Ravi Varma's paintings broke the mold for Indian Art in the 19th century as he used oils and a more European style in his paintings. Ravi Varma was an artist for the court in Travancore, being born into an upper-class Indian family. Paintings by Ravi Varma show the influence of his art tutor, Theodore Jensen, and combine Realism and Naturalism with Indian mythology. Raja Ravi Varma's oleographs were made widely available to the public and not just the elite; this was so important to him that in 1894 he created his own press for reproducing his work.
Artist Ravi Varma's paintings received multiple awards and have been exhibited widely. He rose to become an important figure at court, painting portraits of the Indian royal family and foreign diplomats. Bring interest into your home with similarly exquisite oil paintings available at Invaluable.
An Indian oil painting on canvas, Menaka and Shakuntala, after the original painting, 1891, by Raja Ravi Varma, 1848 to 1906. Inscribed lower left. The 1891 painting Menaka and Shakuntala by Raja Ravi Varma is an emotional portrayal capturing the moment of union between the celestial nymph Menaka and her daughter Shakuntala. The artwork conveys the gravity of maternal love and acceptance. Varmas use of warm, golden hues enveloping the figures enhances the sense of a celestial bond, with Menakas attire radiating a nurturing glow. Shakuntalas delicate, youthful form clings to her mother, seeking comfort. The ethereal background suggests a realm beyond the ordinary, highlighting the otherworldly origins of Menaka and the destined path of Shakuntala. Indian Fine Art, Divine Portrait Paintings, Wall Art, and Collectibles. One of a kind artwork.
Middle East.- Varma Press (Raja Ravi) [Islamic Pilgrimage Sites], views of Mecca and the Kabba, Median, Jerusalem, and other mosques and shrines set within a decorative border, chromolithograph on paper, sheet 255 x 360 mm (10 x 14 1/4 in), nicks and tears to extremities, repaired tear verso, handling creases, printed in India, unframed, [circa 1900]
Raja Ravi Varma (1848 - 1906) oil on canvas painting depicting a seated Indian noble female figure. Signed in the lower left corner. Born on April 29, 1848, in Kilimanoor, a small hamlet in the southern state of Kerala, Ravi Varma belonged to a family of scholars, poets, and artists. Noted in his family were, among others, Vidwan Koil Tampuran, author of the famous Kathakali work Ravana Vijayam; Raja Raja Varma, who painted after the Tanjore style; and Uma Amba Bai Tampuratty, who composed Parvati Swayamvaram, a work for the Tullal dance. Provenance: according to the late collector and owner's son, the artwork is a part of the owner's late father's inheritance (Mirza Sami Baig Born, born: July 1, 1949, Hyd India, passed away in India visiting in 2013) which includes over 2500 artworks from India. This artwork was purchased in India while Mirza Sami Baig Born made multiple trips to visit the country.
*** Please note, the description of this lot has changed. Middle East.- Varma Press (Raja Ravi) [Islamic Pilgrimage Sites], views of Mecca and the Kabba, Median, Jerusalem, and other mosques and shrines set within a decorative border, chromolithograph on paper, sheet 255 x 360 mm (10 x 14 1/4 in), nicks and tears to extremities, repaired tear verso, handling creases, printed in India, unframed, [circa 1900]
Ravi Varma Press Oleograph Print. A print by Ramunujam depicting Krishna with Rukman and other consorts. It is embellished with fabric and sequins. Framed. Size: 25.25'' x 19.25'', 64 x 49 cm (frame); 19.25'' x 13'', 49 x 33 cm (sight).
