Lot 33 Details

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

Kashmir Three Piece Tea Set    

View Dimensions Kashmir in northern India, located at the feet of the Himalayan mountains, is venerated in its rich canon of literature for both the beauty of its landscape and the joys of its climate. Silverware production in Kashmir was popular, however, cheaper and more easily marketable copper-work was deemed more important by the Srinagar industries. Compared to the rest of Indian regional silverware the commercial accomplishment of Kashmiri silver internationally was second only to that of Cutch silver. A distinctive feature of Kashmiri silverware is that the shape and decoration of each piece is influenced by the surrounding environment of the silversmith.

There are six main designs used to decorate Kashmiri silverware, and all are thought to echo the Persian artistic presence in Kashmir form the 17th century. These are the shawl pattern, the Chinar pattern, the poppy design, the rosette design, the mosaic pattern and the arabesque style. One of the most charming attributes of silverware from Kashmir is that one of these main design forms had to be used exclusively; the artisan often drew upon many design elements to create pieces which incorporate many or all of the above designs.

The shawl pattern, taking inspiration from the prevalent Kashmiri weaving industry, illustrates twiglets of flowers and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern. The Chinar pattern took inspiration from the landscape of the Kashmir Valley and comprises of stylistic illustrations of various sizes of tree leaves often attached to small branches; often the tree's fruits will also be depicted hanging from twigs. Similar to the Chinar pattern, the poppy decoration was stimulated by the abundance of poppy plants in the Kashmir Valley. Perhaps also influence by the Mughal use of poppy motifs in the adornment of many ornaments and palaces, the Kashmir poppy design featured a stylised flower form in various stages of blossoming. The rosette design consists of the leaves and flowers of the coriander plant; the relief design is organized either as an unbroken scrolling branch with small stems diverging off or organised in vertical formations. Both the mosaic pattern and the arabesque design are thought to be inspired by the configurations adorned on the great Mughal houses. The mosaic style bears resemblance to the mosaic panels covering the interior of Mughal palaces; the design features compactly arranged branches with leaves in a scrolling formation. Finally the arabesque style, in which the pattern is usually separated into orderly panels, depicts stylised illustrations of the poppy and coriander plants.

The silver used by Kashmiri silversmiths is of a high grade of purity, between 90- 98%; this makes the silver softer to work with. For this reason intricate aspects of pieces, such as the snake handles often depicting the texture of the skin, are able to be so skilfully produced.

Lot 34 Details

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

Kashmir Parcel Gilt Set of Four Finger Bowls and Plates in "Shawl Pattern"    

View Dimensions Kashmir in northern India, located at the feet of the Himalayan mountains, is venerated in its rich canon of literature for both the beauty of its landscape and the joys of its climate. Silverware production in Kashmir was popular, however, cheaper and more easily marketable copper-work was deemed more important by the Srinagar industries. Compared to the rest of Indian regional silverware the commercial accomplishment of Kashmiri silver internationally was second only to that of Cutch silver. A distinctive feature of Kashmiri silverware is that the shape and decoration of each piece is influenced by the surrounding environment of the silversmith.

There are six main designs used to decorate Kashmiri silverware, and all are thought to echo the Persian artistic presence in Kashmir form the 17th century. These are the shawl pattern, the Chinar pattern, the poppy design, the rosette design, the mosaic pattern and the arabesque style. One of the most charming attributes of silverware from Kashmir is that one of these main design forms had to be used exclusively; the artisan often drew upon many design elements to create pieces which incorporate many or all of the above designs.

The shawl pattern, taking inspiration from the prevalent Kashmiri weaving industry, illustrates twiglets of flowers and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern. The Chinar pattern took inspiration from the landscape of the Kashmir Valley and comprises of stylistic illustrations of various sizes of tree leaves often attached to small branches; often the tree's fruits will also be depicted hanging from twigs. Similar to the Chinar pattern, the poppy decoration was stimulated by the abundance of poppy plants in the Kashmir Valley. Perhaps also influence by the Mughal use of poppy motifs in the adornment of many ornaments and palaces, the Kashmir poppy design featured a stylised flower form in various stages of blossoming. The rosette design consists of the leaves and flowers of the coriander plant; the relief design is organized either as an unbroken scrolling branch with small stems diverging off or organised in vertical formations. Both the mosaic pattern and the arabesque design are thought to be inspired by the configurations adorned on the great Mughal houses. The mosaic style bears resemblance to the mosaic panels covering the interior of Mughal palaces; the design features compactly arranged branches with leaves in a scrolling formation. Finally the arabesque style, in which the pattern is usually separated into orderly panels, depicts stylised illustrations of the poppy and coriander plants.

