




Attendants bathe a court beauty on a lakeside lawn below a palace
Kishangarh school — Bani Thani Bathing at Pholl Sagar Palace | Indian Miniature Painting Print
Note: Framed prints require slightly longer production time
Why this print is worth it
Archival giclée on Hahnemühle fine-art paper
Made as fine art, not as a mass-market poster.
We reproduce each work from high-quality source material using a 12-ink archival giclée process on Hahnemühle fine-art paper, chosen to preserve the colour, detail and character of the original as faithfully as possible.
“The quality of color and paper is museum quality and well worth the purchase price.”
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We ship worldwide at no additional shipping cost to you. If import duties are imposed on your order, we pay them too.
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On a green lakeshore, a woman on a low bathing stool spreads her long black hair with both hands while one attendant supports her from behind and another pours water from a brown pot; two women in orange and gold skirts hold out strings of pearls. A woman sounds a curved horn on the bank, another wades waist-deep and a third swims. Beyond a pavilion under a maroon canopy and a golden elephant-head spout, a haloed rider passes a white domed palace. A later copy of an eighteenth-century Kishangarh composition.
The original: opaque watercolour and gold on paper, 1810–20, Minneapolis Institute of Art.
Kishangarh school is the painting of Kishangarh, one of the smallest Rajput states, in central Rajasthan. Its earliest dated painting is from 1694, and in 1719 Raja Raj Singh brought the painter Bhavanidas from the Mughal court, giving the workshop a Mughal technical base. The classic style is linked to Raja Savant Singh, a poet who wrote as Nagari Das and a devotee of Krishna, and to his painter Nihal Chand, who gave Radha and Krishna slender figures, sharp noses and chins and long, upturned eyes, set in wide lakeside landscapes. Radha's features are traditionally linked to Bani Thani, a singer at the court. Later work hardened into mannerism. Examples are held by the Cleveland Museum of Art, the Metropolitan Museum of Art and Minneapolis Institute of Art.
Printed as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. Ships worldwide with free delivery to 30+ countries.
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FAQ
Fine-art quality should be something you can verify. Here is exactly what goes into a 9 Art Prints reproduction.
What makes a 9 Art Prints reproduction different?
A lot of art-print sellers describe their work as “museum quality” without telling you what that actually means. We prefer specifications. Our fine-art reproductions are produced using professional giclée printing on genuine Hahnemühle fine-art papers, selected to suit the artwork. We work from high-resolution source material and prepare each image specifically for print, with close attention to colour, detail and tonal range.
What paper do you use?
Our principal fine-art papers include Hahnemühle German Etching 310gsm and Hahnemühle Photo Rag 308gsm. German Etching has a substantial, lightly textured surface that works exceptionally well for paintings and richly coloured works. Photo Rag has a smoother cotton surface suited to graphic, modernist and highly detailed imagery.
Paper is selected according to the character of the artwork rather than using one generic stock for everything.
What does “giclée” actually mean?
Giclée is a professional fine-art printing process using archival pigment inks and high-resolution inkjet technology. Unlike inexpensive poster printing, it is designed to reproduce subtle colour gradations, fine detail and tonal depth.
It is a reproduction method widely used by artists, photographers, galleries and professional fine-art printers.
So is this really “museum quality”?
We would rather tell you what we use and let you decide. Genuine Hahnemühle fine-art paper, professional giclée printing, archival pigment inks and carefully prepared high-resolution artwork are measurable things.
“Museum quality” by itself is not.
Will large prints still look sharp?
Large-format reproduction depends heavily on the quality of the underlying artwork file. We source the highest-resolution material available and prepare each image for print rather than simply enlarging a small internet image.
That is especially important with historic paintings, posters and archival works where source quality varies considerably.
Are these just posters?
No. A poster can be printed cheaply on lightweight commercial paper. Our fine-art editions are intended as permanent pieces of wall art, produced on heavyweight fine-art substrates with professional printing methods.
For graphic or poster artwork, the image may be a historic poster; the object you receive is still a fine-art reproduction.
What about your framed prints?
Our framed pieces use solid-wood frames and are produced as finished pieces of wall art rather than inexpensive poster frames. Depending on the configuration, we also offer matting and premium glazing options.
The goal is the same as with the print itself: use materials appropriate for a piece you intend to keep.
Will the colours look exactly like my screen?
Screens emit light; paper reflects it, so no physical print can be identical to every monitor or phone display. We prepare our artwork specifically for print and aim for accurate colour, contrast and tonal reproduction.
The texture and surface of fine-art paper also give the finished piece a physical depth that cannot be shown completely on a screen.
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