Ravi Varma Indian Portrait Oil on Canvas Painting. Measures 50 1/4" x 39 1/4". Please carefully read our terms of sale, shipping information, and request any condition reports or photos prior to placing a bid. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Because artwork, antiques and collectibles are known to be copied from pre-existing examples, the dating of such objects is often difficult to ascertain and opinions vary from expert to expert. Due to this, RBFineArts CFL Inc strongly suggests all potential bidders or a representative to meticulously inspect any and all items prior to bidding. Any reference to a specific time period and/or culture are only the opinion of RBFineArts CFL Inc and are not a guarantee of authenticity. If the bidder or a representative cannot inspect an item in person prior to the auction, then RBFineArts CFL Inc strongly suggests that you do not place a bid on the lot. RBfinearts CFL INC. shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Please email for a condition report and photos, if desired. Emails should be received at least 48 hours in advance of the date of the auction. Please make sure you have read the Terms and Conditions* before you bid. ALL ITEMS ARE SOLD AS IS! Any registration and/or bid placed by you does guarantee RBfinearts CFL Inc. you have read and will abide by the following Terms and Conditions of the sale. We do expect all bidders and buyers to abide by the contracts they agree to when bidding and finalize ALL sales regardless of any reassessment. SHIPPING POLICY: RBFINEARTS SHIPPING IS OUR DEFAULT PACKING AND SHIPPING PARTNER. All lots will be released to them once payment has been received unless we are notified by email. RBfinearts Shipping 375 E Burleigh Blvd., Tavares, FL 32778 shipping@rbfinearts.net or 877-660-3243. Alexandria is the manager of RBfinearts Shipping Inc., and you may contact her with any quotes or questions. IF YOU PREFER TO USE AN ALTERNATIVE SHIPPER YOU MUST EMAIL INFO@RBFINEARTS.NET TO ADVISE OUR OFFICES OF THE ALTERNATIVE COMPANY YOU WOULD PREFER TO PACK AND SHIP YOUR ITEM/S. No property will be released for shipping or pick-up until payment is made in full. Please note that a shipping charge is not included in the sale price. Any costs associated with the shipping, packing, and transport of an item are the responsibility of the buyer. RBfinearts CFL Inc. is not responsible for packing, shipping, or transport of any items from buyer’s invoice. Local Pick-up: Items for pick-up must be collected within fourteen (14) days of payment. Items remaining at RBfinearts CFL Inc offices at the expiration of fourteen (14) days past payment will be subject to storage fees of $10 per day per item. All storage fees must be paid before item/s will be released to the buyer or a representative. Any items remaining forty-five (45) calendar days following the date when the buyer completed payment on an invoice will be considered Abandoned Property of items on that invoice and will be subject to resale or disposal with no refund. Transportation for shipping of buyer’s items: As a default upon payment, RBfinearts Shipping Inc. will pick up and transport your items from the offices of RBfinearts CFL Inc. ALL OTHER transport to any other third-party shipper there will be a 25.00 transport fee, there will be no exceptions for this condition. Your item/s will be transported one time per week only. Any issues with shipping or insurance are between the shipping company and the buyer. If you are not satisfied with our shipping options, please make other arrangements to ship your item and contact us about those shipping details. RBfinearts CFL Inc. is not responsible for any denied claims or damages from the shipping offices the buyer chooses. RBfinearts CFL Inc. does not make any warranty, guarantee, or promise as to the performance of any shipper. RBfinearts CFL Inc. (online auction) and RBfinearts Shipping Inc. (packing and shipping) are two separate companies and should not be assumed to be the same business. If you have any questions, please do not hesitate to contact us at info@rbfinearts.net or 352-508-5738. ***We at RBfinearts can only attribute this work based upon the quality and the presence of a signature, we are not an authentication service. We can only declare the work as attributed to based upon the factors mentioned. ***
5 Ravi Varma Press Indian Hindu Religious Prints. Each Marked "Ravi Varma Press Malavli" Registered No. 743, 764, 506, And 745. One Additionally Marked "Kaliyamman." Largest Approximately 14.5L x 10.25W in. Smallest Approximately 14.125L x 10.0W in.
