Henry Bidewell Grigg Portrait

A British Resident in Travancore who encouraged Ravi Varma in his museum venture.

At the Photo Studio Sketch

At the Photo Studio Sketch- Raja Ravivarma- Graphite on Paper

The Student (Oil on canvas,1904 , 22” x 23”)

It shows a table kerosene lamp and a hanging lamp in the background. It acquires a historic importance for it documents some late nineteenth century inventions that enhanced the quality of daily life at that time.

“Self-Portrait (Artist at Work)”, Raja Ravi Varma. Graphite on paper

Maharana Pratap Singh Sketch

Maharana Pratap Singh Sketch - Raja Ravi Varma Graphite on Paper

Helmet Sketch

Helmet Sketch- Raja Ravi Varma - Graphite on Paper

Jagan Mandir Palace (Oil on canvas 1901, 29” x 23.6”)

In early 1901 Raja Ravi Varma and brother Raja Raja Varma visited Ahmadabad and on leaving Ahmadabad they travelled north reaching Udaipur on March 16th. During the time they were in Udaypur Raja Ravi Varma painted the golden Jagan Mandir Palace that stood with in the lake with its marble “Mellow with age”. It was built by Jagat Singh one of the Mewar Kings, during the 17th century.

Maharana Pratap Singh (Oil on canvas 1901, 28” X 22”)

The preparatory sketch of Rana Pratap made for the Maharaja of Udaipur approval. A tall Rajput was the model for Rana Pratap portrait. These painting lack the fluidity and grace that is associated with Ravi Varmas work. There was no clear image to rely upon. The miniature painting given to copy was without the realism that was essential to the art. More over the Rana had died centuries ago and there were no photographs.

Rajput Soldier

Rajput Soldier (Oil on canvas, 1901, 22” x 14”) / Water Color

Udaipur Palace (Oil on canvas, 1901, 23.4” x 28”)

This painting was done by Raja Ravivarma during the time he stayed in Udaypur with its marble summer palaces, shining lakes and hills that undulated. This work has a small format, serving as documentation of the landscape, architecture and people of Udaypur, Which was done during vacant hours.

Rai Pannalal Mehta (Oil on canvas 1901, 28” x 22”)

Pannalal Mehta was the earlier Divan of Udaypur for almost 30 years. Prior to their departure from Udaypur, Ravi varma made a rapid oil sketch of Pannalal Mehta to enable him to complete the formal portrait later sent to Mehta. The oil sketch stayed in Ravi varmas possession and later with his family until it was taken to Sri Chithra Art Gallery.

Swords Man

Swords Man (Water colour, Undated, 23” x 17”)

Jatayu Vadh

Jatayu Vadh, Ravi Varma Press , Chromo-lithograph

Ravana Carrying Sita (Oil on canvas, 1895, 34” x 25”)

On the way to Lanka with traumatised Sita carried by force, Ravana is challenged by Jatayu, a giant bird, a devotee of Rama. He fatally wounds Jatayu who lives long enough to tell Rama all that has transpired.

Simhika And Droupati (Oil on canvas 1896, 82” x 53” )

This is one of the most important scenes of Kirmeera vadham Attakatha. Simhika is an asura demon whose husband Shardula is killed by Arjuna. While the pandavas are in forest for their 12 year exile Simhika enters the forest abode of the Pandavas, changing herself into a woman of charm and persuasion. She goes to Draupadi to avenge her husband’s death and tries to lure her away under the pretext of showing her a temple hidden deep in the forest. Her intension was then to harm Draupadi and thus settle score with the Pandavas. When Draupadi raises alarm, Sahadeva, the youngest Pandava, maims Simhika who goes to her brother Kirmeera as usual and complaints about the Pandavas. Ultimately Bhima kills Kirmeera. The gestures of Simhika whereby she points to the fictitious temple and Draupadis expression of fear that is important to the moment are echoed in the painting.

Mohini Rugmangada Preparatory Sketch

Raja Ravi Varma - Graphite on Paper 26cm x 20cm.