Lot 26 Details

Indian Period Jewelry. 11-30 April 2013

A PAIR OF 'FISH' ...

Each designed as a stylized fish, set...

0 x 0 in

Lot 8 Details

Decorative Arts. 20-29 July 2017

SILVER BOX WITH...

Height: 2 in (5.2 cm)
Width: 3.5 (9...

0 x 0 in

Lot 2 Details

Decorative Arts. 20-29 July 2017

BOHEMIAN DOUBLE...

Bohemia, Czech Republic, 20th Century...

View Dimensions The history of glass in Bohemia dates back to the 13th century, but it wasn't until the Art Nouveau movement when the trade and distribution of glassware spread across Europe and South America, that it was internationally recognised as an art form. "When used in reference to glass, "bohemian" is often used to describe 19th-century faceted and engraved, bright-colored beakers, bowls, goblets and vases, that were available throughout Europe, America, and many other parts of the world." (Dedo von Kerssenbrock-Krosigk, "The Tradition of the Avant-Garde: Bohemian Glass, 1820-1935," Corning Museum of Glass, 5 October 2011, online)

Tracing its origins to the present-day Czech Republic and Poland (Bohemia and Silesia), Bohemian glass art evolved from centuries of experimentation in glass-making. The 16th and 17th centuries saw different traditions of hand-cut and engraved glass styles develop, with craftsmen adapting techniques such as gem engraving on to the glass. Glass cutting methods in intaglio, where designs were inscribed into the surface, and high relief forms, acquired sophistication. In the mid-19th century, glassmakers started using opaque and colourful marbled glass such as Marmoriertes and Lithyalin, making way for the Art Nouveau period Bohemian glass that is renowned today. Glass pieces during this period were often classic vases that shaped to take the form of seashells, flowers, and tree trunks.

There are two kinds of Bohemian glass works in this exhibition. Lot 1 is the traditional, hand-cut decorative glass, and lots 2, 3, 4 and 5 are double overlay glass pieces.

Lot 4 Details

Decorative Arts. 20-29 July 2017

BOHEMIAN DOUBLE...

Bohemia, Czech Republic, 20th Century...

View Dimensions A fine white over red double overlay glass vase with floral motifs.

The history of glass in Bohemia dates back to the 13th century, but it wasn't until the Art Nouveau movement when the trade and distribution of glassware spread across Europe and South America, that it was internationally recognised as an art form."When used in reference to glass, "bohemian" is often used to describe 19th-century faceted and engraved, bright-colored beakers, bowls, goblets and vases,that were available throughout Europe, America, and many other parts of the world." (Dedo von Kerssenbrock-Krosigk, "The Tradition of the Avant-Garde: Bohemian Glass, 1820-1935," Corning Museum of Glass, 5 October 2011, online)

Tracing its origins to the present-day Czech Republic and Poland (Bohemia and Silesia), Bohemian glass art evolved from centuries of experimentation in glass-making.The 16th and 17th centuries saw different traditions of hand-cut and engraved glass styles develop, with craftsmen adapting techniques such as gem engraving on to the glass.Glass cutting methods in intaglio, where designs were inscribed into the surface, and high relief forms, acquired sophistication.In the mid-19th century, glassmakers started using opaque and colourful marbled glass such as Marmoriertes and Lithyalin, making way for the Art Nouveau period Bohemian glass that is renowned today.Glass pieces during this period were often classic vases that shaped to take the form of seashells, flowers, and tree trunks.

There are two kinds of Bohemian glass works in this exhibition. Lot 1 is the traditional, hand-cut decorative glass, and lots 2, 3, 4 and 5 are double overlay glass pieces.

Lot 33 Details

Decorative Arts. 20-29 July 2017

THREE TIER...

1930
Stamped 'L C B Co. Ltd. 925'...

0 x 0 in

Lot 59 Details

Silver from the Indian Sub-continent 1858-1947. 15 May-1 Jun 2013

Bombay Pair of...

Silver
c.1920

Height:...

View Dimensions Bombay, located on the coast of western India, is the political capital city of Maharashtra state, and considered the financial capital of the country. Because of the large port at the heart of the city, the social and cultural demographic of the city has always been largely cosmopolitan. Bombay was also the centre for the trade of the silverware produced in other parts of India. As a result of the city's diverse populace, the range of artistic styles exhibited in Bombay silverware is broad; in the 1909 publication Gold and Silverwork in Bombay Presidency Cecil Burns states, "There is no style of work in silversmithing distinctive in Bombay." This eclectic diversity in silversmithing is also due to artisans from many regions of India such as Cutch, Bengal and Lucknow, who moved to Bombay and brought with them a wide range of design and decorative styles.

