Portrait of Raja Ishri Chand

Description

This finely executed portrait drawing depicts a member of the ruling family of Nalagarh, identified by the contemporary Devanagari inscription above the sitter as “Śrī Raja Ishri Chand Ji." Although published genealogies of the Nalagarh rulers record Raja Ishri Singh (r. 1876–1911), the inscription itself appears to identify the sitter as Ishri Chand, and is therefore retained here as the primary evidence for the portrait’s attribution. Executed in black ink with restrained applications of opaque watercolor, the drawing was likely produced as a workshop model or preparatory study for a finished court portrait.

The ruler is shown in three-quarter view wearing a white turban adorned with a yellow plume, layered pearl necklaces, and an embroidered sash, while holding the hilt of a ceremonial sword. The face is rendered with remarkable subtlety and careful tonal modeling, contrasting with the lightly sketched garments and accessories, providing a revealing glimpse into the working methods of a late nineteenth-century Pahari court atelier.

The verso preserves a lightly sketched study of the same sitter’s head, together with Persian-script annotations and a printed Sanskrit devotional invocation. The repeated likeness on both sides of the sheet strongly suggests that the drawing functioned as a working studio model, allowing the artist to refine the ruler’s physiognomy before executing a finished portrait. Portrait studies identifying named rulers from the smaller Punjab Hill states are uncommon, making this an important document of the artistic traditions of the Nalagarh court.

Condition

Very good overall for a late nineteenth-century workshop drawing. The sheet exhibits even age toning, scattered foxing, and light surface soiling consistent with age. Historic horizontal and vertical fold lines are present, together with minor edge wear and small losses at the corners. The portrait remains exceptionally well preserved, with strong, crisp facial modeling and delicate draftsmanship. The identifying Devanagari inscription above the sitter remains legible. The verso retains a faint sketch of the sitter’s head, along with Persian annotations and a printed Sanskrit devotional text, all consistent with prolonged workshop use. Overall, the paper is stable and displays attractively with honest signs of age and handling.

Provenance 

Private Collection, Hawaii.

Private Collection,New York, acquired from the above in the 2000s.

References

Archer, W. G. Indian Paintings from the Punjab Hills. 2 vols. London: Sotheby Parke Bernet, 1973.

Goswamy, B. N., and Eberhard Fischer. Pahari Masters: Court Painters of Northern India. Zurich: Artibus Asiae Publishers, 1992.

Tandan, Brijinder Nath. The States of Nalagarh, Kahlur, Suket and Mandi: Their History and Paintings. New Delhi: Aryan Books International, 1997.

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