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全球拍卖首页 > Christie's UK > 伊斯兰与印度世界艺术品包括东方地毯 > Lot 64
AN ILLUSTRATION TO A FRASER ALBUM: PORTRAIT OF DAKOO, A JAT AGED 108 YEARS
英国 北京时间
2020年06月25日 开拍 / 2020年06月23日 截止委托
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HARYANA, NORTH INDIA, 1816 AD Pencil and watercolour on paper, within black rules, inscribed in nasta’liq in pencil in the lower margin, with two detached fly-leaves bearing further inscriptions Painting 11 x 7 1/8in. (28.1 x 18.1cm.); folio 12 ? x 7 7/8in. (31 x 19.9cm.) This watercolour is from a series of illustrations commissioned by William Fraser (1784-1835) and his brother, the amateur artist and author, James Baillie Fraser (1783-1856). William Fraser, like many Scotsmen in the eighteenth and nineteenth century, travelled to India and arrived in Bengal in 1799. He joined the service of the East India Company and spent most of his career as Assistant to the Resident at Delhi. His brother joined him in India in 1814. Between 1815 and 1819 the brothers commissioned various drawings and watercolours of individuals and groups of figures to serve as a record of local life in Delhi and its neighbouring areas. The Fraser Albums are considered amongst the earliest and one of the finest groups of Company School pictures to be produced in India in the 19th century. The Fraser collection represents the diverse range of people to be seen in Delhi and its environs. There are remarkably naturalistic portraits of local noblemen and their courtiers, dancing girls, musicians, Afghan horse-dealers, ascetics and villagers, recruits from Skinner’s Horse, a regiment formed by Colonel James Skinner who was a great friend of the Fraser brothers. The brothers also commissioned works while travelling through the Himalayas with James Skinner at the time of the Anglo-Nepal War in 1814-15 (Losty and Roy, 2012, pp.221-223). Although the Fraser Albums were composed of a rich variety of paintings and subjects, Goswamy notes that the portraits are the most remarkable. Praising the sensitive depictions of their subjects, he enthuses, “so acutely studied are the faces and the costumes, and so sharp is the delineation of the personalities, the understanding of character, that it almost takes one’s breath away” (Beach, Fischer and Goswamy, 2011, p.775). Dakoo’s defiant stance, together with his questioning gaze and finely, naturalistically drawn features certainly support Goswamy’s admiration of the Fraser portraits. The Fraser Albums were sent back to Scotland in 1819 where they were organised and annotated with captions by their father Edward Satchwell Fraser (1751-1835). The annotations on the fly-leaves of this painting show the process that took place when arranging the works. Archer and Falk explain that that William would number many of the paintings, mainly derived from the Persian inscriptions. Subsequently, Edward would write the captions based on the information given by William (Archer and Falk, 1989, p. 137). This painting must have been re-sequenced by Edward, since William’s inscription is numbered ‘21’, yet his father placed it as number nineteen. The majority of the illustrations were subsequently sold at three auctions in 1980 at Sotheby’s, London and New York, and are now dispersed among a number of public and private collections worldwide. Recently sold Fraser illustrations at auction include Christie’s, London, 25 October, 2019, lot 24, Sotheby’s London, 19 October 2016, lot 19; Bonhams, London, 8 April 2014, lots 299, 300, 301; Christie’s, South Kensington, 7 October 2009, lot 139; Sotheby’s, London, 22 March 2007, lot 172. Further paintings from the albums are housed in a number of international institutions including the Victoria and Albert Museum (inv.no. IS.13-1989), the David Collection (inv.nos. 58/2007, 59/2007, 61/2007 and 1/2012) and the Virginia Museum of Fine Arts (inv.no. 97.117a-b). For additional portraits from the Fraser Album, see Dalrymple, 2019, pp. 156-162, nos. 90-98, and for groups of figures, see Dalrymple, 2019, pp. 163-169, nos. 99-106.

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