(MORE PICS TO FOLLOW)Raja Ravi Varma 1848-1906 Oil On Canvas Painting 4ft X 3ft. This item is presented from a second generation private owner by way of India. Please carefully read our terms of sale, shipping information, and request any condition reports or photos prior to placing a bid. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. RBFineArts CFL INC. shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Please email for a condition report and photos, if desired. Emails should be received at least 48 hours in advance of the date of the auction. Please make sure you have read the Terms and Conditions* before you bid. ALL ITEMS ARE SOLD AS IS!. Any registration and/or bid placed by you guaranteed RBFineArts CFL Inc. you have read and will abide by the following Terms and Conditions of the sale. Transportation of buyer's items: For a charge of 15.00 per invoice, RBFineArts Shipping Inc. will pick up and transport your item's from the offices of RBFineArts CFL Inc. All OTHER transport to any other third party shipper there will be a 25.00 transport fee, there will be no exceptions for this condition. The buyer is responsible for paying for shipping, packing, and transport, etc. RBFineArts CFL Inc. is not responsible for packing, shipping, or transport of any items from buyer's invoice. *Please see terms and conditions for additional information on payment and shipping options
School of Raja Ravi Varma (Indian, 1848-1906), Untitled (Embracing Couple), oil on canvas (laid down on masonite), unsigned, canvas: 47"h x 36"w, overall (with frame): 52"h x 41"w
After Raja Ravi Varma Lakshmi, circa 1930 Chromolithograph in colors on paper with embellishments 19-1/8 x 13-1/8 inches (48.6 x 33.3 cm) (sight) Published by Ravi Varma Press, Bombay HID01801242017
(lot of 4) Raja Ravi Varma (Indian, 1848-1906) Hindu Dieties, circa 1930, chromolithographic posters, published by Ravi Varma Press, Malavli-Lonavla, overall (each/with mat): 24"h x 18.5"w
Up for Auction is a stunning Lacquer on Board Painting (IN THE STYLE OF) celebrated Indian Malyali Artist, Raja Ravi Varma. MEASUREMENTS: Board Approx 8.5" Width, 12" Height, Frame Width 15" Height 19" CONDITION: Some Professional Restoration Performed. Velvet Matting will require replacement, but otherwise, A Fine Condition piece.Ê
Raja Ravi Varma (1848-1906)-attributed, Indian female prayers with flowers by a temple entrance; oil on canvas, monogrammed upper left and dated 1882, framed.
SCHOOL OF RAJA RAVI VARMA (indian 1848-1906) "THE COQUETTE" Signed 'R. C. Tumbooran' bottom center right; also inscribed with title bottom left outside the painted oval, and inscribed 'by Revi Varma Coil Tumbooran/Travancore' bottom right outside the painted oval, oil on canvas, painted in the oval 30 1/4 x 23 in. (76.8 x 58.4cm) provenance: Private Collection, New York, New York since circa 1960s. note: Varma is regarded as the most famous academic artist of India during the last quarter of the 19th and early part of the 20th century. A minor prince from Kerala, Varma was one of a group of talented Indian artists who gained fame during the British Raj. He was the first Indian artist to employ European techniques and aesthetics to depict scenes from Indian epics. Though he had no technical training, he was an early Indian landscapist but more importantly, a portraitist who often worked on commission on behalf of British and Indian aristocracy. Varma's brother, C. Raja Raja Varma was Raja Ravi's co-worker and business manager. They were known as the 'Ram' and 'Laxman' of Indian art. Together, the two established the "Ravi Varma Fine Arts Lithographic Press" in Bombay in 1984. It was regarded as the most technically innovative Indian commercial press of its day, and prints produced by the Press had a strong influence on modern day Indian aesthetics. For related paintings by Varma, please see Rupika Chawla, Raja Ravi Varma, Painter of Colonial IndiaAhmedabad: 2010, fig. 6.2 ("The Coquette") and fig. 6.3 ("Lady with Fruit"), (each illustrated p. 247).
Raja Ravi Varma (1848-1906)-attributed, Portrait of an Indian getleman laying on a table, in front of green background; oil on canvas; on the reverse old paper lable described Ravi Varma and date 1898, as well an English canvas stamp; framed. 32x24cm
Sri Rama Breaking the Bow. Oil on canvas. Canvas size 30 x 24 1/8 inches. Framed. Notice to bidders: Condition reports and additional photographs are provided by request as a courtesy to our clients, as such any condition report is only an opinion and should not be treated as a statement of fact. The absence of a condition report does not imply that the lot is in perfect condition or completely free of defects, imperfections, restoration, wear and tear, or the effects of aging. Capo Auction shall have no responsibility for any error or omission, additionally all lots are sold 'As Is' and in accordance with the conditions of sale.
