Francesca Galloway Ltd

Francesca Galloway Ltd Francesca Galloway, a world renowned leading specialist dealer in Indian painting and courtly objects, and Islamic and European textiles.

The art of sculpture in unfired, air-dried clay (terracruda) evolved in South Asia over millennia. From the 18th century...
01/07/2026

The art of sculpture in unfired, air-dried clay (terracruda) evolved in South Asia over millennia. From the 18th century onwards, terracruda figurines became popular in a wider secular context. Jadunath Pal (c. 1821–1920), the most famous Indian master sculptor from Krishnanagar, West Bengal, created our group of 22 figurines. He was celebrated for his lifelike unfired clay figures and ethnographic models.

Each of the twenty men and two women has been meticulously modelled in clay over a metal wire frame, placing them in a unique position or gesture. One intriguing figurine is that of a young woman balancing an earthenware pot on her head. Faint tattoos adorn her arms, left hand, and chest; these are reminiscent of the Southern Indian practice of tattooing women’s hands and arms with patterns derived from kolum, the geometric or curvilinear patterns adorning the entrance to a house in Tamil Nadu and Andhra Pradesh.

Susan Bean’s new publication ‘Clay Works - Earthen Sculpture in South Asia’, Bloomsbury, 2026 discusses this topic in depth.

The Dr. Bhau Daji Lad Museum in Mumbai showcases its extensive collection of miniature clay models and dioramas in its stunning building.

See link in bio for the full description by Hallie Nell Swanson.

Printed and painted cottons arguably have had the longest and greatest global impact of all India’s remarkable textile t...
17/06/2026

Printed and painted cottons arguably have had the longest and greatest global impact of all India’s remarkable textile traditions.
Our summer exhibition features three unusual chintzes produced for the domestic market as well as export.

A unusual example (cat. 7), probably made for the domestic market, combines elements that reminds one of chintz intended for the Japanese and Thai markets, but also references border decoration on mid-17th-century qanat panels from Golconda.

A rare p’orurar, a liturgical stole worn by priests and bishops around the neck, was commissioned for Armenian patrons (cat. 9). The only other known p’orurar is a splendid example in the V&A (Inv. IS.2-1953).

Lastly, we have a section of a canopy depicting animals amongst flowering plants, which would have been produced for the Indonesian market (cat. 5). This textile shows mythical and real animals, creating a vibrant textile full of whimsy and energy.

See link in bio for the full catalogue descriptions.

The summer online catalogue is now out – link in bio!Our online publication features textiles produced for domestic and ...
11/06/2026

The summer online catalogue is now out – link in bio!

Our online publication features textiles produced for domestic and export markets, including a liturgical stole made for an Armenian patron (cat. 9). We illustrate a Mughal folio of the so-called ‘Burnt Edge’ Ramayana (cat. 1) and two Ragamala folios from a Chamba set (cats. 12a & b). Two varying examples depicting the peoples of India are exemplified by a group of clay figurines (cat. 22) and six Murshidabad studies on paper from the Parlby Album (cat. 23).

We thank our various contributors, but not least John Seyller for working with us on this publication.

Cat. 13 / Alauddin hunts with Muhrathi and Mahima Mir later interrupts his Lo******ng with Muhrathi to shoot a charging Tiger – Folio from a Hammira Hatha Series / Mandi, attributed to Sajnu, c. 1810

Cat. 4 / A Princess seated on a Palace Balcony surrounded by her female Attendants / Mughal, Murshidabad, c. 1750–55

Cat. 25 / Portrait of a Young Prince / Gujarat, Baroda c. 1870–1900

Cat. 12b / Raga Chandra, Son of Malkos – Folio from a Ragamala / Chamba, c.1700

Cat. 22 / A Group of 22 Clay Figurines depicting the Peoples of India / Krishnangar, attributed to Jadunath Pal, c. 1880–90

Cat. 24 / Gateway to Emperor Akbar’s Tomb at Sikandra / Agra, for a British patron, early 19th century

Cat. 10 / Exotic flowering Plant and Butterflies / Rajasthan, Kishangarh, c. 1750–60

Cat. 23 / Dancing Lady after a Lucknow Artist’s Version of a lost Painting by Tilly Kettle – From the Parlby Album / Murshidabad, assembled by Louisa Parlby, c. 1795 – 1803

Cat. 5 / Section of a Canopy depicting Animals amongst flowering Plants / Southern Coromandel Coast for the Indonesian market, 1700–1720

Cat.27 / Interior View of the Central Octagonal Chamber of the Taj Mahal / Agra, for a British patron, c. 1816–20

Cat. 7 / Palampore or Canopy / Coastal Southeast India, for the domestic market, 1775–1800

Cat. 8 / Fine Silk embroidered Cotton Length / India, Gujarat, for export to Europe, c. 1760

We are excited to share this post about an exceptional album of South Indian Company School paintings from the mid-1830s...
02/06/2026

We are excited to share this post about an exceptional album of South Indian Company School paintings from the mid-1830s. Consisting of 35 large paintings, the Vellore Album is bound in its original fine leather covers. Most of the sheets depict various trades, craftsmen, processions and dignitaries. This album was one of the surprises in ‘Forgotten Masters - Indian Paintings for the East India Company‘ because it also features a sensitive self-portrait of the artist with a caption identifying him as Yellapah Picture Moochee. Two other albums with parallel themes can now be attributed to this artist: one is held by the V&A (IS.39:28-1987), and the other by the British Library (Add.Or.65).

