Alice Heeramaneck, Masterpieces of Indian Painting, Verona, 1984, pl. 7, p. 32

Good and stable overall condition. Wear to edges visible in catalogue illustration. Losses to pigment to some of the figures and some the costumes also visible in catalogue illustration. Possible retouching to red outlines of the lotus petals of Vishnu's throne held aloft Garuda on upper left. The red background is slightly lighter in reality. Inscription in devanagari on verso. This lot is exhibited in a temporary frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Krishna in his cosmic form of Vishnu - accompanied by his consort Satyabhama, firing a fusillade of arrows at the armies of the demon King Naraka, who charge wildly across the turbulent waters protecting the fortress of Progjyotishpur.  Vishnu's vehicle Garuda races forward while carrying the couple aloft on a giant lotus.  They cross a moat protecting the citadel of Naraka - breaching all of  its massive defenses and fortifications.  Naraka sits in contemplation, within a brilliantly colored crimson-red chamber in his golden palace, conversing with his minister.

As noted in the previous lot, a number of the folios from this series are inscribed in ink with two names “Nana” and “Mithiram” which had previously been considered by some scholars to be the two principal a𒁃rtists collaborating on the series.  However, analysis by Daniel Ehnbom has defined at least 10 anonymous painters contributing to the series.  These are referred to by Ehnbom as Painters A-J.

Refer to Sotheby's New York, March 17, 2015, Lot 1110-1112; Daniel Ehnbom, Masters of the Dispersed Bhagavata Purana, fig. 11, p. 77-88 (in M. C. Beach, E. Fischer and B. N. Goswamy, Masters of Indian Painting 1100-1650, Artibus Asiae Sup. 48/I, 2011); Daniel Ehnbom, An Analysis and Reconstruction of the Dispersed Bhagavata Purana from the Caurapancasika Group, The University of Chicago, 1984, p. 235; Edwin Binney 3rd, Rajput Miniatures from the Collection of Edwin Binney 3rd, Portland, 1968, p. 4-5, cat. 1c; and Darielle Mason (ed.) (essay by John Seyller), Intimate Worlds: Indian Painting from the Alvin O. Bellak Collection, Philadelphia, 2001, pp. 48-49.