbha is strong. Nishumbha is very heroic. But what can I do? In My ignorance I made my vow earlier. You go back to the Asura Lord and tell him politely what I have said then he may do whatever he pleases.”

A Leaf from the Devi Mahatmya: Homage of the Gods
Attb. To a master of the first generation after Nainsukh and Manaku
India, Guler, circa 1775–1780
Ink on paper
5 5/8 x 7 7/8 in. (14.2 x 20 cm.)

Provenance:
From the Collection of Stuart Cary Welch (1928 – 2008).

This exquisitely drawn Devi Mahatmya sketch from the Markandeya Purana depicts Kali leading female forms of the gods, who ride their respective vahanas, including Shiva’s Nandi, Indra’s white elephant, Karttikeya’s peacock and Vishnu’s eagle Garuda. The gods are seen praising the Shaktis individually and their weapons as well as all the different forms of the Goddess. Drawn using a red ink, the work exudes the delicacy and lyricism of a master artist.

This piece is very likely a precursor for an illustration now in the Lahore Museum [Homage of the Gods, LM no. E.193 (02065/1929)] and illustrated in Pahari Paintings & Sikh Portraits in the Lahore Museum by F.S Aijazuddin, 1977 (Page 32, Guler 41xxx) The entire series of 34 paintings are dated Phagun (February- March), V.S. 1838
(1781 AD).

Illustration to Book Three of the Bhagavata Purana: The Story of Creation Varaha, the Boar Incarnation of Vishnu Appears before Brahma, Manu, and Satarupa
Attributed to Manaku (Active 1725-1760)
India, Guler, circa 1740
Opaque watercolor heightened with gold on paper
12 1/2 x 8 1/2 in. (31.7 x 21.6 cm.)

Provenance:
Acquired in NY, July 7th, 1982 (original invoice available upon request).

Inscribed verso: Thirteen lines of Sanskrit text in devanagari characters, the first two lines and beginning of the third line in red letters, black and red letters alternating in the final line.

After Brahma rises from the navel of Vishnu, he goes on to create various gods and divine sages; then he creates Manu, the “progenitor of all men.”  Manu asks Brahma to pull the earth from the ocean so that he, his wife Satarupa, and his future family will all have a place to live. Brahma then goes to invoke his own creator, Vishnu, and almost immediately a tiny boar falls from his nose.

“While he (Brahma) was looking on, a great miracle took place: the small boar in the sky shot up to the size of an elephant in a moment. Along with the Brahmanas with Marici as their chief with Kumaras and with Man, he saw the boar form and began to think in various ways. “Is it the transcendental being appearing in the form of a boar? ‘What a miracle that it should come out of my nose! It appeared like the tip of a thumb and in a moment it became as big as a great boulder. Can this be the divine sacrifice (i.e. Vishnu) himself who is trying my mind to exhaustion (by concealing his real form)?’”

The master artist Manaku has brilliantly rendered against a bold yellow background, reminiscent of his earlier Gita Govinda series, this rare work illustrating the moment in which Brahma; pot of holy water and sacred text in hand- with four crowned heads and a superbly detailed grey beard, as well as Manu and his wife, look at the newly arrived boar “as big as a great boulder,” who has just revealed himself as the third incarnation of Vishnu: Varaha, the Boar Avatar.

The detailing is superb; from the rosetint edged petals of the lotus flowers in Varaha’s shimmering crown, as well as the one he clasps along with the other three ayudhas (the conch, discus, and mace), the text on the sutra Brahma grasps, the sensitive handling of the fingers on each figures hand, the way the divine jewels of the celestial beings glisten on their bodies while dhotis flow with a sense of movement, to Varaha, painted in shimmering blue. Individual and deep emotion are portrayed in each figures eyes. Enhanced by these fine details, it is the reigning stillness in the page that moves the most. Manaku’s mastery of spacial dynamics, detail, and vivid color. Nothing else is brought into the space of this leaf as the mysterious, esoteric dialogue between the created and the creator proceeds.

For other illustrations from this series see Goswamy, B. N., and Manaku. Manaku of Guler: the Life and Work of Another Great Indian Painter from a Small Hill State. Artibus Asiae Publishers, 2017, pgs. 146- 167, illustrations C45- C55.

A Princess Enjoying Pan on a Terrace
India, Guler, circa 1790-1800
Opaque watercolor heightened with gold on paper
Folio: 8 3/8 x 9 1/8 in. (18.3 x 20.2 cm.)
Image: 7 x 7 3/8 in. (18.3 x 20.2 cm.)

Provenance:
Spink & Son Ltd, London, 1985.

Seated on an open white marble terrace before a blossoming tree and flanking cypresses, the princess strikes a ruler’s pose. She wears a courtly turban and sits on a large throne in a relaxed manner with one knee raised. Compare four pages with similar female figures and vegetation published in Archer, Indian Paintings in the Punjab Hills, London, 1973, p.118, nos.65-8.

Brahma on a Lotus
India, Guler, Mid 18th century
Opaque watercolor heightened with gold on paper
7 3/4 x 6 1/2 in. (19.6 x 16.5 cm.)

A Leaf from The ‘Second’ Guler Ramayana Series: Rama and His Allies Take Counsel
Guler, First Generation after Nainsukh and Manaku, circa 1790
Opaque watercolor heightened with gold on paper
Image: 8 x 12 in. (20.3 x 30.5 cm.)
Folio: 10 x 13 7/8 in. (25.4 x 35.3 cm.)

Provenance:
Christie’s, London, 8 July 1982, lot 144.
Private collection, California.

Leaf 21 from the Devi Mahatmya: Homage of the Gods
Guler, circa 1790
Opaque watercolor heightened with gold on paper
Folio: 7 1⁄2 x 11 1⁄2 in. (19.1 x 11.5 cm.)
Image: 6 1⁄4 x 10 in. (15.9 x 25.4 cm.)

