Alice Heeramaneck, Masterpieces of Indian Painting, Verona, 1984 pl. 9, p. 33

Good and stable overall condition as viewed. Losses to edges as visible in catalogue illustration. Abrasions to pigment on some of the figments and on their costumes, also seen in catalogue illustration. Losses to white pigment on the bodies of the cows and the white plumes of smoke on the upper register also viewed in catalogue illustration. The red colors are 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.
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In two horizontal registers. The upper depicting Krishna and Balarama, holding cow-herd crooks, observing the tongues of flame flickering over Munjavana forest where their cows are grazing. According to the legend Krishna swallowed the fire and rescued his herd.  In the lower register Krishna dances as trees burst with blooms.  A lotus filled river with geese below.

As noted in the previous lot Daniel Ehnbom has defined at least 10 anonymous painters contributing to the series.  These are referred to by Ehnbom as Painters A-J. A highly relatable folio from the Palam Bhagavata Purana by the same hand in the Collection of the Rietberg Museum Zurich and attributed to "Painter B" is likely an adjacent page in the narrative sequence, and was exhibited in the Metropolitan Museum of Art in Wonder of the Age: Master Painters of India 1100-1900.

Refer to Sotheby's New York, March 17, 2015, Lot 1110-1112; Edwin Binney 3rd, Rajput Miniatures from the Collection of Edwin Binney 3rd, Portland, 1968, p. 4-5, cat. 1c; Daniel Ehnbom, Masters of the Dispersed Bhagavata Purana, fig.4, 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; and Darielle Mason (ed.) (essay by John Seyller), Intimate Worlds: Indian Painting from the Alvin O. Bellak Collection, Philadelphia, 2001, pp. 48-49.