Sri Krishna, in his role as an Envoy of Pandavas to the Kaurava Court. Oil on canvas. Signed (l.r.). Sight size 42 1/2 x 32 3/4 inches. Framed. Notice to bidders: Condition reports and additional photographs are provided by request as a courtesy to our clients, as such any condition report is only an opinion and should not be treated as a statement of fact. The absence of a condition report does not imply that the lot is in perfect condition or completely free of defects, imperfections, restoration, wear and tear, or the effects of aging. Capo Auction shall have no responsibility for any error or omission, additionally all lots are sold 'As Is' and in accordance with the conditions of sale.
Raja Ravi Varma, 1848 - 1906 Portrait of Seth Lachman Das, CIE 'A painting such as this has four dimensions... the three you see and the story behind the artwork - that is the fourth.' The current painting is a portrait of Seth Lachman Das, an extremely well known banker and businessman from the city of Mathura, located on the banks of the Yamuna. As is documented in Ravi Varma's brother, C. Raja Raja Varma's diary, Ravi Varma and his brother traveled extensively in Northern India in early 1895, a year before the current painting was completed, including visits to Rajasthan, Mathura and Agra. 'Ravi Varma, as the guardian of the minor Maharaja Martanda Varma of Travancore, made an extensive continental tour of the whole of India in company with his Princely ward. Tour started from Trivandrum on 18th November 1894, lasting over five months, visited all the important and interesting cities of North India... They traveled 7,300 miles by road, rail and water. (Parsram Mangharam, 'Raja Ravi Varma - Family & Life Significant Dates', Raja Ravi Varma The Painter Prince 1848 - 1906, Bangalore, 2003, p. 273.) C. Raja Raja Varma's diaries are the most informative and useful primary source of material that give tremendous insight into the life and times of the painter and his brother as they traveled around the country, documenting their travels through both paintings and extensive writings. Their trip to Mathura where they were hosted by Seth Lachman Das himself, is also documented in great detail in A Narrative of the Tour of Upper India of His Highness Prince Martanda Varma of Travancore: 'In a single night we were transported from the romantic land of Rajasthan to the classic city of Mathura (or Muttra as the word is generally spelt) on the banks of the Jamuna. What Jerusalem is to the Christians, and mecca to the Moslems, even that is Mathura to the Hindus; it is the birth-place of their favourite demi-god and prophet Krishna. His wonderful life, which exhibited the foibles of men, with occasional flashes of a super-human power, has held spell-bound Hindus of every shade of opinion...The birth place of such a hero must of necessity possess a more than ordinary attraction for the pilgrim. Our visit, therefore, promised to be one of an exceedingly interesting nature. Our kind host, Seth Lachman Das, C.I.E. with his well-known hospitality, had placed at our disposal his beautiful "Jumnabagh" overlooking the river. In one corner of this pretty garden of fruit trees, fountains and ferneries, stood a very picturesque little cenotaph, partly hidden by a thick mass of foliage... At 7 o'clock in the evening the Seth, accompanied by his chief Karbari and attendants, paid a visit to His Highness the Prince. A conversation of about twenty minutes was followed by the inevitable garlands and "pan supari" which terminated the visit.' (C. Raja Raja Varma, A Narrative of the Tour of Upper India of His Highness Prince Martanda Varma of Travancore, 1896, p. 43.) Seth Lachman Das and his family were extremely well regarded in Northern India. Apart from being a very successful businessman himself, his uncles had also cultivated tremendous favour with the British because of the their family's investments in several diverse projects and their generous support of various charitable causes. They co-sponsored several infrastructure projects with the British, such as the Mathura and Hathras Light Railway, despite being aware that it would not yield the most financially rewarding returns. They supported William Muir's Central College in Allahabad, 'with a subscription of Rs. 2,500' and donated extensively to the famine relief efforts in 1874. The family 'headed the list with a donation of Rs. 7,100.' (F.S. Growse, Mathura District Memoir, New Delhi, 1993, p. 16.) The British came to trust them and relied heavily upon the family, which made them extremely influential as is evidenced by the fact that his promissory notes were even honoured by the Bank of England. (The only other person in India to have this unique position