Good overall condition. Loss to edge of folio border on upper right as seen in catalogue illustration. Three light stains to the yellow ground on the lower part of the painting. With a small hole visible on the leg of the dancing female at center and further loss to paper on the foot of one of the seated figures at upper center both visible in catalogue illustration. Abrasions to green pigment on the costumes of some of the figures. The yellow background is slightly deeper in reality. 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.

The painting depicting Krishna receiving gifts from the Gopis in Brindaban at lower left.  On the upper left we see a group of incredulous gopas and villagers regarding a ball of flames, no doubt one of many miracles wrought by the divine Krishna.

A powerful folio from the Bhagavata Purana depicting the exploits of Krishna and Balarama.  This well-known, early and significant series was suggested, by Karl Khandalavala, to have originated in Burhanpur in Gujarat.  Milo Cleveland Beach  has described the series as from Surat circa 1720 (The New Cambridge History of India: Mughal and Rajput Painting, Cambridge,1992, c♎at. 162, p. 210). Paintings from the series have been dispersed in many public and private collections the world over.  

For reference see Pratapaditya Pal, The Classical Tradition in Rajput Painting, The Morgan Library, New York, 1978, pp. 64-65 cat. 9; Milo Cleveland Beach, The New Cambridge History of India: Mughal and Rajput Painting, Cambridge, 1992, cat. 162, p. 210; Herman Goetz, A New Key to Early Rajput and Indo-Muslim Painting, Roopa-Lekha 23, 1952, pp. 1-16, fig. 4; Stuart Cary Welch and Milo Cleveland Beach, Gods Thrones and Peacocks, Asia Society, New York, 1965, pp. 64-65, cat.15; and Stuart Cary Welch, A Flower from Every Meadow, Asia Society, New York, 1974, pp. 38-39, cat.15.