The Churning of the Ocean of Milk
Himachal Pradesh, Pahari, Kangra, circa 1785
Opaque watercolor painting and gold on paper
7 3/32 x 10 7/8 in (18 x 27.6 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Myths, Monsters, Maharajas: Introducing the Binney Collection, San Diego Museum of Art, 11/23/1991 – 1/26/1992
The Universe: Constructing the Cosmos in the Religious Arts of Asia, Pacific Asia Museum, 2/3/2001 – 5/6/2001
Visions of the Cosmos: From Milky Ocean to Black Hole, , 12/11/2009 – 5/10/2010
Epic Tales from India: Paintings from The San Diego Museum of Art, The San Diego Museum of Art, 11/19/2016 – 6/12/2018

When the forces of evil were becoming powerful, the gods came to Vishnu for help. Vishnu, the presrver of the Cosmos, devised the scheme of churning the Ocean of Milk to obtain amrta, which would sustain the gods and make them immortal. The holy mountain Mandara, with Vishnu seated atop it, was carried to the ocean and placed as the churning stick on the back of Kurma, the king of tortoises, an incarnation of Vishnu himself. The serpent king Vasuki served as the churning rope, the demons pulling on his hood, the gods his tail. Into the radiant waters of the Ocean of Milk were thrown various kinds of medicinal herbs, and the churning began.

After the gods and demons had labored at their task for a thousand years, miraculous things arose from the water one by one. The first was the all-destroying world poison, which out of compassion Shiva drank. On seeing her husband in danger, Uma pressed his throat, and the poison remained there forever. (The painting does not include this phase of the myth.) Then arose the wish-fulfilling cow Surabhi, the fountain of milk, first sustenance of the human race. Then came Sura, the deity of wine, carrying two golden pots full of liquor. Next from the whirlpool of the deep came the celestial Parijata tree, symbol of all lovely flowers and precious fruits with which the earth is blessed. Then emerged the crescent moon and a bow which were seized by Shiva. Then appeared Lakshmi, also called Shri, carrying a lotus. Lakshmi adored Vishnu, while the demons, enraptured with her beauty, desired to passess her.

Lakshmi was followed by the seven-headed horse, and then the gleaming gem Kaustubha, on a golden chain. Next arose Airavata, the four-tusked elephant, which Indra took for himself. Then came Dhanvantari, the divine physician bearing in his hand a golden cup filled with amrta, the elixir of immortality. The titans fought agains the gods for the possession of the amrta and the lovely goddess Lakshmi. Vishnu assumed the form of Mohini, a beautiful woman, and so chamed the titans that they presented the amrta to her. Vishnu immediately gave it to the gods, who thus became immortal.

————–

Pahari paintings vary depending on where they were made, but those produced in and around the region of Kangra display a preference for cool colors rather than the robust reds and vibrant yellows of most Rajasthani paintings.

This image depicts Vishnu atop the holy mountain Mandara, which the gods and the demons use to churn the Ocean of Milk in order to obtain a special nectar that will render the gods immortal. The mountain is balanced on the back of a giant tortoise called Kurma, and is being turned with the body of the serpent king. In the water and on the grass above appear the many marvelous objects produced from the ocean’s depths—including a wish?fulfilling cow, a celestial tree, the crescent moon, a bow, the goddess Lakshmi, a seven-headed horse, the gleaming gem known as Kaustubha, a four-tusked elephant, and the divine physician Dhanvantari holding a cup filled with the nectar of immortality.

Rama and Sita enthroned
Attributed to Kama, Pahari, Kangra, circa 1800
Opaque watercolor painting and gold on paper
9 23/32 x 7 9/32 in (25 x 19 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Epic Tales from India: Paintings from The San Diego Museum of Art, The San Diego Museum of Art, 11/19/2016 – 6/12/2018

This image of Rama and Sita, happily united and attended by Hanuman and their bear and monkey allies, as well as Rama’s three brothers, became a popular subject for illustration independent of the Ramayana series. Made for devotion, often for hanging in a temple, such paintings tend to have a vertical rather than a horizontal format and typically present Rama and Sita as king and queen in the mode of local royalty. This painting, produced in Kangra around the year 1800, depicts the pair in a late-eighteenth-century Pahari palace with white pavilions, terraces, and fountains adorned by colorful textiles, including a magnificent Mughal-style trellis carpet. It was made and signed on the reverse by Kama, a son of the artist Nainsukh.