The silver used by Kashmiri silversmiths is of a high grade of purity, between 90- 98%; this makes the silver softer to work with. For this reason intricate aspects of pieces, such as the snake handles often depicting the texture of the skin, are able to be so skilfully produced.

Lot 35 Details

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

Kashmir Houseboat Pan Box with Fitted Interior and Tray    

View Dimensions Kashmir in northern India, located at the feet of the Himalayan mountains, is venerated in its rich canon of literature for both the beauty of its landscape and the joys of its climate. Silverware production in Kashmir was popular, however, cheaper and more easily marketable copper-work was deemed more important by the Srinagar industries. Compared to the rest of Indian regional silverware the commercial accomplishment of Kashmiri silver internationally was second only to that of Cutch silver. A distinctive feature of Kashmiri silverware is that the shape and decoration of each piece is influenced by the surrounding environment of the silversmith.

There are six main designs used to decorate Kashmiri silverware, and all are thought to echo the Persian artistic presence in Kashmir form the 17th century. These are the shawl pattern, the Chinar pattern, the poppy design, the rosette design, the mosaic pattern and the arabesque style. One of the most charming attributes of silverware from Kashmir is that one of these main design forms had to be used exclusively; the artisan often drew upon many design elements to create pieces which incorporate many or all of the above designs.

The shawl pattern, taking inspiration from the prevalent Kashmiri weaving industry, illustrates twiglets of flowers and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern. The Chinar pattern took inspiration from the landscape of the Kashmir Valley and comprises of stylistic illustrations of various sizes of tree leaves often attached to small branches; often the tree's fruits will also be depicted hanging from twigs. Similar to the Chinar pattern, the poppy decoration was stimulated by the abundance of poppy plants in the Kashmir Valley. Perhaps also influence by the Mughal use of poppy motifs in the adornment of many ornaments and palaces, the Kashmir poppy design featured a stylised flower form in various stages of blossoming. The rosette design consists of the leaves and flowers of the coriander plant; the relief design is organized either as an unbroken scrolling branch with small stems diverging off or organised in vertical formations. Both the mosaic pattern and the arabesque design are thought to be inspired by the configurations adorned on the great Mughal houses. The mosaic style bears resemblance to the mosaic panels covering the interior of Mughal palaces; the design features compactly arranged branches with leaves in a scrolling formation. Finally the arabesque style, in which the pattern is usually separated into orderly panels, depicts stylised illustrations of the poppy and coriander plants.

The silver used by Kashmiri silversmiths is of a high grade of purity, between 90- 98%; this makes the silver softer to work with. For this reason intricate aspects of pieces, such as the snake handles often depicting the texture of the skin, are able to be so skilfully produced.

Lot 36 Details

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

Kashmir Surai    

View Dimensions Kashmir in northern India, located at the feet of the Himalayan mountains, is venerated in its rich canon of literature for both the beauty of its landscape and the joys of its climate. Silverware production in Kashmir was popular, however, cheaper and more easily marketable copper-work was deemed more important by the Srinagar industries. Compared to the rest of Indian regional silverware the commercial accomplishment of Kashmiri silver internationally was second only to that of Cutch silver. A distinctive feature of Kashmiri silverware is that the shape and decoration of each piece is influenced by the surrounding environment of the silversmith.

There are six main designs used to decorate Kashmiri silverware, and all are thought to echo the Persian artistic presence in Kashmir form the 17th century. These are the shawl pattern, the Chinar pattern, the poppy design, the rosette design, the mosaic pattern and the arabesque style. One of the most charming attributes of silverware from Kashmir is that one of these main design forms had to be used exclusively; the artisan often drew upon many design elements to create pieces which incorporate many or all of the above designs.

The shawl pattern, taking inspiration from the prevalent Kashmiri weaving industry, illustrates twiglets of flowers and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern. The Chinar pattern took inspiration from the landscape of the Kashmir Valley and comprises of stylistic illustrations of various sizes of tree leaves often attached to small branches; often the tree's fruits will also be depicted hanging from twigs. Similar to the Chinar pattern, the poppy decoration was stimulated by the abundance of poppy plants in the Kashmir Valley. Perhaps also influence by the Mughal use of poppy motifs in the adornment of many ornaments and palaces, the Kashmir poppy design featured a stylised flower form in various stages of blossoming. The rosette design consists of the leaves and flowers of the coriander plant; the relief design is organized either as an unbroken scrolling branch with small stems diverging off or organised in vertical formations. Both the mosaic pattern and the arabesque design are thought to be inspired by the configurations adorned on the great Mughal houses. The mosaic style bears resemblance to the mosaic panels covering the interior of Mughal palaces; the design features compactly arranged branches with leaves in a scrolling formation. Finally the arabesque style, in which the pattern is usually separated into orderly panels, depicts stylised illustrations of the poppy and coriander plants.

