What are the opening hours?

Monday 11am - 6pm Tuesday 11am - 6pm Wednesday 11am - 6pm Thursday 11am - 6pm Friday 11am - 6pm

Kapoor Galleries

Home
United States
New York, NY
Kapoor Galleries

Founded in 1975 by Ramesh and Urmil Kapoor, Kapoor Galleries Inc specializes in Indian & Himalayan Arts.

It has been and continues to be an invaluable resource for museum quality India Miniature Paintings and Himalayan Statuary. The gallery has been instrumental in developing major museum collections as well as distinguished private collections worldwide. Kapoor Galleries has placed works in The Metropolitan Museum of Art, Los Angeles County Museum of Art, Norton Simon Museum, Art Institute of Chicago, San Diego Museum of Art, and the Virginia Museum of Fine Arts among others.

02/12/2026

The Mahaguru Shivnarayan Delivering a Bhagavata Discourse to Devotees, North India (inscription mentions “Dintā̃var”), Signed: Ramprasad, inscribed: Vikram Samvat 1834 (Gregorian 1777–78), Vaishakh sudi 12, Paush sudi 7, Sunday, year 1253, Opaque watercolor and ink on paper, 11¾ x 15 5/8 in. (29.5 x 39.5 cm.)

Provenance Christie's, Paris, Mobilier et Objets d'Art, 7 November 2006, Lot 185

This exquisite work of devotional art vividly captures a pivotal moment in a Vaishnava religious gathering. The painting depicts Mahaguru Shivnarayanji, seated upon a richly adorned carpet, offering a sacred discourse on the Bhagavata Purana to a rapt assembly of devotees. The guru, holding a manuscript or written sheet, addresses his followers, who are seated in reverent posture. The intimate setting, enclosed by arched windows with a soft glimpse of the sky, reflects the meditative and inward-looking nature of the gathering.

The vibrant color palette, coupled with the meticulous attention to detail in the garments and faces, offers a glimpse into the spiritual and cultural life of the period. The figures, with their distinct turbans and dhotis, reflect the attire of the elite religious community of the time, giving the piece both a universal appeal and historical significance. The painting captures not only the essence of devotional practice but also the cultural vibrancy of the era.

The Bhagavata Purana, often considered one of the most revered scriptures in Hinduism, emphasizes the importance of discourse (katha) in the spiritual path. The guru’s role in guiding his followers through these teachings is pivotal, and this painting serves as a visual testament to the enduring tradition of devotional gatherings. The inscription further enriches this narrative, noting the importance of hearing the sacred stories of Lord Krishna, which “remove all doubts” from the minds of the faithful.

This particular work is dated in two systems: the Vikram Samvat calendar (1834), common in North India, and an additional 1253 year, likely referring to the Fasli or Hijri year used in administrative or religious contexts. This dual dating system underscores the blending of regional and loca

01/30/2026

An Illustration to a Ragamala Series: Gauri Ragini, Amber, Rajasthan, circa 1710, Opaque watercolor (gouache) and ink on paper; Devanagari inscription above; stenciled floral border, 12 1/2 x 8 1/2 in. (31.2 x 21 cm.)

Provenance Christie’s, New York, Indian and Southeast Asian Art (including property from the collections of Ariane Dandois and Robert H. Ellsworth), 21 September 2007, Lot 10.

H.H. Maharaja of Bikaner Collection, Checking Date 30.5.1964, stamped on verso 1963 no.2574

the vīṇā becomes an extension of her longing, and the offering before Krishna’s image suggests that sound itself is being consecrated

A particularly elegant and atmospheric Ragamala leaf, this Amber painting translates the sensibility of Gauri Ragini into a scene of hushed, courtly devotion. Against a cool turquoise terrace, a richly adorned heroine advances with her vīṇā and turns toward a small image of Krishna (Shyām), as if offering both music and worship in one refined gesture. The moment is exquisitely staged: a second lady pauses on the veranda with a small cup or offering vessel; a patterned hanging falls like a theatre curtain; and beyond the garden wall the sun slips out from behind a tree, an inspired poetic detail that signals the hour of awakening emotion. Everything here, from the crisp geometry of the architecture to the jewel-like accents of gold and vermilion, serves the Ragamala aim of making a musical mode visible, tangible, and emotionally legible.

The folio’s appeal lies in the extraordinary balance of intimacy and splendor. The heroine’s figure is drawn with the taut assurance associated with early-eighteenth-century Amber ateliers: delicate profile, disciplined contour, and a controlled, luminous palette. Her costume is rendered with a connoisseur’s delight in surface: the patterned skirt, the translucent white veil, and the measured sparkle of jewelry read as a catalogue of courtly taste.

