Fair and stable overall condition. The image is missing its folio border. A pronounced crease to the paper with small associated tears running along right vertical edge all the way down. With loss to lower right corner of paper. Slight abrasions to pigment on gold trappings of the horse and the silver waters of the river of lower right. Pinhole on upper right, loss to edge of image on upper left and slight abrasions to pigment of sky on upper right.
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 puff of black smoke tells us that a Raja has just fired a shot from his matchlock at a charging black bear.  The bear then depicted again, now sprawled below either wounded or dead.  A retainer runs alongside with a bow over his shoulder pointing at the prey. On a green expanse of landscape surrounded by stylized hills and burning brush.  

Our painting was produced by an Udaipur atelier in the reign of Maharana Bhim Singh (r. 1777-1828) during a time of change and artistic renewal at the Mewar painting workshops.  The artist Bagta had left Udaipur in the mid 1760's for opportunities among the Rawats of neᩚᩚᩚᩚᩚᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ𒀱ᩚᩚᩚarby Devgarh, exiting Mewar during a difficult political period in its conflict with the Marathas.  But now his son, the𝕴 artist Choka, arrived to work at Udaipur. Its ruler Maharana Bhim Singh was an avid patron of the arts and had an amiable nature.  As Col. James Tod had observed after meeting Maharana Bhim Singh for the first time in 1818: "There was an intense earnestness in every word he uttered, which delivered with great fluency of speech and dignity of manner, inspired deep respect and sympathy" (Topsfield 2008 p. 215).  A royal patron who also inspired his artists - Bhim Singh was the son of Maharana Ari Singh II - attaining the Sisodia throne at the age of ten.

Refer to Andrew Topsfield, Paintings from Rajasthan, Melbourne, 1980ꦇ, for a discussion of Mewar paintings during the reign of Maharana Bhim Singh.

For a discussion of Maharana Bhim Singh and his workshops see Andrew Topsfield, Court Paintings at Udaipur: Artibus Asiae Sup 44, Zurich, 2008, Chapter 8.