The silver used by Kashmiri silversmiths is of a high grade of purity, between 90- 98%; this makes the silver softer to work with. For this reason intricate aspects of pieces, such as the snake handles often depicting the texture of the skin, are able to be so skilfully produced.

Lot 37 Details

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

Kashmir Photograph Frame    

View Dimensions Kashmir in northern India, located at the feet of the Himalayan mountains, is venerated in its rich canon of literature for both the beauty of its landscape and the joys of its climate. Silverware production in Kashmir was popular, however, cheaper and more easily marketable copper-work was deemed more important by the Srinagar industries. Compared to the rest of Indian regional silverware the commercial accomplishment of Kashmiri silver internationally was second only to that of Cutch silver. A distinctive feature of Kashmiri silverware is that the shape and decoration of each piece is influenced by the surrounding environment of the silversmith.

There are six main designs used to decorate Kashmiri silverware, and all are thought to echo the Persian artistic presence in Kashmir form the 17th century. These are the shawl pattern, the Chinar pattern, the poppy design, the rosette design, the mosaic pattern and the arabesque style. One of the most charming attributes of silverware from Kashmir is that one of these main design forms had to be used exclusively; the artisan often drew upon many design elements to create pieces which incorporate many or all of the above designs.

The shawl pattern, taking inspiration from the prevalent Kashmiri weaving industry, illustrates twiglets of flowers and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern. The Chinar pattern took inspiration from the landscape of the Kashmir Valley and comprises of stylistic illustrations of various sizes of tree leaves often attached to small branches; often the tree's fruits will also be depicted hanging from twigs. Similar to the Chinar pattern, the poppy decoration was stimulated by the abundance of poppy plants in the Kashmir Valley. Perhaps also influence by the Mughal use of poppy motifs in the adornment of many ornaments and palaces, the Kashmir poppy design featured a stylised flower form in various stages of blossoming. The rosette design consists of the leaves and flowers of the coriander plant; the relief design is organized either as an unbroken scrolling branch with small stems diverging off or organised in vertical formations. Both the mosaic pattern and the arabesque design are thought to be inspired by the configurations adorned on the great Mughal houses. The mosaic style bears resemblance to the mosaic panels covering the interior of Mughal palaces; the design features compactly arranged branches with leaves in a scrolling formation. Finally the arabesque style, in which the pattern is usually separated into orderly panels, depicts stylised illustrations of the poppy and coriander plants.

The silver used by Kashmiri silversmiths is of a high grade of purity, between 90- 98%; this makes the silver softer to work with. For this reason intricate aspects of pieces, such as the snake handles often depicting the texture of the skin, are able to be so skilfully produced.

Lot 38 Details

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

Karachi Tea Set by J. Manikrai    

View Dimensions Because of the nature of the city's development by the British government Karachi has no ancient history. Like the silverware produced in Bombay, the work of Karachi is greatly influenced by Cutch designs. As a result of the exhibition of 'Karachi-Cutch' silverware design the regions silverwork was soon established and known to demonstrate a high standard of craftsmanship.

The Karachi-Cutch style differs from Cutch design as the ornamentation is often separated into panels by unadorned borders while the Cutch style of the intermingling of flowered foliage and animals filled these panels. Often, if depicting a scene of hunting, unlike the Cutch and Bombay counterparts, the Karachi-cutch style would depict the whole scene and not just a single composition.

J. Manikrai & Co. is an example of the firms established by economic refugees in Karachi, after the 1899 Cutch famine. After they settled in cities like Karachi, Cutchi silversmiths began to exhibit works in various Indian exhibitions. J. Manikrai & Co won the 1909 silver medal in one such show in Lahore. As a consequence of this exposure, the trade in 'Karachi- Cutch' silver was soon established. The Karachi-Cutch use of patterning differed from the classical Cutch style. The panels of scrolling foliage and the animals of the chase are set against a background of hills and trees. Unlike Cutchi style, these panels are separated by plain arches. The silverwork by Cutchi silversmiths working in Karachi was often of a very high standard and the carefully presented compositions were worked with skill and patience in slightly deeper relief than that of Cutch work from other regions.

Lot 39 Details

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

Lucknow Swing-handled Basket in "Hunting Pattern"    

View Dimensions Lucknow in north-central India has been considered the cultural capital of north India for the past 250 years. The region has a long tradition of silversmithing, which used to be patronised to a great extent by the Nawabs, before the British annexed the region in 1856. A European style of silverware is one of the idiosyncratic traits of Lucknow articles; this is exampled in the many sporting trophies crafted in the regional style, some containing engraved inscriptions.