01/28/2026

A Gray Schist Head of a Bodhisattva, Gandhara, 3rd/4th century, Gray Schist,9 ¾ in. (24.8 cm.) high

Provenance: Sotheby's NY, Indian and Southeast Asian Art, September 22, 2000, Sale #7510, lot 124

, , and powerfully carved
Carved in dense gray schist, this near life-size head embodies the refined classicism for which Gandhara is celebrated: a broad, quietly commanding forehead centered by a raised ūrṇā, heavy-lidded almond eyes that project contemplative stillness, and a beautifully articulated mouth framed by a crisp, curling mustache. The sculptor’s handling of planes—smooth cheek and jaw transitions balanced by taut eyelids and a strong aquiline nose—creates an immediately legible “Gandharan” ideal: dignified, inward, and irresistibly collectible.

The headdress is the sculpture’s showpiece. A substantial turban band—worked with alternating geometric panels and scrolling ornament—culminates in a bold rosette medallion centered by a teardrop jewel motif. This combination of regal ornament and spiritual composure is precisely what makes bodhisattva imagery so sought-after: the figure reads at once as enlightened and aristocratic, an icon of compassion expressed through princely splendor. Wavy locks at the temples and the elongated ear (with traces of its pendant form) heighten the sense of courtly refinement and underscore the bodhisattva’s status.

12/17/2025

🎨 Set in an artistically devised rectangular frame, this painting alludes to the strong visual narration abilities of the renowned artist of Guler, Manaku – the elder brother of Nainsukh. This visual illustration of the Panchodash Adhyay (fifteenth verse) of the first Skandha (section) from the Maha Bhagavat Purana epic narrates the episode of the Pandavas handing over the kingdom to King Pariksh*t. King Pariksh*t was the son of Prince Abhimanyu (the grandson of the great Pandava prince Arjuna) and his wife Princess Uttara.

It is said that once Krishna left his worldly body, the Pandavas could not come to terms with social evils and sins that engulfed the world just before the current age of Kali-yug. They renounced their princely lives and left for heavenly abode in the mountains. It was the eldest brother Yudhishtira’s devout choice and all the other brothers along with Draupadi followed his penchant.

🔍 Translation of Devanagari script in red line on verso: “Thus ends the fifteenth chapter, entitled ‘The Departure of the Pāṇḍavas’, in the First Book (Skandha) of the Śrīmad Bhāgavata Mahāpurāṇa.”

💡Learn more about this painting by reaching out to our team at Kapoor Galleries via email 📧 [email protected] or DM us today!

✍🏽 Published:
B.N. Goswamy, Manaku of Guler: The Life and Work of another great
Indian Painter from the small Hill State, New Delhi, 2017, pp. 447

🏛️ Exhibited:
Doris Wiener Gallery, New York, “Indian Miniature Painting,” 16 November - 31 December 1974, no. 19.
Carlton Rochell Asian Art, New York, “Classical Indian Paintings,” 13-20 March, 2015, no. 24.

📜 Provenance:
Christie’s New York, 20 March 2012, Lot 215.

12/16/2025

🎨 Today’s featured artwork of the day is this eight-armed bodhisattva with silver-inlaid eyes and pink copper lips, wearing an elaborate crown with a central petal resembling one side of a vajra. He is otherwise simply ornamented, seated in a meditative posture, holding a water pot in the lower proper-left hand and a blossoming lotus at his proper-left shoulder. He is likely a manifestation of the bodhisattva Lokesvhara, possibly Amoghapasha (the ‘Unfailing Lasso’).

💡To learn more about this sculpture, reach out to Kapoor Galleries via email 📧 [email protected].

🪷 A Figure of Bodhisattva
Swat Valley or Kashmir, 9th century
Bronze with silver and copper inlay
5 ½ in. (14 cm.) high

✍🏽 Published:
P. Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, Chicago, 1997, p. 136, cat. no. 176.
Himalayan Art Resources, item number 1335

🏛️ Exhibited:
The Art Institute of Chicago, “A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection,” 2 August-26 October 1997, cat. no. 176.

🔍 Provenance:
Spink and Son, Ltd., London, 6 June 1980.
The James and Marilynn Alsdorf Collection, Chicago.

11/13/2025

✨NOW ON VIEW✨This Fall / Winter season, Kapoor Galleries and Ivar Jewelry are delighted to partner together to present ‘The Art of Adornment’—a collaborative exhibition that honors the shared heritage of craftsmanship across mediums, showcasing modern heritage jewelry alongside miniature paintings from India.

🎨💎 To learn more about the artworks and jewelry presented in this show, please explore the digital catalog at the link in our bio. 🔗

📩 For any inquiries regarding the paintings presented in the catalog, please reach out to Kapoor Galleries at [email protected].