Vellore, in Tamil Nadu, was where deposed monarchs resided. For example, there are two beautiful paintings depicting the former King of Kandy being carried on a palanquin, and another showing his son with his two uncles.

The patron of this album, who remains unknown, perhaps resided at ’May Place Vellore‘. Unlike the Fraser and Impey albums, this one remains intact.

In May, we visited the Princeton University Art Museum to see their collection, and the new building by David Adjaye. Th...
30/05/2026

In May, we visited the Princeton University Art Museum to see their collection, and the new building by David Adjaye. The museum’s restrained elegance is on a par with the art, and it left us dreaming. Here are a few highlights of what we saw.
During the same Trip we visited India’s Great Mughals: Art Power and Opulence at the Virginia Museum of Fine Arts (on until 23 Aug 2026). This exhibition, first shown at the Victoria and Albert Museum, includes here important Mughal paintings from the Heeramaneck collection (in the Virginia Museum of Fine Arts and borrowed from Los Angeles County Museum of Art). The display was pleasing because it was so spacious, and the lighting was wonderful. It made the rock crystal objects twinkle like diamonds!

Go and see both and if you can.

1 Princeton University Art Museum’s new building by David Adjaye

2 Detail of The Goddess Durga Slaying Demons, Pahari, poss. Mankot, c. 1690-1710 (Princeton inv. y1947-341.4)

3 Peng Wei, Autumn of Tang Dynasty, 2008 (Princeton inv. 2021-11)

4 Display of courtly objects including Bidri work at Princeton

5 Detail of Balarama Kills Dhenukasura, from the Harivamsha, c. 1585, attributed to Basawan (LACMA from the Heeramaneck collection inv. M.78.9.10) at VMFA

6 & 7 Details of The Arrival of Nanda & his family in Vrindavan, from the Harivamsha, c.1585/6, at VMFA

8 & 9 Emperor Jahangir Embracing Nur Jahan, c. 1615-20, attributed Govardhan (LACMA from the Heeramaneck collection inv. M.83.1.6) at VMFA

10 Installation with poppy floorspread (V&A inv. Im.77-1938) and carved rock crystal objects at VMFA

Pahari Painting Trifecta at the beginning of May, around the Benkaim collection.A very ambitious and successful tour of ...
19/05/2026

Pahari Painting Trifecta at the beginning of May, around the Benkaim collection.

A very ambitious and successful tour of Cleveland, Cincinnati and Washington DC. Here are a few of my many highlights!

Starting with a detail of Jahangir preferring a Sufi Shaikh to Kings by Bichitr from the St. Petersburg album (full image at the end).


Cleveland Museum of Art
-Goddess standing on a mountaintop, c. 1720, (ex Benkaim collection inv. 2018.98)
-Detail of Rishyashringa addesses the courtesans, from the ‘Shangri’ Ramayana, c. 1700, (inv. 2002.6)
-Detail of Rama tells his mother Kaushalya that he has been exiled to the forest, from the ‘Shangri’ Ramayana, c. 1700; Virginia Museum of Fine Arts (ex. Heeramaneck collection, inv. 68.8.90)
-Ravana abducts Sita; she drops her jewellery, from the ‘Shangri’ Ramayana, c. 1700; Tia collection
-Brocaded velvet cover with sunbursts, Ottoman, c. 1600, (inv. 2008.146)

Cincinnati Art Museum
-Catherine Benkaim in front of A tuberose plant, c. 1730; photographed at Cincinnati Art Museum
-Detail of Raja Shamsher Sen of Mandi on his wedding day, c. 1740 (inv. 1983.14)
-Detail of Fishermen unable to hold the giant fish, Imperial Mughal by Manohar Das, 1595-1600, (inv. 1950.284)

National Museum of Asian Art, Washington DC
-Detail of Portrait of Raja Jagat Singh of Nurpur (r. 1618-46), by Bichitr; (ex Benkaim collection inv. 2013.324 on loan from The Cleveland Museum of Art)
-Detail of Arrival of the groom at the palace, from a Bhagavata Purana, attributed to the early Mandi Master, c. 1640-50, (inv. F2017.13.1)
-The Goddess worshipped by the sage Chyavana from a Ta***ic Devi series, c. 1660-70, (inv. F1997.8)
-Detail of a Chola bronze of Queen Sembiyan Mahadevi as the Goddess Uma, 10th century, (inv. F1929.84)
-Jahangir preferring a Sufi Shaikh to Kings, from the St. Petersburg Album, Imperial Mughal, by Bichitr, c. 1615-1618, margins Persian, 1747-48, (inv. F1942.15a) + detail

Food is not just for eating when it comes to Schiaparelli!Another passion of ours is early 20th century fashion. Go and ...
16/04/2026

Food is not just for eating when it comes to Schiaparelli!

Another passion of ours is early 20th century fashion. Go and see the Schiaparelli show at the V&A.

SCHIAPARELLI - Fashion becomes Art on until the 8th November

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31 Dover Street
London
W1S4

Opening Hours

Monday 10am - 5pm
Tuesday 10am - 5pm
Wednesday 10am - 5pm
Thursday 10am - 5pm
Friday 10am - 5pm

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2074996844

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