These three paintings come from a dispersed manuscript of the Bhagavata Purana, which chronicles the ten avatars of Lord Vishnu, each of whom must save the world from danger, destroy the wicked and protect the virtuous. The tenth book in particular follows the life of Krishna, and the present painting is from Chapter 30, in which the Gopis are searching for Krishna after he has disappeared with Radha.
According to S. Andhare, there is a very similar manuscript in the collection of the L.D. Institute of Indology, Ahmedabad, with a colophon dated to VS 1785 / AD 1725 and attributed to the Deccan. These three paintings are very similar in style to the ones in the Institute, with slight variations; the palette here is a bit stronger and with a very pronounced lilac and green dominance. Therefore, while the Tandan paintings are likely from a different series, they can also be dated earlier than suggested in the heading. This is like a subdued version of the palette of lot 19, a painting that also shows Deccani influence. It is very possible that this series is painted by a Bikaner artist but based on a Deccani original.
Stylistically, while the works have a very Deccani feel, overall the composition and proportions of the figures have more in common with Bikaner painting. Since the Bikaner rulers spent several years in the Deccan, it is likely their painters imbibed the local influence and incorporated it into their style.