💡’The Art of Adornment’ will be on view through December 20th at Ivar Jewelry’s NYC boutique, located 29 East 73rd Street. Visitors are warmly invited to explore this celebration of antique art and modern heritage jewelry from India presented by Kapoor Galleries and Ivar Jewelry together.🪞

11/03/2025

📣📣📣 3 DAYS LEFT! ✨ Join us this Wednesday, November 5th, at Ivar Jewelry NYC to preview our Fall/Winter show: ‘The Art of Adornment.’ See this painting and many other miniature works from our collection alongside a unique selection of modern heritage jewelry. 🔗 For more information, visit the link in our bio and RSVP today! 🎟️ Limited space available.

🪞The wide and focused eye of the young maiden directs the viewer’s gaze directly to the figure’s hand with which she applies kajal in a mirror held by an affectionate child. She has already adorned herself with a tikka (hair ornament), nath (nose ring), earrings, necklaces, armbands, and rings. The vermillion on each of her fingertips matches that of the three layers of her diaphanous garments, decorated with green edges matching the window valence above. She appears to be preparing herself for an important event for which the child below has already been groomed. The child’s lavender dress matches the magenta and yellow textile that hangs over the base of the window, creating a pleasingly cohesive color palette.

🎨 The charming portrait is unmistakably Pahari, epitomizing a bold and colorful tradition that embraces naturalistic Mughal techniques. This type of architectural framing (a view through a window) is typical among paintings from Kangra, in particular, as is the deep blue border with a gold foliate motif and a secondary support of speckled pink paper.

🥂 VIP Preview: November 5
🎟️ Limited tickets available. RSVP at the link on our website in our bio!
📍Ivar Jewelry’s NYC boutique: 29 East 73rd Street
💡Learn more about the modern heritage jewelry to be presented during this show at ✨

10/29/2025

🥂Join us for the opening of ‘The Art of Adornment’ on November 5th at Ivar Jewelry’s NYC boutique. Limited tickets available. More info at the link in our bio. 🔗

🎨 The present portrait may have been a noble commission to demonstrate status, as the inclusion of a falcon in the composition makes reference to the archetypal prince’s skill in hunting. This portrait and others like it were typical of Kishangarh, particularly around the lifetime of the artist Nihal Chand (c. 1710- 1782), whose training in the imperial Mughal workshops at Delhi helped him create a popular new style of portraiture combining Mughal naturalism with the traditional romantic and poetic idealization previously beloved in Kishangarh. The signature Kishangarh style began to develop under the patronage of Raj Singh (r. 1706-1748), and reached full-fledged actualization under Sawant Singh (r. 1748-1764). As the present painting dates to the latter part of the eighteenth century, it stands as an example of this Mughal-infused style at its most evolved.

🪞This Fall / Winter season, Kapoor Galleries and Ivar Jewelry are delighted to partner together to present ‘The Art of Adornment’—a collaborative exhibition that honors the shared heritage of craftsmanship across mediums, showcasing modern heritage jewelry alongside miniature paintings from India.✨

💡To learn more about this portrait of a Prince with a Falcon, reach out to Kapoor Galleries via email: 📧 [email protected]

10/21/2025

📣📣📣 This Fall / Winter 2025 season, Kapoor Galleries and Ivar Jewelry are delighted to partner together to present ‘The Art of Adornment’ — a collaborative exhibition that honors the shared heritage of craftsmanship across mediums, showcasing modern heritage jewelry alongside miniature paintings from India.

🪞From Kapoor Galleries’ collection, the exhibition features exquisite Ragamala paintings—translated from Sanskrit as “garland of ragas”—which depict a range of musical melodies known as ragas. These works, along with depictions of Nayikas (heroine) and royal figures adorned in intricate jewelry and courtly finery, embody the grace and spirituality of Indian artistic traditions.

🎨 The present painting depicts Tilangi Ragini, described by Mesakarna in the first half of his manuscript as “A woman with beautiful lips, voice, dress and flower garland, in the company of girls and fanned with a yak hair whisk” (verse no. 41), and in his second half as akin to a “grindstone and iron” (verse no. 107). While this is not always the case with Ragamalas, the present painting follows Mesakarna’s text to a T. Seated against a large bolster cushion, Tilangi is shown taking a flower ornament from her companion. Two other women keep busy stringing flowers into garlands which they offer up to her. Combining both halves of Mesakarna’s text into one image, the artist also depicts two men in the background, sharpening a sword on a circular grindstone.

🥂 VIP Preview: November 5
🏛️ Open to Public: November 6 - December 20
📍Ivar Jewelry’s NYC boutique: 29 East 73rd Street
💡Learn more about this showcase at the link in our bio

09/18/2025

🧨💥 OPENING TONIGHT! Join us at Kapoor Galleries from 6-8PM to explore a stunning collection of portraits from across India in ‘The Blossom & the Sword.’ Find more details in the link in our bio.

