Location: National Army Museum, London, United Kingdom (with related folios in the British Library and private collections)
Location History:
1827–1841: Private collection of Colonel James Skinner at his residency in Delhi / Hansi, Punjab/Haryana, India.Mid-to-Late 19th Century: Retained within the personal archives and estate of the Skinner family descendants in India.20th Century–Present: Acquired into public and private military art collections in the United Kingdom, including the National Army Museum and the British Library.
Commissioned during the twilight of the Mughal era, this evocative portrait captures Colonel James Skinner (1778–1841)—affectionately remembered in historical chronicles as *Sikandar Sahib*—flanked by his sons and young male relations. Positioned prominently in the middle of the frame, Skinner dominates the scene both physically and symbolically. His attire serves as a direct reflection of his complex identity as a military leader of mixed British and Rajput heritage. He wears an elegant, ground-length white *jama* paired with a lavishly decorated green overcoat trimmed with thick fur, topped off with a classic Indian turban. This deliberate sartorial blend encapsulates his life at the crossroads of Northern Indian courtly traditions and East India Company governance.
Surrounding the patriarch, nine young boys and men—ranging from tender childhood to early adulthood—are arranged in a tight-knit family grouping. Each youth is garbed in pristine white garments held at the waist by decorative sashes (patkas). Elaborate jewel-studded turbans, delicate strands of pearls, and ceremonial daggers (khanjars) or swords worn at their sides emphasize their noble status and warrior heritage. The backdrop marries Western architectural motifs, such as solid stone columns and structured archways, with traditional South Asian elements like rich, patterned textile hangings (qanats). This spatial design perfectly bridges European portraiture techniques with classical Indian miniature art conventions.
Executed in opaque watercolor and gold leaf on imported paper, the painter applied fine, multi-layered strokes to render subtle skin tones, realistic fur textures, and intricate embroidery. Beyond a simple family snapshot, the artwork functions as a statement of lineage, pride, and cultural synthesis, preserving the legacy of a dynasty that bridged two distinct worlds during a pivotal era in Indian history.
Inspire by Tilly Kettle’s portraiture of Shuja’ ud Daula and his sons, Mihr Chand’s depiction encapsulates a rich cultural exchange of painting traditions. The Mughal miniature art style has been well embossed into the European spatial concepts. The artwork highlights an attempt to uphold Nawabi glory of Medieval India while seeking inspiration and maybe acclamation from the west, and therefore holds great importance as a melting point for the two distinct art styles.
