Four small brush drawings, in ink, watercolour and gold on paper, in nim qalam pasted onto an album folio. The paintings are set within a frame of strips of salmon-pink paper decorated with a meandering foliate design in gold, which, in turn, are outlined in black and white ink lines and a narrow strip of gold paper. These are centred on the page which has an ivory ground and is decorated with a narrow painted border of alternate pink lilies and red poppies outlined in gold. The three outer margins of the page have strips of green paper pasted on them, while the third inner edge has a strip of grey paper stuck on as a gutter for the binding of the album. The edges of the page have been gilded.
Top left-hand painting:
A couple is seated within an interior beneath swagged draperies, above which the painting has been extended with an additional piece of paper crudely painted to imitate the textile depicted below. Two side slips of paper extend the image on both sides as well. The man on the left looks admiringly at his lover around whose neck he is draping a string of blue beads which match those he is wearing himself. The lady coyly looks out of the painting as she inclines her head to receive the necklace. The details of the man's headdress (a Deccani headdress associated with the Adil Shah dynasty of Bijapur) and the long decorated drapery, which extends down his back and on which he is seated, together with the decorated margins of his jama are picked out in colour. Similar touches of colour are seen in the lady's jewellery. Tiny dots of red can be seen on the architectural niches either side of the couple and on the tassels on the swag above their heads. Surrounding the couple are a wine flask and two dishes piled high with fruit and gourds. A blue and white vase rests in the left-hand niche and is decorated with a landscape design. The man's patka is decorated with bands of chevrons, but the lady's clothes are of a fine plain cloth decorated only at the margins. Both figures have their limbs and features subtly shaded to give them volume.
Top right-hand painting
This picture alone has a green border crudely painted over the margins of the image. It shows a man with a lady sitting on his lap admiring their joint reflection in a mirror which he holds up like an open book. Crimson colour is confined to the bands of decoration on the supporting bolster, their lips, the lady's hennaed hands and feet, her jewellery and the ends of the man's patka. A green background, which has been washed in behind the couple under some billowing clouds together with some rough stripes on the cushion under his knee would appear to be later additions. Furthermore, a broad strip of green-tinted clouds has been added along the top. The couple are seated on a platform with an open-lidded pan box beside them. The man is bare-breasted with a string of pearls and wears only a plain dhoti below. On his head is a hat with an up-turned brim. The lady wears a transparent veil over her loose long hair, the end of which is looped over her upper body. Below she wears a finely pleated patka and skirt. She also wears bracelets, armbands, anklets and a tassel at her waist. The rows of pearls round her throat, her row of ear-studs, nose-stud and hair ornament are all picked out in a nacreous substance which catches the light.
Lower left-hand painting
A courtly scene with a nobleman sitting on a dais within a garden surrounded by three attendants and a young cup-bearer who kneels before him offering a covered cup while holding a flask in his other hand. Between the two main figures is spread a white cloth strewn with herbs and dishes of sweetmeats. A garden setting is simply implied by a group of trees behind them including a flowering tree, cypresses, a banana tree and other shrubs. All five figures wear flat-topped turbans in the pugri style associated with the Akbar period. The seated figure to the right is larger than the others. He has a drooping moustache over his upper lip, but the other men are all clean-shaven. Both the seated figures wear plain jamas with daggers (katars) thrust into their patkas at their waists. The young man is shown with black shading round his shoulders rising from his armpits similar to figures in Moghul paintings of the late Akbar period of the late 16th century. A lower band of crude brush strokes depicting earth and grass has been added to the bottom edge of the painting in a similar brown and lime-green colouration as the added band of clouds in the upper right-hand painting.
Lower right-hand painting
An exterior scene of a young noblemen seated cross-legged on a floral floor spread under a canopy disputing with a dervish who rests his crossed arms on a meditation stick. An attendant with a cloth fly-whisk and a shoulder bag stands behind the young man on the dais which is set behind a pool and fountain around which are seated four other men. Of these, the man on the far right plays a tambur while the youth beside him claps his hands to the rhythm and the other in the foreground sings. Opposite them sits a grave-looking man with a grey beard holding a book. Pale washes of colour have been applied to the painting as a whole.