Shiva with Parvati Approached by a Group of Women
First generation after Nainsukh, 18th century Pahari painter
Last quarter 18th century
Opaque watercolor painting and gold on paper
8 21/32 x 12 13/32 in (22 x 31.5 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Domains of Wonder: Selected Masterworks of Indian Painting, San Diego Museum of Art, 10/22/2005 – 1/27/2008
Temple, Palace, Mosque: Palace Art From the Palace of Guler, San Diego Museum of Art, 6/23/2012 – 1/6/2013

The divine couple is fully absorbed in each other in the midst of idyllic mountainous surroundings. Parvati reclines in Shiva’s lap, as he strokes her tenderly. She extends a firm arm and holds her hand to dismiss the group of women who have come bearing gifts and offerings. Disappointed, they return in the direction from which they came; their disappointment is echoed by the lack of blooming lotuses in the river in front of them. The aerial chariots of the gods in the upper right corner remain unfinished.”

The First Meeting of the Eyes
Attributed to Manaku, 18th century Pahari painter
circa 1750
Opaque watercolor painting and gold on paper
8 1/8 x 10 23/32 in (20.6 x 27.2 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Domains of Wonder: Selected Masterworks of Indian Painting, San Diego Museum of Art, 10/22/2005 – 1/27/2008
Master Painters of India, 1100-1900, San Diego Museum of Art, 9/26/2011 – 1/8/2012

This painting shows the celebrated scene from stories and folk songs of “the first meeting of the eyes” of a hero and a heroine. The scene is set forth here with perfect clarity: a dashing young man dressed in princely attired comes riding a fine steed; a beautiful woman offers him a pot of water freshly drawn from the well. As fate would have it, they are already married to one another; but neither recognizes the other, because he has been gone for so many years.

Submitting to Her Will, Completely
First generation after Nainsukh, 18th century Pahari painter
Guler, circa 1770
Opaque watercolor painting and gold on paper
8 1/4 x 6 15/16 in (20.96 x 17.62 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Devi: The Great Goddess, Arthur M. Sackler Gallery, 3/28/1999 – 9/6/1999
Power & Desire: South Asian Paintings from the San Diego Museum of Art,, San Diego Museum of Art, 4/29/2000 – 10/5/2003
Domains of Wonder: Selected Masterworks of Indian Painting, San Diego Museum of Art, 10/22/2005 – 1/27/2008
Temple, Palace, Mosque: Palace Art From the Palace of Guler, San Diego Museum of Art, 6/23/2012 – 1/6/2013

Towards the very end of the great Sanskrit love lyric, the Gita Govinda, all doubts laid to rest, all anger assuaged, Radha, “secure in her power over him”, ‘commands’ Krishna to do things for him, the poet says. “Paint a leaf on my breasts!/ Put color on my cheeks!/ Lay a girdle on my hips!/ Twine my heavy braid with flowers!/ Fix rows of bangles on my hands/ And jeweled anklets on my feet!” And her ‘yellow-robed lover’, does her bidding exactly as asked. The artist does not say it in so many words, but he is presenting her here as a svadhinapatika nayika, the heroine who has her lover completely under her control.

Kaliya Damana
Nand, 19th century Pahari painter, circa 1825
Opaque watercolor painting on paper
9 7/16 x 11 13/32 in (24 x 29 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Power & Desire: South Asian Paintings from the San Diego Museum of Art,, San Diego Museum of Art, 4/29/2000 – 10/5/2003
The Child Krishna, San Diego Museum of Art, 6/21/2002 – 8/18/2003

A great serpent, Kaliya, had taken up residence in a whirlpool in the Jumna River and had polluted it by his toxic venom. All river life was affected. When Krishna and the cowherds brought the cows to the river to drink, the cows became disoriented and fainted from the poisonous fumes. The only life remaining along the riverbank was a stately Kadamba tree.

