This composition is very close to a wall painting in the Badal Mahal ("Cloud Palace") at the Palace of Bundi and this large drawing may have been used as a modello for transfer to a wall as evidenced by its pinpricked outlines and pouncing.
Given the loose and spontaneous nature of our drawing - with its many pentimenti and vigorous handling - it may be safe to assume that the present drawing is not just a copy of an elephant combat composition from the Badal Mahal - it is clearly pounced for transfer. It could be that our drawing represents a working-out phase of the composition as a stage toward the completion of the wall paintings at the palace.
An ink drawing in the Philadelphia Museum from the Alvin O. Bellak Collection (accession no. 2004-149-61) depicts a more elaborated but smaller version of the same scene as a more finished drawing. Milo Cleveland Beach has identified an artist he has termed "The Hada Master" as the creator of the Bellak drawing and connects that drawing to a composition at the Badal Mahal.
For further discussion see M. C. Beach, 'Wall Paintings at Bundi: Comments and a New Discovery', in Artibus Asiae 68/1, 2008, M. C. Beach, 'The Masters of the Chunar Ragamala and the Hada Master,' in M. C. Beach, E. Fischer and B. N. Goswamy, Masters of Indian Painting 1100-1650, Artibus Asiae Sup. 48/I, 2011, p. 291–304, and in D. Mason (ed.), Intimate Worlds: Indian Paintings from the Alvin O. Bellak Collection, Philadelphia, 2001, p. 158–9, cat. 65.
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