Good and stable overall condition as viewed. Abrasions and losses to pigments on the margin below, on the garment and arm of the seated lady, on the architectural pavilion and the black sky above all clearly visible in catalog illustration. Slight losses to paper in the patch of red adjacent to the tree with an old repair to the tear on the extreme middle right. 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 nayaka (hero) in the chamber of a nayaka (heroine) sitting close to her, with their arms around each other.  She looks away reaching out with her hand.  A painting of great emotion abstracted by brilliant red and yellow compartments and emphasized with rich primary colors.  

The scrolling floral arabesque design in the lower panel is a characteristic feature of Amarusataka illustrations executed in the second half of the Seventeenth Century at Malwa.  The Amarusataka “one hundred stanzas of Amaru” is a collection of Sanskrit lyr𝐆ical love poems written by the poet Amaru in the 7th or 8th Century. Although their texts are different, the Amarusataka, Rasika Priya and Ragamala series often are visually very relatable.

For relatable Amarusataka folios refer to Sotheby's New York, March 22, 2002, Lot 11 and Alice Heeramaneck, Masterpieces of Indian Painting, Verona, 1984, p. 46, cat. 30-31.