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Foreword by Dr Tara Chand/ Introduction and notes by Principal S Kashmira Singh, Chughtai's Indian Paintings, New Delhi: Dhoomi Mal Dharam Das, 1951

pp. 21; 35 full-page tipped plates, twenty-seven in colours with tissue guards carrying extensive commentaries; 8 small black and white tipped-in plates based on Chughtai's line drawings in the introduction. The text also has a one-page note by Chughtai and a one-page note by the publisher; contemporary black textured faux-leather boards; upper cover with a mounted monochrome halftone portrait of a woman in profile (likely after Chughtai’s design) and a typographic label printed in bold black capitals on a cream background: CHUGHTAI’S INDIAN PAINTINGS affixed at the lower right corner. Plain cream endpapers.
15.5 x 12 x 0.9 in (39.5 x 30.5 x 2.5 cm)

Presentation Copy – Signed by the Artist. Inscribed by the artist in blue ink on the front free endpaper: “To / Claire and George / Abdur Rahman Chughtai/ 28.6.64”

MUGHAL MINIATURE MEETS MODERNISM: SIGNED COPY OF CHUGHTAI’S INDIAN PAINTINGS, 1951

A rare association inscription by Chughtai, one of South Asia’s most acclaimed modern painters, dated 28 June 1964, placing it in the later period of his prolific career.

Chughtai's Indian Paintings was the artist's only book printed in India and outside his private press in Lahore. Some paintings were specially made by Chughtai for this book. The publishers brought it out as an elephant folio matching the size, format, binding style, and cover of Chughtai's Paintings, which the artist had first issued in Lahore around 1938.

The 35 tipped-in plates showcase Chughtai’s distinctive synthesis of Mughal miniaturism, Art Nouveau, and Islamic aesthetics—stunningly rendered in luminous watercolour tones, intricate line work, and ethereal spatial composition. Notably, 27 are in colour, each with tissue-guarded explanatory notes, while the 8 smaller monochrome drawings offer insight into his preparatory line style (as titled in the text’s introduction).

The folio presentation—matching both Chughtai’s Paintings (c.?1938) and the publisher’s larger “fine press” philosophy—underscores the intention to create a prestigious collector’s volume.

The Dhoomimal Gallery of Delhi was the first to bring out a regular stream of monographs on Indian artists beginning in 1943. Its owner, Ram Babu, a wealthy stationery dealer who had turned to promoting Indian art and artists as a passion and also owned a printing press, sincerely believed in upholding production values. Thus, for CHUGHTAI'S INDIAN PAINTINGS, the Pakistani artist's only book printed in India and outside his private press, he got Chughtai to write a preface and brought it out as an elephant folio matching the size, format, binding style and cover of CHUGHTAI'S PAINTINGS, which the artist had first issued in Lahore around 1938. Ram Babu even printed wall posters to promote the book, something unheard of even today.

Abdur Rehman Chughtai was a painter and an intellectual artist who was inspired by Mughal art and miniature painting to create his own exclusive style. He was also an etcher, engraver, architect, calligrapher, naqash (decorative art), photographer, photo-lithographer, textile designer, and jewellery designer. He also wrote short stories and articles on art. He designed stamps, coins, insignia, and book covers.

Before Partition, he was known as the greatest living artist of India. After Partition, he was officially recognised as the national painter of Pakistan. He was given the title of 'Khan Bahadur' by the British Raj in 1934 and was awarded Pakistan's second highest civilian award, 'Hilal-i-Imtiaz', in 1960 and the Presidential Medal for Pride of Performance from the Government of Pakistan in 1968.