Fair and stable overall condition. Obvious losses to paper clearly visible in catalog illustration. No inpainting or consolidation visible under UV light. The red 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.

Indra and a sage offer obeisance before manifestations of Vishnu.

This painting originated in Mewar during the reign of Maharana Jagat Singh I (r. 1628 - 52) when illustrations of the Rasikapriya, Ragamala and Gita Govinda as well as epics like the Ramayana and Bhagavata Purana in pothi (horizontal) format -  were being produced by the sizable Royal workshop in Udaipur, where the new Sub-Imperial Mughal style, with its attention to naturalistic detail was quickly becoming fashionable.  The name of the artist Sahibdin is prominently associated with this studio and he appears to have dominated its workshops as its master and head - its style has come to be associated with his name.  Many extant works of varying quality are known in this distinctive manner which we may cautiously term the “studio” or the “circle” of Sahibdin given that several individual hands are discernible within the group.  They are formally linked by compartmentalized composition / color palette / figure stances / costume details and facial types.  Note a Malavi Ragini, ascribed to Sahibdin (Topsfield 2011, fig.1) which has a very relatable col💫or palette of lapis blue and yellow which appears executed by the same hand as our fragment.

The present work, although in fragmentary condition, is painted in what may be considered among the highest quality examples associ🌺ated with the Sahibdin style showing a refined aesthetic clarity and a confident expressive hand.  An attribution to the master's brush of Sahibdin himself may well be  warranted. 

Refer to Andrew Topsfield, Court Painting at Udaipur, Artibus Asiae Sup 44, 2008, pp. 53-84.

For a general discussion of Udaipur painting during Sahibdin's activity see Andrew Topsfield (essay) "Sahibdin" in Beach, Fischer, Goswamy, Masters of Indian Painting 1100-1650, Artibus Asiae Sup 48/I, 2011, pp. 391-406💖 and fig.ℱ 1 p. 395.