was the Nizam of Hyderabad.) Seth Lachman Das's uncle, Gobind Das, was awarded the Companion of the Star of India in 1877 and other important awards from the British followed through the subsequent decades, including the Companion of the Indian Empire for Seth Lachman Das himself. These achievements and investments enabled the family to establish themselves as pre-eminent citizens who would be invaluable to the British. Raja Raja Varma's diary documents some of this family history: 'Seth Lachman as is the head of a large banking firm of Northern India, having branch offices in almost all the important towns. His grandfather, Maniram, who was a Jain by religion and a comparatively poor man, had a subordinate post under Gokul Das Parakh, the founder of the firm and treasurer to the Maharaja Sindia (sic). Having had no issue and having been on bad terms with his brother he bequeathed at the time of his death all his wealth to Maniram, of whom he was extremely fond. Maniram left three sons, the famous Seth Lakmichand, Radha Krishen and Govind Das, of which the first two each had a son, Raghunath Das, and Seth Lachman Das, respectively. On the death of Lakmichand, his son Raghunath Das, not possessing his father's business faculties, the affair of the firm were managed jointly by Lakmichand's two brothers, but the cruel hand of death removed them all one after another, leaving our friend Seth Lachman Das the sole surviving heir to the magnificent fortune. His non-sectarian charities, hospitality, and goodness of heart have won him a Companionship of the Indian Empire, and a seat in the Lieutenant Governor's Council at Allahabad... The Seth keeps a princely establishment, with a military guard at his gate, servants in livery, horses and carriages...' (C. Raja Raja Varma, A Narrative of the Tour of Upper India of His Highness Prince Martanda Varma of Travancore, 1896, pp. 43-44.) One of the more infamous stories of Seth Lachman Das's family is their unfortunate tryst with the Taj Mahal. In 1831, the East India Company, under the Governor General Lord William Bentinck decided to auction the Taj Mahal. Rather than value it for its architectural and historical relevance, its value was determined based on the price of the raw materials used in the construction. The precious stones and gems were to be sent back to London for sale there and the rest disposed locally. Seth Lachman Das's uncle Seth Laxmichand made a successful bid of seven lakh rupees at the time for the marble used in the building. Fortunately, good sense prevailed on the Assembly members in London who recognised the historical and architectural importance of the building and nullified the sale. Despite the unfortunate incident with the Taj Mahal, Seth Lachman Das did, in fact, have a home in Agra that Ravi Varma stayed in after his visit to Mathura. As Raja Varma says in his travelogue: '...the train which left Mathura at 6 in the morning landed us right in the heart of Agra, with the stately, but age-stricken Jama Masjid towering on the one hand, and the red sandstond battlements of Akbar's fort on the other. We occupied Seth Lachman Das "Kothi" on the verge of the Jumna with the beautiful mausoleum of Itmad-ud-Daula, gleaming between the green leaves of the mango and the cypress beyond the turbid mass of water rolling to join the Ganges.' (C. Raja Raja Varma, A Narrative of the Tour of Upper India of His Highness Prince Martanda Varma of Travancore, 1896, p. 49.) The current work is a larger than life-size portrait of Seth Lachman Das, seated on what appears to be a semi-open balcony in his home in Mathura, with the town and the Yamuna river visible in the background. He sits imposingly on a comfortable armchair, with a relaxed yet regal air about him, looking confidently at the viewer. Unlike most portraits that were done in an interior setting, the current work offers a view of the river Yamuna and the town of Mathura. The balcony where he poses is a deliberate blend of East and West which is an intentional choice by the artist, as it only serves to highlight the sitter's revered position within both Indian and British social circles. The design of the pillar suggests a strong local influence, often seen in palatial homes such as his, and is continued in the design of the balcony railing. In stark contrast is the typically Victorian chintz curtain (India exported calico textiles woven in India designed with English motifs). The flowery backdrop lifts the painting and does not allow it to be as heavy as other portraits that are usually painted in dim interiors and have a plain dark background. The hazy sky with pale sunlight drifting in and reflecting off part of the white mosaic floor add to the feeling of