Gouache heightened with gold on paper, depicting a princess sitting on a diwan under a pavilion in a palatial garden, surrounded by attendant ladies and servants bearing refreshments, inscribed below 'Yusuf 'Ali',  the reverse with 19 lines in naskhi script in black ink 

Ex-Collection Ananda Coomaraswamy, 1973
Ex-Collection Catherine & Ralph Benkaim

J. Seyller, 'Razmnama', Archives of Asian Art, vol.XXXVIII, 1985, p.64, no.9.
J. Seyller, Workshop and Patron in Mughal India, Zurich, 1999, p.253.

In reasonable overall condition, some flaking, slight retouching to the white areas, bottom line of text missing from reverse, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This leaf originates from one of the three major illustrated reproductions of the Razmnama (a Persian translation of the Hindu epic the Mahabharata) of this period, the other two being a dispersed copy of 1598 and a version dating from 1605. This 1616-17 copy was commissioned by 'Abd al-Rahim, a great bibliophile and khan-i-khanan, 'commander-in-chief', of t🦂he Mughal armies to which he was appointed in 1584. 

In many ways the manuscript of 1616-17 surpassed the earlier two: it is larger and its miniatures demonstrate a shift away from merely imitating the imperial Akbar style, instead incorporating new elements such as a brilliance of colour and boldness of execution that is thought to derive from Hindu painting. This is one of the few published paintings by Yusuf 'Ali outside the Freer Ramayana (see M.C. Beach 1981, pp.135, 150 & 154), and '...demonstrates his habit of▨ scattering figures evenly across the composition' (Seyll♑er 1999, op.cit, p.253).

Other leaves from this manuscript are in the collection of Edwin Binney III (see Indian Miniature Painting from the Collection of Edwin Binney III, exhibition catalogue, portland, Oregon, 1974, pp.60-1, no.35) and in a private collection (see S.C. Welch, The Art of Mughal India, new York, 1976, no.33). A further leaf from this manuscr𝓡ipt was sold in these rooms, 1 April ♏2009, lot 37.