The silverware produced in Lucknow is famed for its high standard of craftsmanship, considering the finer style of the pieces which use thinner and lighter scale than elsewhere in India. Similar to the work produced in Kashmir, the pieces of Lucknow are easily identifiable due to a number of individual traits. One such attribute is the use of a 'fish' design, often as part of border ornamentation. Lucknow works also often contain a 'grape' pattern. This is similar to the Cutch scroll style, however, the trees and branches depicted sprout from the ground and cross at many points in the piece.

Lucknow silver is most commonly recognized for the style of decoration known as the 'jungle' pattern. This design features, although not to scale, forests of palm trees containing both animal and male figures. The male figure also appears in the common 'hunting' pattern, a design which depicts traditional hunting sports taking place with bold figures on elephant back pursuing wild animals. Apart from these two specific designs, the 'coriander' plant pattern is also common in Lucknow pieces.

A fanciful element of the Lucknow design is the use of serpent heads indiscriminately as the feet of standing pieces. This design attribute can often look out of place with the rest of the article's design, or may appear perfectly in keeping with the arrangement of decoration employed on the rest of the piece.

Lot 40 Details

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

Lucknow Pierced Bowl with Fish Motif    

View Dimensions Lucknow in north-central India has been considered the cultural capital of north India for the past 250 years. The region has a long tradition of silversmithing, which used to be patronised to a great extent by the Nawabs, before the British annexed the region in 1856. A European style of silverware is one of the idiosyncratic traits of Lucknow articles; this is exampled in the many sporting trophies crafted in the regional style, some containing engraved inscriptions.

The silverware produced in Lucknow is famed for its high standard of craftsmanship, considering the finer style of the pieces which use thinner and lighter scale than elsewhere in India. Similar to the work produced in Kashmir, the pieces of Lucknow are easily identifiable due to a number of individual traits. One such attribute is the use of a 'fish' design, often as part of border ornamentation. Lucknow works also often contain a 'grape' pattern. This is similar to the Cutch scroll style, however, the trees and branches depicted sprout from the ground and cross at many points in the piece.

Lucknow silver is most commonly recognized for the style of decoration known as the 'jungle' pattern. This design features, although not to scale, forests of palm trees containing both animal and male figures. The male figure also appears in the common 'hunting' pattern, a design which depicts traditional hunting sports taking place with bold figures on elephant back pursuing wild animals. Apart from these two specific designs, the 'coriander' plant pattern is also common in Lucknow pieces.

A fanciful element of the Lucknow design is the use of serpent heads indiscriminately as the feet of standing pieces. This design attribute can often look out of place with the rest of the article's design, or may appear perfectly in keeping with the arrangement of decoration employed on the rest of the piece.

Lot 41 Details

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

Lucknow Pierced Bowl in the "Cutch Pattern"    

View Dimensions Lucknow in north-central India has been considered the cultural capital of north India for the past 250 years. The region has a long tradition of silversmithing, which used to be patronised to a great extent by the Nawabs, before the British annexed the region in 1856. A European style of silverware is one of the idiosyncratic traits of Lucknow articles; this is exampled in the many sporting trophies crafted in the regional style, some containing engraved inscriptions.

The silverware produced in Lucknow is famed for its high standard of craftsmanship, considering the finer style of the pieces which use thinner and lighter scale than elsewhere in India. Similar to the work produced in Kashmir, the pieces of Lucknow are easily identifiable due to a number of individual traits. One such attribute is the use of a 'fish' design, often as part of border ornamentation. Lucknow works also often contain a 'grape' pattern. This is similar to the Cutch scroll style, however, the trees and branches depicted sprout from the ground and cross at many points in the piece.

Lucknow silver is most commonly recognized for the style of decoration known as the 'jungle' pattern. This design features, although not to scale, forests of palm trees containing both animal and male figures. The male figure also appears in the common 'hunting' pattern, a design which depicts traditional hunting sports taking place with bold figures on elephant back pursuing wild animals. Apart from these two specific designs, the 'coriander' plant pattern is also common in Lucknow pieces.

A fanciful element of the Lucknow design is the use of serpent heads indiscriminately as the feet of standing pieces. This design attribute can often look out of place with the rest of the article's design, or may appear perfectly in keeping with the arrangement of decoration employed on the rest of the piece.