Krishna decides to address the matter, removes his yellow silk pitambara, white garland, and peacock crown, places them on the trunk of the Kadamba tree, and throws a ball into the pool. The disturbance enrages Kaliya and he encircles Krishna with his coils. Krishna’s friends fall to the ground in fear. Balarama alone knows Krishna’s powers. Krishna sets himself free from the coils and makes himself very heavy. Kaliya grows weak under the great weight and tires. Krishna jumps on his heads and begins to dance. Kaliya’s thousand heads become powerless and he bows down to Krishna’s will. The wives of Kaliya beg Krishna to spare the life of their husband and their own.

This drawing may have been the first step in the construction of a painting. There are no changes indicated by white overpainting that would suggest the artist was working out a sketch. Certain details of the text are omitted. We do not see, for example, Krishna’s cast-off clothes on the trees. But Balarama alone among the youths remains standing.”

Angels Attend Mary and Jesus
Telangana, Deccan, Golconda, circa 1665
Opaque watercolor painting and gold on paper, mounted on an album
4 29/32 x 7 5/16 in (12.5 x 18.6 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Into India: South Asian Paintings from The San Diego Museum of Art, San Diego Museum of Art, 2/28/2012 – 5/27/2012
Virgin Mary, The San Diego Museum of Art, 12/3/2016 – 3/26/2017

Artists in Golconda, which became the southern extension of the Mughal empire during the reign of Aurangzeb (1658–1707), produced this version of the Madonna and child attended by angels. Compared to earlier works made in the courts of Akbar and Jahangir, the style incorporates more mannerisms and the patterns created by the shading more abstracted, lending a sense of otherworldliness that is characteristic of paintings from the Deccan.

Among all Christian imagery, the Nativity held the greatest interest for Muslims. Sixty-four of the ninety verses of the Koran deal with the Nativity; they emphasize Jesus’s virgin birth, and his meekness and piety.

Exchange of the babies
Rajasthan, Mewar, circa 1600-1625
Opaque watercolor painting on paper
5 9/32 x 12 1/8 in (13.4 x 30.8 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
The Child Krishna, The San Diego Museum of Art, 6/21/2002 – 8/18/2003
Epic Tales from India: Paintings from The San Diego Museum of Art, The San Diego Museum of Art, 11/19/2016 – 6/12/2018

This illustration presents the exchange of babies orchestrated by Vasudeva in order to prevent Krishna’s death at the hand of Kamsa. Vasudeva is shown three times over the course of the action: on the right side of the painting, he deposits the blue-skinned infant Krishna at Yashoda’s side while she sleeps in her chamber. Having retrieved the girl born to Yashoda, Vasudeva is portrayed on the road, carrying the infant. On the left, Vasudeva appears for the third time, placing the baby beside his wife, Devaki, who is asleep in the prison. Four small labels identify Devaki, Yashoda, the Yamuna River, and the road.

This folio comes from a manuscript in which multiple inscriptions appear on each page: in addition to the labels, there are Sanskrit verses of the Bhagavata, with commentary in Sanskrit as well as vernacular inscriptions. This is one of the few pages without Sanskrit texts. At the bottom of the page, a vernacular inscription written in red ink describes Vasudeva’s daring exchange.