The dominant stylistic influence on Bombay silverware was from Cutch, and many articles from Bombay are difficult to distinguish from those originating in Cutch. This is partly a repercussion of the Cutch famine in 1899, after which many Cutch-trained silversmiths migrated to Bombay to practice their craft. One of the classic Bombay alternatives to the intricate scroll designs of Cutch was the creation of 'picture' designs of local scenery.It was not until the early 20th century, that a distinctive Bombay style emerged. These designs largely consisted of animal imagery on the body of the ornament and the use of elephant heads forming the spout of teapots and jugs.

Lot 1 Details

Silver from the Indian Sub-continent 1858-1947. 15 May-1 Jun 2013

Cutch Atomiser

Silver
c.1910

Height:29...

View Dimensions Cutch in north western India is virtually an island geographically; due to this location, it developed independently from the rest of India before the 19th century and prospered both politically and culturally.

The longstanding tradition of silversmithing in Cutch developed successfully in both a commercial and artistic manner between the last part of the 19th century and the early 20th century. The "Cutch style" of silver decoration first emerged in the early 19th century and by the end of the century it had developed into a distinctive form. Where the style of decoration on silverware in Cutch originated is uncertain. Some writers point to the 15th century mosque of Ahmedabad as a major source of inspiration. The fusion of both Islamic and Hindu imagery exhibited in the intricately carved stone windows of this structure could have inspired the scrolling decoration characteristic of Cutch silver. Further to this, the Dutch influence has also been noted in the appearance of repoussé border ornamentation on the majority of Cutch silverware. There are also resemblances to the 17th century decoration of Portuguese pottery, and distinctive similarities in the depiction of animal and bird figures with Persian decorations.

The attractive ornamentation of scrolling foliage intertwined with animals, birds and hunting scenes was the most venerated style of Indian silverware in the late 19th century. Also aiding the success of the Cutch style were the supportive efforts made by the Raos of Cutch ensuring examples of the region's silverware were displayed in every possible international exhibition.

One of the reasons the Cutch artisans were capable of such intricate detailing was because the high quality of the silver used, usually between 95- 98% silver, meaning that the material was softer and easier to manipulate. Due partly to its geographical closeness, Bombay was the hub for the production, sale and export of Cutch style silverware.

The magnificent silver of Cutch owes much of its popularity to one virtuoso silversmith, Oomersi Mawji, whose grasp of the symbiosis of form and decoration, together with his superlative technique made his work internationally famous and enabled the other Cutch silversmiths to successfully market their wares.

The interest in Cutch designs subsequently flourished in London and many pieces were commissioned by companies such as the London stores Liberty & Co. and Proctor & Co. This exposure to a British clientele ensured the prosperity and popularity of the Cutch style amongst European customers from the late 19th century to the present day.

Lot 3 Details

Silver from the Indian Sub-continent 1858-1947. 15 May-1 Jun 2013

Cutch Biscuit Box

Silver
c.1900

Height: 23...

View Dimensions Cutch in north western India is virtually an island geographically; due to this location, it developed independently from the rest of India before the 19th century and prospered both politically and culturally.

The longstanding tradition of silversmithing in Cutch developed successfully in both a commercial and artistic manner between the last part of the 19th century and the early 20th century. The "Cutch style" of silver decoration first emerged in the early 19th century and by the end of the century it had developed into a distinctive form. Where the style of decoration on silverware in Cutch originated is uncertain. Some writers point to the 15th century mosque of Ahmedabad as a major source of inspiration. The fusion of both Islamic and Hindu imagery exhibited in the intricately carved stone windows of this structure could have inspired the scrolling decoration characteristic of Cutch silver. Further to this, the Dutch influence has also been noted in the appearance of repoussé border ornamentation on the majority of Cutch silverware. There are also resemblances to the 17th century decoration of Portuguese pottery, and distinctive similarities in the depiction of animal and bird figures with Persian decorations.

The attractive ornamentation of scrolling foliage intertwined with animals, birds and hunting scenes was the most venerated style of Indian silverware in the late 19th century. Also aiding the success of the Cutch style were the supportive efforts made by the Raos of Cutch ensuring examples of the region's silverware were displayed in every possible international exhibition.

One of the reasons the Cutch artisans were capable of such intricate detailing was because the high quality of the silver used, usually between 95- 98% silver, meaning that the material was softer and easier to manipulate. Due partly to its geographical closeness, Bombay was the hub for the production, sale and export of Cutch style silverware.

The magnificent silver of Cutch owes much of its popularity to one virtuoso silversmith, Oomersi Mawji, whose grasp of the symbiosis of form and decoration, together with his superlative technique made his work internationally famous and enabled the other Cutch silversmiths to successfully market their wares.

The interest in Cutch designs subsequently flourished in London and many pieces were commissioned by companies such as the London stores Liberty & Co. and Proctor & Co. This exposure to a British clientele ensured the prosperity and popularity of the Cutch style amongst European customers from the late 19th century to the present day.