Lot 42 Details

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

Lucknow Goblet in "Grape Pattern"    

View Dimensions Lucknow in north-central India has been considered the cultural capital of north India for the past 250 years. The region has a long tradition of silversmithing, which used to be patronised to a great extent by the Nawabs, before the British annexed the region in 1856. A European style of silverware is one of the idiosyncratic traits of Lucknow articles; this is exampled in the many sporting trophies crafted in the regional style, some containing engraved inscriptions.

The silverware produced in Lucknow is famed for its high standard of craftsmanship, considering the finer style of the pieces which use thinner and lighter scale than elsewhere in India. Similar to the work produced in Kashmir, the pieces of Lucknow are easily identifiable due to a number of individual traits. One such attribute is the use of a 'fish' design, often as part of border ornamentation. Lucknow works also often contain a 'grape' pattern. This is similar to the Cutch scroll style, however, the trees and branches depicted sprout from the ground and cross at many points in the piece.

Lucknow silver is most commonly recognized for the style of decoration known as the 'jungle' pattern. This design features, although not to scale, forests of palm trees containing both animal and male figures. The male figure also appears in the common 'hunting' pattern, a design which depicts traditional hunting sports taking place with bold figures on elephant back pursuing wild animals. Apart from these two specific designs, the 'coriander' plant pattern is also common in Lucknow pieces.

A fanciful element of the Lucknow design is the use of serpent heads indiscriminately as the feet of standing pieces. This design attribute can often look out of place with the rest of the article's design, or may appear perfectly in keeping with the arrangement of decoration employed on the rest of the piece.

Lot 43 Details

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

Lucknow Teapot with Elephant Finial and Snake Handle    

View Dimensions Lucknow in north-central India has been considered the cultural capital of north India for the past 250 years. The region has a long tradition of silversmithing, which used to be patronised to a great extent by the Nawabs, before the British annexed the region in 1856. A European style of silverware is one of the idiosyncratic traits of Lucknow articles; this is exampled in the many sporting trophies crafted in the regional style, some containing engraved inscriptions.

The silverware produced in Lucknow is famed for its high standard of craftsmanship, considering the finer style of the pieces which use thinner and lighter scale than elsewhere in India. Similar to the work produced in Kashmir, the pieces of Lucknow are easily identifiable due to a number of individual traits. One such attribute is the use of a 'fish' design, often as part of border ornamentation. Lucknow works also often contain a 'grape' pattern. This is similar to the Cutch scroll style, however, the trees and branches depicted sprout from the ground and cross at many points in the piece.

Lucknow silver is most commonly recognized for the style of decoration known as the 'jungle' pattern. This design features, although not to scale, forests of palm trees containing both animal and male figures. The male figure also appears in the common 'hunting' pattern, a design which depicts traditional hunting sports taking place with bold figures on elephant back pursuing wild animals. Apart from these two specific designs, the 'coriander' plant pattern is also common in Lucknow pieces.

A fanciful element of the Lucknow design is the use of serpent heads indiscriminately as the feet of standing pieces. This design attribute can often look out of place with the rest of the article's design, or may appear perfectly in keeping with the arrangement of decoration employed on the rest of the piece.

Lot 44 Details

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

Madras "Swami Ware" Claret Jug with Snake Charmer Finial    

View Dimensions Madras, located in south eastern India, was one of the most significant cities in India under the British administration. The finest pieces of Madras silver were produced by Indian craftsmen working for European-run firms, unlike the silver produced in other regions of India which was crafted by independent craftsmen. The largest European firm was P. Orr & Sons of Madras; they were responsible for the encouragement of the 'swami' style of decoration. 'Swami'ornamentation depicts Hindu deities and mythological figures, and the style was a huge success in Europe and Great Britain. Despite European market trends, the silversmiths of Madras established a strong indigenous style which concentrated on the traditional illustration of their gods.

Swami designs were deep, and exhibited fine and intricate detailing, which enabled the specific figures to be easily identifiable. The Hindu tradition of religious art comprises the images of deities, illustrations of characters and episodes from epics like the Ramayana. The stories of the ten avatars of Vishnu are some of the most popular depictions in the silverware from this region.

The most frequent deities represented in Madras silverware are Vishnu, Shiva, Parvati, Brahma and Surya. Also depicted are Angi, Brahma, Durga, Ganesh, Indra, Kali, Kama, Parvati, Shiva, Vishnu, and Yama; most of the gods are riding their vahana, or their associated animal, in these depictions.

Lot 45 Details

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

Poona Large Bowl with High Relief Decoration    

View Dimensions Madras, located in south eastern India, was one of the most significant cities in India under the British administration. The finest pieces of Madras silver were produced by Indian craftsmen working for European-run firms, unlike the silver produced in other regions of India which was crafted by independent craftsmen. The largest European firm was P. Orr & Sons of Madras; they were responsible for the encouragement of the 'swami' style of decoration. 'Swami'ornamentation depicts Hindu deities and mythological figures, and the style was a huge success in Europe and Great Britain. Despite European market trends, the silversmiths of Madras established a strong indigenous style which concentrated on the traditional illustration of their gods.