Provenance:
Private Swiss collection, by descent.

The Kurma Avatar: Samudra Manthan (The Churning of the Ocean); Folio from the Gita Govinda
Attributed to Manaku of Guler, India, Guler,
circa 1735
Opaque watercolor heightened with gold on paper
8 x 12 in. (20.3 x 30.5 cm.)

Provenance:
From a Private New York Collection, acquired from a European dealer in the 1980’s.
Frame label reads “From the collection of the Marquess of Tweeddale.”

Inscribed verso:
Three lines of Sanskrit text in devanagari characters, alternating black and red.

Rama and Sita Enthroned
India, Guler, circa 1830
Opaque watercolor heightened with gold on paper
Image: 9 x 6 3/4 in. (23 x 17.2 cm.)
Folio: 9 7/8 x 7 3/4 in. (25.1 x 19.6 cm.)

Provenance:
Private European Collection.

Ganesha Enthroned
First generation after Nainsukh and Manaku, Guler, circa 1775-1780
Ink and opaque watercolor on paper
Image: 6 ⅜ x 9 ⅜ in. (16.2 x 23.8 cm.)
Folio: 8 x 11 ¼ in. (20.3 x 28.6 cm.)

Provenance:
Private New York collection. 

Seated on a lotus flower at three-quarters view, the Lord Ganesha is depicted here, carrying an elephant goad, a rosary, and the god’s preferred sweet, ladoo. The three horizontal lines that are repeated across his body identify him as a follower of his father Shiva. As the remover of obstacles and god of beginnings, this image of Ganesha would have been the opening folio of the Gita Govinda series from which it was taken. The lush and detailed landscape of the present composition is representative of that which pervades and defines the entire series.

Painted by the generation following Nainsukh and Manaku, the present image contains many stylistic similarities to another Ganesha folio from the same workshop, currently located at the Metropolitan Museum of Art (acc. L.2018.44.23). Note the similar treatment of the foliage in the background, as well as the rendering of the crown, which while unfinished in the present painting, would have been embellished with gold in a similar fashion. Artists from Guler often utilized a technique of burnishing the backside of the painting in order to deeply embed the colors into the paper support—evidenced by the still-vibrant  palette of this eighteenth-century painting.

Illustration to the Lanka Kanda of the Ramayana: The Awakening of the Giant Kumbhakarna
Kangra or Guler, late 19th – early 20th century
Opaque pigments and gold on paper
7 ½ x 9 ¼ in. (18.8 x 23.5 cm.)

The present painting  illustrates a continuous narrative in which two successive episodes of the Lanka Kanda from Valmiki’s Ramayana are shown together in a single picture.  The narrative is broken up into its sequential scenes by the clean straight lines of the palace halls. On the right, a large convex room draws your eye to the first scene in the narrative. There sits the giant Kumbhakarna, who has just awoken from a six month’s deep sleep. The large audience of demons that surround him inform Kumbhakarna that Rama, Lakshmana and Sugriva’s monkey army have gathered outside the palace–their diminutive figures visible in the background, under a tree on top of a mountain. 

To the left, the zig-zagging palace staircases lead your eye up to the next episode in which Kumbhakarna goes to meet his older brother Ravana, the ten-headed king of Lanka. With large horns and fangs, and a pearl-studded golden gada  grasped in his right hand, the giant dwarfs the size of the demons that surround him. In the meeting hall above, the golden skinned Ravana awaits with a black ram at his feet–an offering to sate Kumbhakarna’s hunger after his long slumber. Upon their meeting, Ravana recounts his kidnapping of Sita and Kumbahkarna is disgusted, but nevertheless pledges to destroy Ravana’s enemies out of familial loyalty.

This set is likely inspired by a well-known Guler Lanka Kanda series produced in 1850. Two paintings of this series were successfully sold at auctions (Bonhams New York, 19 March 2018, lot 3095; and Christie’s New York, The Collection of Paul Walter, 26 – 27 September 2017, lot 229). A third one is published in Court Paintings from Persia and India, Francesca Galloway, London 2016, p. 98, no. 36.

Seated Nobleman on a Terrace
Attributed to Pandit Seu’s workshop, Guler, late 18th century
Gouache heightened with gold on paper
Image: 7 ⅛  x 5 ⅜ in. (18.2 x 13.6 cm.)
Folio: 11 ½ x 7 ⅞ in. (29.1 x 20.1 cm.)

Provenance:
Christie’s New York, 20 March 2019, lot 713.

A nobleman in a vivid green jama with an elaborate floral and jeweled belt, necklaces of rubies, emeralds and pearls matching his embellished turban surmounted by a feathered sarpech, appears dignified atop a white marble terrace. He relaxes before an elaborate drawstring bolster atop lavish textiles as he holds the end of a hookah, before which a heated vessel sits emitting wisps of smoke. The elegant composition is worthy of close comparison to a figure in the same posture, garb and environment as the present nobleman attributed to the master painter Nainsukh: a drawing of Mir Mannu in the Government Museum and Art Gallery, Chandigarh (acc. no. B-60), illustrated by B.N. Goswamy in Nainsukh of Guler, Zurich, 1997, pp. 102-103, no. 27.

Since Akbar’s time, the Mughal Empire exerted suzerainty over the small principalities within the rich landscape of the Punjab Hills. The present painting is a result of that influence, as it was very likely painted from an imperial Mughal model. The painting is, nevertheless, of the highest quality and thus attributed to the famed atelier of Pandit Seu of Guler—an artist who credited with aiding in the shift to a more formal style with the transmission of Mughal techniques learned directly from disbanded artists from Aurungzeb’s former atelier.