A BRIDEGROOM COMES FOR MARRIAGE
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
A BRIDEGROOM COMES FOR MARRIAGE

ASCRIBED TO SHAYKH MUHAMMAD AMIR OF KARRAYA, CALCUTTA, INDIA, SECOND QUARTER 19TH CENTURY

Details
A BRIDEGROOM COMES FOR MARRIAGE
ASCRIBED TO SHAYKH MUHAMMAD AMIR OF KARRAYA, CALCUTTA, INDIA, SECOND QUARTER 19TH CENTURY
Transparent and opaque pigments on paper, depicting marriage festivities, the bridegroom clothed in orange and vermillion seated on a green cloth being entertained by dancing girls and musicians, within black rules, inscribed in the lower margin in black ink 'Bridegroom came for marriage' (lower centre) and 'Shaykh Mohamud Ameer/ Calcutta. at ...' (lower right)
Painting 10 x 14 5/8in. (25.5 x 37.3cm.); folio 12 5/8 x 16 7/8in. (32 x 43cm.)
Provenance
Christie's, London, 4 October 2012, lot 216

Brought to you by

Louise Broadhurst
Louise Broadhurst

Lot Essay

Shaykh Muhammad Amir of Karraya (fl. 1830-50) was an influential artist who worked for the British in Calcutta during the 19th century at a time of great prosperity. He delighted patrons with paintings of their houses, servants, carriages and horses. In deference to Western traditions he introduced shadows and other similar ploys into his art which were incorporated for their aesthetic rather than logical value. One of his best known clients was the businessman Thomas Holroyd, for whom he executed many of these scenes. An album of paintings that were made for Holroyd by Shaykh Muhammad Amir was presented to the Oriental Club in 1839 - it has now been split and the folios are in public and private collections.

For published works by Shaykh Muhammad Amir see Guy and Swallow, 1990, p.198, no.173; and Welch, 1978, pp.67-72, nos.20-24. The artist is perhaps best known for his paintings of racehorses and their grooms, a number of which have sold through these Rooms, 5 October 1999, lot 114; 24 September 2003, lot 140; 5 October 2010, lot 386 and 26 April 2012, lot 352. However, he is also known to have painted houses, gardens, house pets and servants. This painting, which depicts an Indian wedding, is reflective of the desire of a number of British patrons to record a world that was new to them.

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