🎨 A nobleman in a vivid green jama with an elaborate floral and jeweled belt, necklaces of rubies, emeralds and pearls that match his embellished turban surmounted by a feathered sarpech, appears dignified atop a white marble terrace. He relaxes before an elaborate drawstring bolster atop lavish textiles as he holds the end of a ho**ah, before which a heated vessel sits emitting wisps of smoke. The elegant composition is worthy of close comparison to a figure in the same posture, garb and environment as the present nobleman, attributed to the master painter Nainsukh: a drawing of Mir Mannu in the Government Museum and Art Gallery, Chandigarh (acc. no. B-60), illustrated by B.N. Goswamy in Nainsukh of Guler, Zurich, 1997, pp. 102-103, no. 27.

💡To learn more about this piece, flip to painting no.11 in the exhibition digital catalog. Reach out to Kapoor Galleries for additional information.

09/17/2025

✨Tomorrow!✨ Celebrate the opening reception of ‘The Blossom & the Sword.’ Kindly RSVP using the link in our bio. 🔗🎟️

🎲 In today’s featured painting, a raja leans forward into a game of chaupar with three courtiers. The player opposite him cautiously moves his small piece on the board while the raja holds long dice in his right hand, preparing to make his throw. An intensity pervades the scene which unfolds against a brilliant yellow background further heightening a palpable sense of competition. There seems to be more at stake here psychologically than the game alone as the raja and his teammate.

🎨 The fine quality of this painting is apparent in the minute level of detail within each pattern, adornment, and facial feature. The figures appear as if they are frozen mid-motion, despite the near-invisibility of the artist’s stroke. Such qualities are reminiscent of the Guler masters Pandit Seu, his son Nainsukh, and the generation that followed. The composition, moreover, is reminiscent of a painting of Mian Gopal Singh playing chess with Pandit Dinamani Raina attributed by Goswamy and Fischer to Pandit Seu in Pahari Masters: Court Painters of Northern India, Zurich, 1992, p. 228-229, cat. no. 92.

💡Attributed to the Master at the Court of Mankot, possibly Meju (active 1690-1730). A Raja and His Courtiers Playing Chaupar. Guler or Basohli, 1720-1750. Opaque watercolor heightened with gold on paper. Image: 9 ¼ x 6 ½ in. (23.5 x 16.5 cm.) Folio: 10 ½ x 7 ¾ in. (26.7 x 19.7 cm.) Provenance: Collection of R. Hale, California, acquired by the family in the 1960s.

—

09/15/2025

🎯 3 days away! ✨ Join us at Kapoor Galleries this Thursday evening from 6-8PM to celebrate the opening reception of our fall exhibition, The Blossom & the Sword. 🎟️ Kindly RSVP at the link in our bio. 🔗

🎨 Today’s featured artwork from the upcoming exhibition: A Maiden Approaches a Nobleman. Kishangarh, India, circa 1740. Ink drawing with opaque watercolor heightened with gold on paper. 10 ½ x 8 ¼ in. (26.7 x 21 cm.) Provenance: Doris Wiener Gallery, New York, inventory no. 43439. Dorothy and Alfred Siesel, Washington, D.C., acquired from the above, 14 December 1976.

💌 This is an enigmatic scene often found in paintings from Kishangarh and particularly from the period of the artist Nihal Chand (ca. 1710-1782), whose training in the Imperial Mughal workshops at Delhi helped him create a popular new style that combined Mughal naturalism with the romantic, poetic idealization beloved at Kishangarh. The signature Kishangarh style began to develop under Raj Singh (r. 1706-1748), and reached full fledged actualization under Sawant Singh (r. 1748-1764). As the present painting dates to the mid-1700s, we know it was executed under one of these rulers’ reigns. As such, it is a delightful example of the evolution of Kishangarh painting during the century. This idyllic, amatory manner so-valued within the realm is well suited for the depiction of bhakti, the ecstatic longing for the divine often anthropomorphized as Radha’s love for Krishna.

💡To learn more about this painting, visit the link in our bio to flip through the digital catalog for our upcoming exhibition, ‘The Blossom & the Sword.’ Reach out to our team at Kapoor Galleries via email for more information.

—

Address

New York, NY
10065

Opening Hours

Monday	11am - 6pm
Tuesday	11am - 6pm
Wednesday	11am - 6pm
Thursday	11am - 6pm
Friday	11am - 6pm

Telephone

+12127942300

Website

https://kapoors.com/

Alerts

Be the first to know and let us send you an email when Kapoor Galleries posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Establishment

Send a message to Kapoor Galleries:

Shortcuts

Address
Telephone
Opening Hours
Alerts
Contact The Establishment
Claim ownership or report listing

Want your establishment to be the top-listed Arts & Entertainment in New York?