Portrait of a seated man with a sword, Delhi, circa 1840, opaque watercolour on paper, dressed in a long white front-opening angarkha with a yellow turban and a sash wound round his waist, the bearded man is sitting on a mat with a pillow for support, he holds a rosary in one hand and his curved sword (tulvar) lies on the mat before him, he is smiling slightly at something to the right, 8.4 x 12.1 cmFollowing on from the innovations in portraiture initiated by the Fraser Artists in 1814-19, Delhi artists kept something of their naturalistic spirit but often combined it with a more Mughal sense of rarified dignity. Such qualities are found in the wonderful portrait of Nawab Muzaffar al-Daula done in Delhi in 1852 (Welch 1978, no. 53) and also in the vivid portrait head of the poet Hakim Momin Khan (Welch and Masteller 2004, no. 33). Something of their spirit is found in this andother similar portrait studies from late Mughal Delhi.LiteratureWelch, S.C., Room for Wonder: Indian painting during the British Period, American Federation ofArts, New York, 1978Welch, S.C., and Masteller, K., From Mind, Heart and Hand: Persian, Turkish and Indian Drawingsfrom the Stuart Cary Welch Collection, Yale University Press and Harvard University ArtMuseums, New Haven, etc., 2004Portrait of a seated man with a sword, Delhi, circa 1840, opaque watercolour on paper, dressed in a long white front-opening angarkha with a yellow turban and a sash wound round his waist, the bearded man is sitting on a mat with a pillow for support, he holds a rosary in one hand and his curved sword (tulvar) lies on the mat before him, he is smiling slightly at something to the right, 8.4 x 12.1 cmFollowing on from the innovations in portraiture initiated by the Fraser Artists in 1814-19, Delhi artists kept something of their naturalistic spirit but often combined it with a more Mughal sense of rarified dignity. Such qualities are found in the wonderful portrait of Nawab Muzaffar al-Daula done in Delhi in 1852 (Welch 1978, no. 53) and also in the vivid portrait head of the poet Hakim Momin Khan (Welch and Masteller 2004, no. 33). Something of their spirit is found in this andother similar portrait studies from late Mughal Delhi.LiteratureWelch, S.C., Room for Wonder: Indian painting during the British Period, American Federation ofArts, New York, 1978Welch, S.C., and Masteller, K., From Mind, Heart and Hand: Persian, Turkish and Indian Drawingsfrom the Stuart Cary Welch Collection, Yale University Press and Harvard University ArtMuseums, New Haven, etc., 2004