If you think Indian royal palaces are all about gold trimmings, grand domes, and elephant motifs, think again. The Museum of Art & Photography (MAP) in Bengaluru recently opened Eckart Muthesius and Manik Bagh: Pioneering Modernism in India, an exhibition that rewrites the narrative of Indian royalty. It explores the story of Maharaja Yeshwant Rao Holkar II of Indore, his wife Maharani Sanyogitabai Devi, and Manik Bagh, their labour of love with German architect Eckart Muthesius. These three visionaries redefined what “luxury” could look like in a rapidly modernizing world.

Eckart Muthesius. View of one of the verandas with design pieces by Louis Sognot, Charlotte Alix and Marcel Breuer, 1933. Vintage gelatin silver print. Shubha & Prahlad Bubbar Collection.
Curated by Raffael Dedo Gadebusch, the exhibition tells the story of Manik Bagh—the “Garden of Jewels”—through a remarkable collection of rare archival materials and 3D printed models of some of the design objects on view. Featuring photographs by Man Ray and Emil Leitner, watercolors, sketches, and concept drawings by Eckart Muthesius, it offers visitors an intimate glimpse into the creation of one of India’s first buildings in the International Modern style.
Attributed to Man Ray. The Maharaja and Maharani of Indore, c. 1933. Vintage gelatin silver print. Shubha & Prahlad Bubbar Collection.
The narrative begins in the late 1920s, when Maharaja Yeshwant Rao Holkar II and Maharani Sanyogita of Indore crossed paths with German architect and designer Eckart Muthesius at Oxford. Unlike most royal couples of the time, Yeshwant and Sanyogita shared a deep, egalitarian bond. Curator Raffael mentions that he treated her as his equal and valued her opinions and aesthetics. Their modern outlook was reflected in their life and choices, including intimate portraits taken by Man Ray that capture their love, open-mindedness, and free-spirited nature. When they decided to commission Muthesius to design Manik Bagh in 1930, the trio was deeply immersed in the avant-garde art and design circles of Paris, Berlin, and London. They commissioned works for their future residence from renowned international designers such as Louis Sognot, Charlotte Alix, Jean Puiforcat, Eileen Gray, and Le Corbusier, alongside acquiring three versions of Constantin Brancusi’s iconic sculpture Bird in Space.
Eckart Muthesius, The Maharaja’s Living Room with “Bird in Space” by Constantin Brâncuși, 1933. Vintage gelatin silver print. Shubha & Prahlad Bubbar Collection.
By the time Manik Bagh was completed in 1933, it was far more than a residence; it was a statement of progressive thought, cutting-edge design and modern living. The palace incorporated climate-conscious features like mechanical awnings to combat monsoons and glass-dusted walls to minimize humidity, while its interiors showcased cutting-edge furniture. And for the ultimate touch of luxury, India’s first air conditioner—imported all the way from Europe! Manik Bagh was not merely a home—it was a bold experiment in merging functionality, innovation, and the avant-garde spirit of its era.
Eckart Muthesius. View of Manik Bagh Palace retouched by the architect for the illusion of a flat roof, c. 1933. Vintage gelatin silver print. Shubha & Prahlad Bubbar Collection.
Hearing the many stories that surround Manik Bagh from the Curator Raffael was also an opportunity to reflect on how global collaboration, even in its early stages, has shaped history. Muthesius, an architect inspired by the German Bauhaus school, worked with local materials and climatic needs to create something that was both modern and suitable for its environment. The fact that India’s first modernist palace was created not by British or Indian designers, but by a young German architect, highlights the depth of cross-cultural influence that existed in the pre-independence period.
Eckart Muthesius. The Maharaja’s Office with design pieces by Émile-Jacques Ruhlmann, 1933. Vintage gelatin silver print. Taimur Hassan Collection.
As the world faced the economic turmoil of the Great Depression and the rise of fascism, Yeshwant Rao and Muthesius were busy commissioning modernist masterpieces and supporting Berlin’s struggling factories and design houses. Curator Raffael pointed out that luxury brands like Rolls Royce and furniture workshops in Germany might not have survived the economic downturn without the patronage of Indian Maharajas! This narrative feels refreshingly different from the usual colonial discourse—it’s about agency, vision, and a daring leap into modernity.
Installation view of Eckart Muthesius and Manik Bagh: Pioneering Modernism in India, MAP Bengaluru, 2025. Photo Credits: Philippe Calia
Today, the story of Manik Bagh feels more relevant than ever. At a time when the world is once again grappling with rising intolerance and deepening partisanship, this exhibition serves as a reminder of what’s possible when cultures intersect creatively. It’s also a gentle nudge to rethink our ideas of luxury. In a world obsessed with loud displays of wealth, Eckart Muthesius and Manik Bagh: Pioneering Modernism in India is a quiet triumph. It’s proof that sometimes, the most revolutionary ideas come wrapped in chrome, leather, and a little bit of Bauhaus.
‘Eckart Muthesius and Manik Bagh: Pioneering Modernism in India’ is on view at the Museum of Art & Photography, Bengaluru, until March 30. Don’t forget to pick up the accompanying catalogue, featuring essays by the curator and Prahlad Bubbar, for a closer look at the world of Manik Bagh.