Swami designs were deep, and exhibited fine and intricate detailing, which enabled the specific figures to be easily identifiable. The Hindu tradition of religious art comprises the images of deities, illustrations of characters and episodes from epics like the Ramayana. The stories of the ten avatars of Vishnu are some of the most popular depictions in the silverware from this region.

The most frequent deities represented in Madras silverware are Vishnu, Shiva, Parvati, Brahma and Surya. Also depicted are Angi, Brahma, Durga, Ganesh, Indra, Kali, Kama, Parvati, Shiva, Vishnu, and Yama; most of the gods are riding their vahana, or their associated animal, in these depictions.

Lot 46 Details

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

Madras Pair Large Peppers Pots by P. Orr & Sons    

View Dimensions Madras, located in south eastern India, was one of the most significant cities in India under the British administration. The finest pieces of Madras silver were produced by Indian craftsmen working for European-run firms, unlike the silver produced in other regions of India which was crafted by independent craftsmen. The largest European firm was P. Orr & Sons of Madras; they were responsible for the encouragement of the 'swami' style of decoration. 'Swami'ornamentation depicts Hindu deities and mythological figures, and the style was a huge success in Europe and Great Britain. Despite European market trends, the silversmiths of Madras established a strong indigenous style which concentrated on the traditional illustration of their gods.

Swami designs were deep, and exhibited fine and intricate detailing, which enabled the specific figures to be easily identifiable. The Hindu tradition of religious art comprises the images of deities, illustrations of characters and episodes from epics like the Ramayana. The stories of the ten avatars of Vishnu are some of the most popular depictions in the silverware from this region.

The most frequent deities represented in Madras silverware are Vishnu, Shiva, Parvati, Brahma and Surya. Also depicted are Angi, Brahma, Durga, Ganesh, Indra, Kali, Kama, Parvati, Shiva, Vishnu, and Yama; most of the gods are riding their vahana, or their associated animal, in these depictions.

P. Orr & Sons of Madras was the most popular silver firm in South India in the 19th century. Its silverware was chosen as a present for the Prince of Wales during his visit to India in 1875-1876, and thanks to the appreciation of this firm by the Prince, P. Orr & Sons were appointed "Jewellers and Silversmiths to His Royal Highness the Prince of Wales", on 22 April 1876.

Madras was the main trading settlement founded by the British in 1644, and for this reason the best silver craftsmen were protected by European firms. By 1880, P. Orr & Sons became very successful and supplied European, Australian and American markets. P. Orr was also responsible for new legislation enacted in 1884, enabling the import of silver to Great Britain under regulations.

The main characteristic of P. Orr silver was the juxtaposition of European shapes with Indian patterns and designs. They often represented gods, 'swamis', or traditional Indian myths and, as a result, P. Orr silverware is also referred to as 'swami' on occasion.

Lot 47 Details

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

Bangalore "Swami Ware" Three Piece Tea Set by Krishniah Chetty    

View Dimensions Madras, located in south eastern India, was one of the most significant cities in India under the British administration. The finest pieces of Madras silver were produced by Indian craftsmen working for European-run firms, unlike the silver produced in other regions of India which was crafted by independent craftsmen. The largest European firm was P. Orr & Sons of Madras; they were responsible for the encouragement of the 'swami' style of decoration. 'Swami'ornamentation depicts Hindu deities and mythological figures, and the style was a huge success in Europe and Great Britain. Despite European market trends, the silversmiths of Madras established a strong indigenous style which concentrated on the traditional illustration of their gods.

Swami designs were deep, and exhibited fine and intricate detailing, which enabled the specific figures to be easily identifiable. The Hindu tradition of religious art comprises the images of deities, illustrations of characters and episodes from epics like the Ramayana. The stories of the ten avatars of Vishnu are some of the most popular depictions in the silverware from this region.

The most frequent deities represented in Madras silverware are Vishnu, Shiva, Parvati, Brahma and Surya. Also depicted are Angi, Brahma, Durga, Ganesh, Indra, Kali, Kama, Parvati, Shiva, Vishnu, and Yama; most of the gods are riding their vahana, or their associated animal, in these depictions.

