A standing courtier, Bikaner school, India, circa 1690, ink and opaque pigments on paper, depicted holding a flower in one hand, a bow held in the other, a katar at his waist tucken into his cumberband and quiver filled with arrows at his back, within gold flecked borders, 25.2 x 16.1 cmProvenance: Formerly in the Private Collection of William and Mildred ArcherExhibited: Bristol City Museum and Art Gallery 1995-2005, Loan no 76The courtier wears the type of extravagantly large turban fashionable in Marwar in the first half of the eighteenth century (e.g. Crill 2000 A figs. 37-43). While his beard is unusual for a Hindu of this period, there are precedents in Marwar, especially under Thakur Padam Singh (1720-42) of Ghanerao (ibid., figs. 53-54, and Crill 2000 B figs. 3-6).The drawing although relatively unrefined is still sensitive to details such as creases in the garments covering the forearms and ankles suggesting Mughal training. The Mughal artist Dalchand had been active in Marwar in the 1720s (Crill A, figs 37-42) and his influence lingered for several decades. McInerney suggests that Dalchand left Delhi for Jodhpur in 1724, but by 1728 had joined his father Bhavanidas in Kishangarh.Crill, R. (A), Marwar Painting: a History of the Jodhpur Style, India Book House Ltd., Bombay, 2000Crill, R. (B), he Thakurs of Ghanerao as Patrons of Painting?in Topsfield, A., ed., Court Painting in Rajasthan, Marg Publications, Bombay, 2000, pp. 92-108McInerney, T., alchand? in Beach, M.C., Fischer, E., and Goswamy, B.N., Masters of Indian Painting, Artibus Asiae, Zurich, 2011, pp. 563-78A standing courtier, Bikaner school, India, circa 1690, ink and opaque pigments on paper, depicted holding a flower in one hand, a bow held in the other, a katar at his waist tucken into his cumberband and quiver filled with arrows at his back, within gold flecked borders, 25.2 x 16.1 cmProvenance: Formerly in the Private Collection of William and Mildred ArcherExhibited: Bristol City Museum and Art Gallery 1995-2005, Loan no 76The courtier wears the type of extravagantly large turban fashionable in Marwar in the first half of the eighteenth century (e.g. Crill 2000 A figs. 37-43). While his beard is unusual for a Hindu of this period, there are precedents in Marwar, especially under Thakur Padam Singh (1720-42) of Ghanerao (ibid., figs. 53-54, and Crill 2000 B figs. 3-6).The drawing although relatively unrefined is still sensitive to details such as creases in the garments covering the forearms and ankles suggesting Mughal training. The Mughal artist Dalchand had been active in Marwar in the 1720s (Crill A, figs 37-42) and his influence lingered for several decades. McInerney suggests that Dalchand left Delhi for Jodhpur in 1724, but by 1728 had joined his father Bhavanidas in Kishangarh.Crill, R. (A), Marwar Painting: a History of the Jodhpur Style, India Book House Ltd., Bombay, 2000Crill, R. (B), he Thakurs of Ghanerao as Patrons of Painting?in Topsfield, A., ed., Court Painting in Rajasthan, Marg Publications, Bombay, 2000, pp. 92-108McInerney, T., alchand? in Beach, M.C., Fischer, E., and Goswamy, B.N., Masters of Indian Painting, Artibus Asiae, Zurich, 2011, pp. 563-78