airiness. As is typical with Ravi Varma's portraits, the subject's social standing and merit is often decipherable through the jewelry and clothing he is shown wearing. He wears an elaborate velvet coat heavily embroidered with gold brocade and zardozi work on top of a deep red brocade under layer. The amount of gold thread that would have been used in the embroidery is an automatic testament to his position. The striking coat is complemented with a shiny pair of black formal shoes, showing his familiarity with European styles, and a fuschia pink embroidered topi which jauntily completes the ensemble. Around his neck he wears several strands of basra pearls, some interspersed with emerald beads, and an impressive larger basra and emerald necklace with a large diamond pendant with a suspended emerald drop. The rings on his right and left hand complement the necklace with their large emerald stones surrounded by diamonds. His influential standing with the British is proudly displayed around his neck in the form of two medals, the first on a ribbon and the second pinned to his coat. The first is the Victoria Silver medal that was presented to prominent officials within India to commemorate the proclamation of Queen Victoria as Empress of India in 1877. (This was probably the medal that was given to his uncle Gobind Das that same year.) It has a portrait of Queen Victoria on the front and engraved 'Empress of India' in English, Devanagari and Persian scripts on the reverse. The second medal is a breast badge that was bestowed upon Lachman Das himself as Companion of the Indian Empire. The badge has a five-petaled red rose with green leaves in-between, inscribed 'VICTORIA IMPERATRIX' around a central engraved profile of Queen Victoria, and 'INDIA' inscribed on the five petals. Both the medals are available to view and will be sold with the painting as commemorative objects. In his right hand he holds a delicate white handkerchief stained with red kumkum, possibly suggesting he has just completed a puja, which is further reinforced by his prominent tilak mark of the Ramanandi sect of Vaishnavites on his forehead. One of the most wonderful aspects of Ravi Varma's works is the feeling of tactility and texture that he manages to capture. The viewer can almost feel the heavy drape of the soft plush velvet, the wiry knotty threads of the embroidery, the richness of the red brocade, the subtle sparkle of the diamonds combined with the milky luminescence of the pearls. The same naturalism seen in the bristles of his neatly trimmed handlebar mustache and sideburns and the ruddiness of cheeks, imbue the work with a realism and three-dimensionality that Ravi Varma was rightly famous for. When creating portraits, Rupika Chawla explains that it was 'standard practice' for the two brothers to 'observe and interact' with the subject for a few days, often doing a few quick sketches or making notes of measurements and other details. (Rupika Chawla, Raja Ravi Varma Painter of Colonial India, Ahmedabad, 2010, p. 316.) Since photography became popular at this time, it was also common for Ravi Varma to work from a photo image. In the case of the current work, both these methods were used, as is evidenced by their visit to Mathura the previous year where they would have interacted with Seth Lachman Das, as well as the photograph of Seth Lachman Das published in the diary of C. Raja Raja Varma and reproduced here. As can be seen in the photo, the clothes, jewellery and accessories, down to the handkerchief in his right hand, are identical to the painting, as is the confident and relaxed pose of the subject. The only aspect of the photograph that Ravi Varma has changed is the background. Given the superb location of the house with its magnificent view of the Yamuna at dusk, it probably made for a far more interesting backdrop than the typical interior setting that he had in the majority of his portraits. It is exceptionally rare to encounter works by Raja Ravi Varma that have remained within the family that had originally commissioned the works, and therefore have such a clear and direct line of provenance. Furthermore, the work is of exceptional scale and depicts a historically important figure that further reinforces the art historical importance of the painting. Signed and dated 'Ravi Varma / 1896' lower left
LA KA'ABA ET MEDINE Deux documents polychromés, imprimés sur papier, l'un représentant la Ka'aba, les monuments qui l'entourent, et l'autre Médine. Chaque monument est identifié en arabe à l'encre rouge. Estampé en rouge du nom de l'imprimerie "Ravi Varma" en bas à gauche. Encadrés sous verre. Inde, Malabar, vers 1910. Dim. à vue : 25,5 x 34 cm et 25 x 34 cm (10 x 13.3 in. – 9.8 x 13.4 in.)