One of the most prominent of Bangalore's silverware makers is C. Krishna Chetty, a firm that was founded in 1869. Chetty's silverwork was exhibited both in Delhi in 1903 and Lahore in 1909. C. Krishna Chetty became very adept and widely known for their versions of the "Calcutta Bhowanipore" and "Bengal rural" styles. Apart from Barton & Sons, C. Krishna Chetty was the leading maker of silver objects in Bangalore.

Lot 48 Details

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

Madras "Swami Ware" Set Four Small Peppers Pots by P. Orr & Sons    

View Dimensions Madras, located in south eastern India, was one of the most significant cities in India under the British administration. The finest pieces of Madras silver were produced by Indian craftsmen working for European-run firms, unlike the silver produced in other regions of India which was crafted by independent craftsmen. The largest European firm was P. Orr & Sons of Madras; they were responsible for the encouragement of the 'swami' style of decoration. 'Swami'ornamentation depicts Hindu deities and mythological figures, and the style was a huge success in Europe and Great Britain. Despite European market trends, the silversmiths of Madras established a strong indigenous style which concentrated on the traditional illustration of their gods.

Swami designs were deep, and exhibited fine and intricate detailing, which enabled the specific figures to be easily identifiable. The Hindu tradition of religious art comprises the images of deities, illustrations of characters and episodes from epics like the Ramayana. The stories of the ten avatars of Vishnu are some of the most popular depictions in the silverware from this region.

The most frequent deities represented in Madras silverware are Vishnu, Shiva, Parvati, Brahma and Surya. Also depicted are Angi, Brahma, Durga, Ganesh, Indra, Kali, Kama, Parvati, Shiva, Vishnu, and Yama; most of the gods are riding their vahana, or their associated animal, in these depictions.

P. Orr & Sons of Madras was the most popular silver firm in South India in the 19th century. Its silverware was chosen as a present for the Prince of Wales during his visit to India in 1875-1876, and thanks to the appreciation of this firm by the Prince, P. Orr & Sons were appointed "Jewellers and Silversmiths to His Royal Highness the Prince of Wales", on 22 April 1876.

Madras was the main trading settlement founded by the British in 1644, and for this reason the best silver craftsmen were protected by European firms. By 1880, P. Orr & Sons became very successful and supplied European, Australian and American markets. P. Orr was also responsible for new legislation enacted in 1884, enabling the import of silver to Great Britain under regulations.

The main characteristic of P. Orr silver was the juxtaposition of European shapes with Indian patterns and designs. They often represented gods, 'swamis', or traditional Indian myths and, as a result, P. Orr silverware is also referred to as 'swami' on occasion.

Lot 49 Details

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

Madras Three Piece "Swami Ware" Tea Set, Attributed to P.Orr & Sons    

View Dimensions Madras, located in south eastern India, was one of the most significant cities in India under the British administration. The finest pieces of Madras silver were produced by Indian craftsmen working for European-run firms, unlike the silver produced in other regions of India which was crafted by independent craftsmen. The largest European firm was P. Orr & Sons of Madras; they were responsible for the encouragement of the 'swami' style of decoration. 'Swami'ornamentation depicts Hindu deities and mythological figures, and the style was a huge success in Europe and Great Britain. Despite European market trends, the silversmiths of Madras established a strong indigenous style which concentrated on the traditional illustration of their gods.

Swami designs were deep, and exhibited fine and intricate detailing, which enabled the specific figures to be easily identifiable. The Hindu tradition of religious art comprises the images of deities, illustrations of characters and episodes from epics like the Ramayana. The stories of the ten avatars of Vishnu are some of the most popular depictions in the silverware from this region.

The most frequent deities represented in Madras silverware are Vishnu, Shiva, Parvati, Brahma and Surya. Also depicted are Angi, Brahma, Durga, Ganesh, Indra, Kali, Kama, Parvati, Shiva, Vishnu, and Yama; most of the gods are riding their vahana, or their associated animal, in these depictions.

P. Orr & Sons of Madras was the most popular silver firm in South India in the 19th century. Its silverware was chosen as a present for the Prince of Wales during his visit to India in 1875-1876, and thanks to the appreciation of this firm by the Prince, P. Orr & Sons were appointed "Jewellers and Silversmiths to His Royal Highness the Prince of Wales", on 22 April 1876.

Madras was the main trading settlement founded by the British in 1644, and for this reason the best silver craftsmen were protected by European firms. By 1880, P. Orr & Sons became very successful and supplied European, Australian and American markets. P. Orr was also responsible for new legislation enacted in 1884, enabling the import of silver to Great Britain under regulations.

The main characteristic of P. Orr silver was the juxtaposition of European shapes with Indian patterns and designs. They often represented gods, 'swamis', or traditional Indian myths and, as a result, P. Orr silverware is also referred to as 'swami' on occasion.

