THE LAST MAHARAJA OF INDORE
PERSONALITIES & HISTORY
Photography by James V. Thomas
The Maharaja seen here in a portrait by the talented painted Bernard Boutet de Monvel
Yashwant Rao Holkar II, celebrated as the last Maharaja of Indore, was a figure of remarkable vision and avant-garde sensibilities. A true aesthete, he stood at the intersection of tradition and modernity, embodying a unique cultural duality that bridged the opulent past of Indian royalty with the bold aspirations of 20th-century design. His passion for the Bauhaus and Art Deco movements was not merely a passing fascination but a deeply transformative influence that would leave an indelible mark on the architectural and artistic landscape of India.
The library in the palace featuring chairs designed by Eckart Muthesius.
In 1930, he commissioned the first Bauhaus-inspired palace in India, the extraordinary Manik Bagh, or “Jewel Garden,” in Indore. Designed by the German architect Eckart Muthesius, the palace was a daring departure from the ornamental excesses traditionally associated with royal Indian residences. Instead, it embraced the clean lines, functional elegance, and modernist ethos of the Bauhaus movement. This was not a whimsical experiment but a calculated statement, aligning the Maharaja with the zeitgeist of international modernism.
A table designed by Muthesius for the Maharani's dressing room.
The interiors of Manik Bagh were equally groundbreaking, a harmonious collaboration with some of the most illustrious figures in design and architecture of the era. Jean Puiforcat contributed exquisite silverware, Eileen Gray’s minimalist furniture adorned the spaces, Jean Perzel’s lighting designs cast a warm glow over the palace’s modernist interiors, and the radical ideas of Le Corbusier found a sympathetic audience in Yashwant Rao. Together, these collaborations created a space that was not just a palace but a living manifesto of modern design. Manik Bagh became a beacon, a reference point in the world of design, celebrated for its daring synthesis of functionality and beauty.
The master bedroom, featuring a bed designed by Louis Sognot, and a carpet by Ivan da Silva Bruhns.
Yashwant Rao’s life was not limited to the confines of his kingdom. Young, cosmopolitan, and effortlessly chic, he and his wife, Maharani Sanyogita Devi, were emblematic of a new generation of Indian royalty—educated abroad and fluent in the cultural codes of Europe. Both had studied in England, and their frequent travels across the continent brought them into the orbit of European avant-garde circles. In 1927, the couple was immortalized in a series of striking photographs by Man Ray, the celebrated surrealist photographer. These portraits, steeped in the experimental ethos of the time, captured their modernity and elegance, reinforcing their image as cultural ambassadors of a progressive India.
Nobody knows about the maharaja of Indore: Who is this incredible guy? Some mysteries have no clues.
Olivier Gabet, Director of Musée des Arts Décoratifs, Paris
A fabulous portrait of the Maharaja by Bernard Boutet de Monvel.
Tragically, their story was also marked by profound loss. Maharani Sanyogita, a luminous presence and a partner in Yashwant Rao’s artistic ventures, passed away at the tender age of 22 due to complications from surgery in Switzerland. Her death was a devastating blow, casting a shadow over the Maharaja’s otherwise vibrant life. Despite this personal tragedy, Yashwant Rao continued to champion the arts, leaving behind a legacy that transcended the boundaries of his princely state.
Photography of the Maharaja and his wife, by Man Ray.
In 1980, the interior furnishings of Manik Bagh were auctioned at Sotheby’s in Monaco, a poignant reminder of the impermanence of even the most exquisite creations. Yet, the vision of Yashwant Rao Holkar II endures, a testament to his ability to dream boldly and act decisively, transforming his world—and ours—in the process.
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