RAJA RAVI VARMA (1848 - 1906) Untitled; Lakshmi Colour lithographs, metallic threads, fabric and sequins Each 19 1/4 x 13 1/8 in. (48.8 x 33.3 cm.) Signed 'Ravi Varma' lower right Ravi Varma found artistic success by depicting Indian subject matter using European styles of painting. The effects he could achieve by using oil paint became a staple of his oeuvre. 'Oils are able to stimulate reality by giving a sense of weight and volume of substance. Bodies, flesh, jewellery, costume furniture and architecture acquire a striking materiality, a verisimilitude.' (Christopher Pinney, Photos of the Gods, Reaktion Books, London, 2003. p. 62.) His work gained a large following as it resonated with two very distinct audiences simultaneously, both the "early cultural nationalists who saw in his work an aspiring new national imagery, and [the] imperial patron, who admired his accomplished mastery of technical conventions of European portraiture." (ibid, p. 60) The demand for his work led him to create a company to make reproductions to reach a wider audience. Oleographs of Varma's work were created as early as 1884, but it was not until 1890 that the images were mass-produced as photographic printings. In 1893 he established the first printing press in India, known as the Ravi Varma Oleographic and Chromolithographic Printing Workshop. To help produce his paintings, Varma employed Franz Schleischer of Berlin to act as manager of the workshop, a printer who was highly qualified in colour lithographic printing. Responding to an outbreak of the bubonic plague in Bombay at the turn of the century, the workshop was relocated to a little known hill station called Malavali in the Western Ghats, about eighty miles from the city. Franz Schleischer paid the first installment of four thousand rupees towards the purchase of the first print works in 1903, at which stage the firm was renamed the Ravi Varma Fine Art Lithographic Works.
Oil on canvas portrait of a seated man holding a green book and wearing a dark robe, white pants and turban adorned with jewels. Around his neck is a lavish display of emerald and pearl jewelry. Housed in a carved wood frame. SIZE: 29-1/2" x 22-1/2". CONDITION: Some inpainting, very good. 9-25906
Oil on board full portrait of a gentleman wearing elegant gold edged robe adorned with various important medals and blue sash. He holds a fancy sword and wears a jewel encrusted hat. The interior view has a arm chair, covered table, book and vase of flowers. Housed in a modern shell decorated gilt frame. SIZE: 23-1/2" x 17-3/4". CONDITION: Minor inpainting, very good. 9-25947
Raja Ravi Varma (Indian, 1848-1906) oil on canvas, Full length portrait of a boy, thought to be John Hugo Russell, the son of Lord Ampthill, Governor of Madras and patron of the artist signed and dated 1904, 48 x 30in.
Portrait of an Indian girl inscribed and dated 'Robert Kem m England, c. 1860, Kri 250 -' (on card attached), oil on canvas 76 x 55cm (29 15/16 x 21 5/8in).
Portrait of an Indian girl inscribed and dated 'Robert Kem m England, c. 1860, Kri 250 -' (on card attached), oil on canvas 76 x 55cm (29 15/16 x 21 5/8in).
A small photographic archive of paintings by Raja Ravi Varma comprising: 16 images mounted on card, one defective, one signed in the image by V.G. Chiplonkar, others on the mounts; an album containing 32 cabinet cards, several naming the retailer N.M. & Co. of Kalbedevi Road, Bombay, albumen prints, those on card typically 240 x 200mm., the album images 135 x 100mm., [c.1900]
![Middle East.- Varma Press (Raja Ravi) [Islamic Pilgrimage Sites], chromolithograph, [1900]](https://stageimg.invaluable.com/housePhotos/Forum-Auctions/62/776562/H20198-L380174362.jpg)
![Middle East.- Varma Press (Raja Ravi) [Islamic Pilgrimage Sites], chromolithograph, [1900]](https://stageimg.invaluable.com/housePhotos/Forum-Auctions/66/765966/H20198-L364353453.jpg)
