Fair and stable overall condition. Extensive creases to paper due to age, with tears and losses to lower part of image. Abrasions to pigment throughout to figures , elephant and background color. This lot has not been inspected outside of the frame. 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.

A heroic blue-skinned lord wearing a tall three-finial gold crown, a yellow dhoti and clogs on his feet, being praised by a nobleman in an orange Akbari four-pointed chakdar jama, holding an upright spear, offering a mudra (symbolic hand gesture) with his raised right hand.  The tall blue victorious hunter of elephants holds his broadsword crossed over his right shoulder and a tusk of the defeated elephant sprawled below.  An attendant holds a spear with point facing down as another waves a chowrie flywhisk as a symbol of royal authority. The scene set against a green grassy ground painted with minimalist strokes transforming into white light in the distance, a slash of blue sky above.

The painting depicts the iconography of Kanada Raga and is executed in an early 'Popular Mughal' style likely from Rajasthan - perhaps near Ajmer - although it should be noted that the prominent vermilion orange paint color is also found in paintings from Kashmir and may have been obtained and/or painted there.  This miniature could be considered a rare folio given that no other works from its series have yet come to light - at least that are presently known to us.  Its unusual color palette and style of turbans, jama, dhoti and pen strokes of the patka (sash) fringes would probably date the work to ca. 1610-1630.  The profile face of the admiring🌌 Raja is portrait-like enough for us to perceive the increasing influence of Mughal naturalism rapidly becoming established at the provincial ateliers - our example being a notable visual mix of even older indigenous modes meeting emerging Mughal realism. 

As a scarce surviving example of early 'Popular Mughal' ragamala paintings, the present min♉iature remains perhaps a unique survivor of its series. 

Refer to Klaus Ebeling, Ragamala Painting, Basel, 1973, cat. 29, pp. 82-83.