Krishna flutes under a tree
Rajasthan, Kishangarh, circa 1689
Opaque watercolor painting and gold on paper
9 17/32 x 8 1/32 in (24.2 x 20.4 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
The Child Krishna, The San Diego Museum of Art, 6/21/2002 – 8/18/2003

The landscape of Vrindavana where Krishna and the gopis live in the bliss and beauty of love-play is a cowherd settlement that is transformed by poets and painters into an earthly garden of delights. The landscape here mirrors the view of a mystic devotee:

I have been enchanted by the flora of Vrindavana, the strangely beautiful, varied trees and fruit and flower-bearing creepers; by the calls and songs of beautiful peacocks, cuckoos, parrots, and other birds, their songs maddened by bliss…. The leaves are like emeralds in Vrindavana, the flowers are like diamonds, the sprouts and fruit are like rubies, while the trees in Vrindavana stand picturesquely with perpetually honey-shedding flowers, and the flowers are covered with large black bees that look like shining blue gems.
Prabhodhananda Sarasvati, Vrindavana-mahimamrita

Compared with the adjacent 15th century manuscript page depicting the same subject, this picture creates a landscape space that is inhabited by the figures, which have also become more “realistic.” This late 17th century work reflects a blend of Mughal and Rajasthani painting styles. The figures, however, remain aligned in one plane; the cows, constant companions of the gopas and gopis, are still tiny and the flute does not cross Krishna’s body.

In the sky at the top of the picture, the weather responds to the sound of Krishna’s flute: clouds form to provide shade and to shower him with cooling drops of fresh water. The river also obeys the poets words and is stopped in its tracks by the sound of the flute, leaving a boat poised before Krishna’s feet.

Garuda with Siva’s snakes and Hindu divinities in his plumage
Pahari, Kulu, 1750
Opaque watercolor painting and gold on paper
11 1/4 x 7 11/16 in (28.6 x 19.5 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
Art of South Asia: 13th – 19th Century, The San Diego Museum of Art, 11/23/2013 – 6/8/2014

The Hindu divinity Garuda (whose name means eagle) is a mythical creature who serves as the mount, or vehicle, for the god Vishnu. In sacred texts he is described as colossal, with a man’s body, an eagle’s beak, and red wings; he wears snakes around his wrists and in his hair. While he was sometimes worshipped alone, and was believed to provide protection from snakes, this image is unusual in its depiction of a great, feathered beast supporting Hindu divinities.

Usha comes to Aniruddha during his evening meal
Pahari, Chamba, circa 1775
Opaque watercolor painting and gold on paper
8 x 12 in (20.3 x 30.5 cm)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985 )
Edwin Binney 3rd, San Diego, California ( March 7, 1985 – August 27, 1990 )
San Diego Museum of Art, San Diego, California ( August 27, 1990 – )

Exhibited:
“Wit and Wisdom: The Making of the Edwin Binney 3rd Collection, The San Diego Museum of Art, 4/15/2006 – 10/29/2006
Arts of South and Southeast Asia 13th to 19th Century, The San Diego Museum of Art, 6/16/2014 – 12/14/2014
Visible Vaults, The San Diego Museum of Art, 11/12/2016 – 00/00/00”

The story of Usha and Aniruddha comes from the important Hindu text, the Bhagavata Purana. One night, Usha, the daughter of the thousand-armed king Bana, dreamt of a charming youth. With the help of her friend, she was able to identify her mysterious lover as Aniruddha, the grandson of Krishna, an incarnation of the god Vishnu. He was brought to Usha’s chambers, and there Aniruddha enjoyed the princess’s company before the merriments came to a sudden halt when he was discovered by her father. Here the princess approaches the chamber where Aniruddha is being attended by Usha’s maids.

The painting was made at the court of Chamba, in a remote mountain area of northern India. The softly modeled and elegant forms of the figures were influenced by paintings from Guler, a neighboring hill state, and by artists from the Mughal court in Delhi, who moved into the region after the sack of Delhi in 1739.

Ramakala smokes her hookah
Attributed to Jajnath
Rajasthan, 1749
Opaque watercolor painting and gold on paper
6 1/32 x 4 17/32 in. (15.3 x 11.5 cm.)

