Hari Singh Rathor of the Jogidasa clan, Kishangarh, India, 1720-40, brush drawing heightened with opaque pigments, the stout Rajput is depicted with curling moustache and sideburns seated on his heels and holding the mouthpiece of a hookah, mounted in an album page with a blue-green inner frame and a broad salmon pink outer border both splashed with gold, painting 13 x 9.7 cm; folio 27 x 19.6 cm.Inscribed on the reverse in a Rajasthani inscription: 2 /Rathor Hari Singh Jogidasaut followed by an English note: Jogidosta is a community of Rajputs.Provenance: Rosebery's 13 June, 2013, Lot ??The sitter is named as Hari Singh Rathor of the Jogidas clan, and may be descended from Kunwar Jogidasji, younger son of Thakur Vithal Dasji of Ransigaon (1627-58) in Marwar, who is claimed to be the ancestor of the Jogidasot Champawats (including the Thakurs of Bhinmal, Daspan, Pokhran and Asana in Jodhpur and Geejgarh and Gadora in Jaipur). Inscriptions in apparent verse form are often found on the reverse of Kishangarh copies of Mughal paintings and drawings done in the second quarter of the 18th century (e.g. Losty 2008, no. 31).Haidar, N., havanidas? in Beach, M.C., Fischer, E., and Goswamy, B.N., Masters of Indian Painting, Artibus Asiae, Zurich, 2011, pp. 531-46Leach, L.Y., Mughal and Other Indian Paintings in the Chester Beatty Library, Scorpion Cavendish, London, 1995Losty, J.P., Paintings from the Royal Courts of India, Francesca Galloway sale catalogue exhibited New York, March 2008, London, 2008The swelling volumes of the man body are captured simply and effectively with a broad brush outline and the artist has paid serious attention only to the head. Here a much finer brush has been employed to capture the formidable nose and firm mouth of this impressive example of Rajput masculinity. Subtle shading round the eye and under the chin and on the ear gives volume to the face. Colour is used only for the stripes of his turban and for the rosary round his neck.The technique is found in many Mughal portrait drawings of the 17th century when a body is sketched in with a simple outline, although normally with a thinner and more accurate brush than here, and attention is paid to modelling and colouring only the head as in a drawing of Aurangzeb around 1640-45 by La Chand (Leach 1995, no. 380). Kishangarh artists were heavily influenced by Mughal art in the 1720s when the Mughal artist Bhavanidas settled there (see Haidar 2011).Provenance: Acquired Rosebery'sHari Singh Rathor of the Jogidasa clan, Kishangarh, India, 1720-40, brush drawing heightened with opaque pigments, the stout Rajput is depicted with curling moustache and sideburns seated on his heels and holding the mouthpiece of a hookah, mounted in an album page with a blue-green inner frame and a broad salmon pink outer border both splashed with gold, painting 13 x 9.7 cm; folio 27 x 19.6 cm.Inscribed on the reverse in a Rajasthani inscription: 2 /Rathor Hari Singh Jogidasaut followed by an English note: Jogidosta is a community of Rajputs.Provenance: Rosebery's 13 June, 2013, Lot ??The sitter is named as Hari Singh Rathor of the Jogidas clan, and may be descended from Kunwar Jogidasji, younger son of Thakur Vithal Dasji of Ransigaon (1627-58) in Marwar, who is claimed to be the ancestor of the Jogidasot Champawats (including the Thakurs of Bhinmal, Daspan, Pokhran and Asana in Jodhpur and Geejgarh and Gadora in Jaipur). Inscriptions in apparent verse form are often found on the reverse of Kishangarh copies of Mughal paintings and drawings done in the second quarter of the 18th century (e.g. Losty 2008, no. 31).Haidar, N., havanidas? in Beach, M.C., Fischer, E., and Goswamy, B.N., Masters of Indian Painting, Artibus Asiae, Zurich, 2011, pp. 531-46Leach, L.Y., Mughal and Other Indian Paintings in the Chester Beatty Library, Scorpion Cavendish, London, 1995Losty, J.P., Paintings from the Royal Courts of India, Francesca Galloway sale catalogue exhibited New York, March 2008, London, 2008The swelling volumes of the man body are captured simply and effectively with a broad brush outline and the artist has paid serious attention only to the head. Here a much finer brush has been employed to capture the formidable nose and firm mouth of this impressive example of Rajput masculinity. Subtle shading round the eye and under the chin and on the ear gives volume to the face. Colour is used only for the stripes of his turban and for the rosary round his neck.The technique is found in many Mughal portrait drawings of the 17th century when a body is sketched in with a simple outline, although normally with a thinner and more accurate brush than here, and attention is paid to modelling and colouring only the head as in a drawing of Aurangzeb around 1640-45 by La Chand (Leach 1995, no. 380). Kishangarh artists were heavily influenced by Mughal art in the 1720s when the Mughal artist Bhavanidas settled there (see Haidar 2011).Provenance: Acquired Rosebery's