5349

Study portrait

Maharajah Sawai Man Singh II of Jaipur 1935

Head and shoulders to the right, wearing the Life Guard dress uniform and a gold silk turban with a turquoise stripe and a feather, the midnight blue sash of the Star of India, the George V Jubilee medal and the Insignia of the Star of India

Oil on board, 75 x 50.8 cm (29 ½ x 20 in.)

Inscribed lower left: Study of HH the Maharajah of Jaipur / 1935 July  de László  [pencil]

Sitters’ Book II, f. 84: S. Man Singh of Jaipur / 12th July 1935.

Studio Inventory, p. 47 (243): H.H. The Maharajah of Jaipore. Study for the portrait (painted in London) which is now in Jaipur.

Private Collection

To determine the composition and colour scheme of his portraits, de László’s usual method was to make a few rapid pencil sketches, followed by a small oil sketch, loosely painted. In the case of the Maharajah of Jaipur, however, the artist found his sitter so inspirational that he made this more considered study portrait instead, with the intention of including it in his own collection.

De László recorded in his diary: “During the morning The H.H. Maharaja of Jaipur – gave me a sitting for the study to his portrait I am going to paint of him – my first commission from an India ruling prince – a great polo player – Tall handsome – rather ignorant - & spoiled - & week – but sympathetic – at 25 - he becomes the ruler […] I loved to do the study – with his strange high – gold Turban – in the military uniform of this  own guard – all so strong in calour.”^[1] 

By his standards, de László spent a long time on the present portrait, considering that he usually requested only one or two sittings for such works. He completed it on 27 July: “During the morning the Maharadja of Jaipur s[a]t– lunchend here – also Paul - & Joe – it was delicious to sit afterwards in the garden – By 5 ocl I finished – after the 3rd sitting his Head – which I kept – powerfull – with his picturesque Turban.”^[2]

As would be expected from a study portrait, the brushwork is looser than in the finished painting [5810], and most importantly, de László used a bolder, warmer palette here, and the flesh tone is darker than in the finished work.

For biographical notes on the sitter, see [5810].

PROVENANCE:

In the possession of the artist on his death

EXHIBITED:

•The Costume Institute, Metropolitan Museum of Art, The Costumes of Royal India, 20 December 1985 – 31 August 1986, p. 14 in exhibition check list

LITERATURE:

•László, Philip de, June-November 1935 diary, private collection, 12 July 1935 entry, pp. 40-41

•László, Lucy de lászló, 1935 diary, 27 July entry

CC 2008