Page 220 - Himalayan Art Macrh 19 2018 Bonhams

3106
RADHA WATCHING A STORM
SIGNED MOHAMMADI, MANDI, DATED 1854
Opaque watercolor and gold on paper; verso inscribed:
S[amvat] 30 re Bha[draprada] pra[vishte]10 Shri Miyan Sahaba ki nazar kita ch[tere].
Mahamadiye; translated, “Presented to Miyan Saheb (exalted member of the royal
family) on the 10th day of the Bhadrapada month of the year 30 (corresponding to CE
1854) by the painter Mohammadi”.
Image: 9 1/3 x 6 5/8 in. (24 x 17 cm);
Folio: 11 7/8 x 9 7/8 in. (30.3 x 25 cm)

$30,000 - 50,000
The painter evokes the atmosphere of the monsoon season with a turbulent sky
of billowing rain clouds and lightning strikes. The passionate nayika clad in a richly
ornamented dress looks back to her courtesans, gesturing in the hope that the arrival
of the rain will hasten the return of her lover. The powerful and brooding presence of the
peacock signifies both the arrival of the rainy season and amplifies the absence of the
nayak.

Mohammadi (Mohammad Bax) was the disciple of Sajnu, whose prominence as a
master artist became fully realized under his new patron Raja Ishvari Sen of Mandi after
he left the court of Kangra around 1804. The style favored in Mandi in the early decades
of the 19th century diverted towards curious subjects and a naïve style under Shamsher
Sen. Sajnu and Mohammadi followed the conventions developed in the Guler and
Kangra school and focused on the classic Bharamasa and Nayika love poetry, such as
the present painting.

This work is important as it shows the high quality of painting still produced in the
middle of the 19th century, as indicated by the date on the verso, corresponding to
1854 CE. It remains one of the very few folios bearing the artist’s signature. However,
the name of the patron in the inscription remains absent and is only referred to by the
honorific title Miyan Saheb. It likely refers to Raja Bijai Sen, who ruled Mandi from 1851
to 1902.

Compare with another similar scene in the San Diego Museum of Art in Goswamy &
Smith, Domains of Wonder, San Diego, 2005. pp.252-3, fig.108. Also see a closely
related work of similar size dated circa 1840, entitled, Palace Women Watching the
Approaching Storm, sold by Christie’s, New York, 18 September 2013, lot 363

Provenance
Theo Brown and Paul Woner, San Francisco, 1970s-1982
Private Collection, Los Angeles

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