Giri-Govardhana
Attributed to Mihr Chand
Rajasthan, circa 1700-1725
Opaque watercolor painting and gold on paper
10 5/8 x 7 15/32 in. (27 x 19 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A nayika longing for her beloved
Attributed to Mola Ram
Rajasthan, circa 1790
Opaque watercolor painting and gold on paper
9 1/4 x 6 5/8 in. (23.5 x 16.8 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A king of Nepal seated on a terrace with a hookah, with two chauri bearers
Himalayan, circa 1840
Opaque watercolor painting and gold on paper
8 13/16 x 6 23/32 in. (22.4 x 17.1 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Ibrahim Adil Shah II
India, circa 1625
Opaque watercolor painting and gold on paper
7 15/32 x 4 11/32 in. (19 x 11 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Two women seated on a terrace attended by two maids
Deccan, Hyderbad, circa 1725
Opaque watercolor painting and gold on paper
9 1/8 x 6 7/32 in. (23.2 x 15.8 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A woman standing before a pavilion
Rajasthan, circa 1740
Opaque watercolor painting and gold on paper, mounted on an album
10 1/8 x 6 3/8 in. (25.7 x 16.2 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Rao Bakhat Singh equestrian
Rajasthan, Marwar, circa 1745
Opaque watercolor painting and gold on paper
16 3/8 x 10 5/32 in. (41.6 x 25.8 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Rajput rulers of the Hurda Conference of 1734
Rajasthan, Mewar, circa 1734
Opaque watercolor painting and gold on paper
9 1/8 x 13 15/32 in. (23.2 x 34.2 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Kaisari Ragini
Rajasthan, Partabgarh, 1751
Opaque watercolor painting on paper
9 1/8 x 6 23/32 in. (23.2 x 17.1 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A woman worships before a Siva shrine
Rajasthan, Kishangarh, circa 1870
Opaque watercolor painting and gold on paper
11 21/32 x 9 9/16 in. (29.6 x 24.3 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Unyielding to Temptation: The sage Shuka Remains Unmoved as Rambha Dances
Rajasthan, Bikaner, circa 1600
Opaque watercolor painting and gold on paper
8 5/8 x 3 7/8 in. (21.91 x 9.84 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

The Celestial Nymph Pleads with the Sage
Rajasthan, Bikaner, circa 1600
Opaque watercolor painting and gold on paper
8 5/8 x 3 7/8 in. (21.91 x 9.84 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Babur kills blackbuck in a hunting circle
Rajasthan, Bikaner, circa 1600
Opaque watercolor painting on paper
13 3/8 x 8 17/32 in. (34 x 21.7 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A warrior, lance aloft in his left hand, astride a pink charger
Rajasthan, circa 1790
Opaque watercolor painting and gold on paper
12 29/32 x 15 7/16 in. (32.8 x 39.2 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A princess seated on a terrace
Rajasthan, circa 1860
Opaque watercolor painting and gold on paper
11 3/16 x 6 31/32 in. (28.4 x 17.7 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Krishna with four gopis in a forest
Central India, Malwa, 20th century
Opaque watercolor painting and gold on paper
8 x 4 1/2 in. (20.3 x 11.4 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Maharaja Sawai Bahadur Sabha Singh Judev
Central India, circa 1765
Opaque watercolor painting on paper
11 25/32 x 8 1/8 in. (29.9 x 20.6 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

Gajadhara Raga, Putra of Megh Raga
Pahari, Bilaspur, circa 1735
Opaque watercolor painting and gold on paper
7 1/4 x 11 5/8 in. (18.4 x 29.5 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A group of men seated around a brazier
Pahari, Jammu, circa 1750
Opaque watercolor painting on paper
9 29/32 x 7 in. (25.2 x 17.8 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

A prince spying at the preparations of his mistress
Pahari, Kangra, circa 1800
Opaque watercolor painting and gold on paper
5 29/32 x 8 3/8 in. (15 x 21.3 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).

An Afghan mounted, a lance held across his right shoulders
Company school, circa 1820
Opaque watercolor on paper
11 23/32 x 9 1/8 in. (29.8 x 23.2 cm.)

Provenance:
Ramesh Kapoor, New York, New York ( – March 7, 1985).
Edwin Binney 3rd, San Diego, California (March 7, 1985 – August 27, 1990).
San Diego Museum of Art, San Diego, California (August 27, 1990 – ).