Lot 30 Details

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

Kashmir Pair Goblets in "Shawl Pattern'    

View Dimensions Kashmir in northern India, located at the feet of the Himalayan mountains, is venerated in its rich canon of literature for both the beauty of its landscape and the joys of its climate. Silverware production in Kashmir was popular, however, cheaper and more easily marketable copper-work was deemed more important by the Srinagar industries. Compared to the rest of Indian regional silverware the commercial accomplishment of Kashmiri silver internationally was second only to that of Cutch silver. A distinctive feature of Kashmiri silverware is that the shape and decoration of each piece is influenced by the surrounding environment of the silversmith.

There are six main designs used to decorate Kashmiri silverware, and all are thought to echo the Persian artistic presence in Kashmir form the 17th century. These are the shawl pattern, the Chinar pattern, the poppy design, the rosette design, the mosaic pattern and the arabesque style. One of the most charming attributes of silverware from Kashmir is that one of these main design forms had to be used exclusively; the artisan often drew upon many design elements to create pieces which incorporate many or all of the above designs.

The shawl pattern, taking inspiration from the prevalent Kashmiri weaving industry, illustrates twiglets of flowers and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern. The Chinar pattern took inspiration from the landscape of the Kashmir Valley and comprises of stylistic illustrations of various sizes of tree leaves often attached to small branches; often the tree's fruits will also be depicted hanging from twigs. Similar to the Chinar pattern, the poppy decoration was stimulated by the abundance of poppy plants in the Kashmir Valley. Perhaps also influence by the Mughal use of poppy motifs in the adornment of many ornaments and palaces, the Kashmir poppy design featured a stylised flower form in various stages of blossoming. The rosette design consists of the leaves and flowers of the coriander plant; the relief design is organized either as an unbroken scrolling branch with small stems diverging off or organised in vertical formations. Both the mosaic pattern and the arabesque design are thought to be inspired by the configurations adorned on the great Mughal houses. The mosaic style bears resemblance to the mosaic panels covering the interior of Mughal palaces; the design features compactly arranged branches with leaves in a scrolling formation. Finally the arabesque style, in which the pattern is usually separated into orderly panels, depicts stylised illustrations of the poppy and coriander plants.

The silver used by Kashmiri silversmiths is of a high grade of purity, between 90- 98%; this makes the silver softer to work with. For this reason intricate aspects of pieces, such as the snake handles often depicting the texture of the skin, are able to be so skilfully produced.

Lot 31 Details

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

Kashmir Four Beakers    

View Dimensions Kashmir in northern India, located at the feet of the Himalayan mountains, is venerated in its rich canon of literature for both the beauty of its landscape and the joys of its climate. Silverware production in Kashmir was popular, however, cheaper and more easily marketable copper-work was deemed more important by the Srinagar industries. Compared to the rest of Indian regional silverware the commercial accomplishment of Kashmiri silver internationally was second only to that of Cutch silver. A distinctive feature of Kashmiri silverware is that the shape and decoration of each piece is influenced by the surrounding environment of the silversmith.

There are six main designs used to decorate Kashmiri silverware, and all are thought to echo the Persian artistic presence in Kashmir form the 17th century. These are the shawl pattern, the Chinar pattern, the poppy design, the rosette design, the mosaic pattern and the arabesque style. One of the most charming attributes of silverware from Kashmir is that one of these main design forms had to be used exclusively; the artisan often drew upon many design elements to create pieces which incorporate many or all of the above designs.

The shawl pattern, taking inspiration from the prevalent Kashmiri weaving industry, illustrates twiglets of flowers and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern. The Chinar pattern took inspiration from the landscape of the Kashmir Valley and comprises of stylistic illustrations of various sizes of tree leaves often attached to small branches; often the tree's fruits will also be depicted hanging from twigs. Similar to the Chinar pattern, the poppy decoration was stimulated by the abundance of poppy plants in the Kashmir Valley. Perhaps also influence by the Mughal use of poppy motifs in the adornment of many ornaments and palaces, the Kashmir poppy design featured a stylised flower form in various stages of blossoming. The rosette design consists of the leaves and flowers of the coriander plant; the relief design is organized either as an unbroken scrolling branch with small stems diverging off or organised in vertical formations. Both the mosaic pattern and the arabesque design are thought to be inspired by the configurations adorned on the great Mughal houses. The mosaic style bears resemblance to the mosaic panels covering the interior of Mughal palaces; the design features compactly arranged branches with leaves in a scrolling formation. Finally the arabesque style, in which the pattern is usually separated into orderly panels, depicts stylised illustrations of the poppy and coriander plants.

The silver used by Kashmiri silversmiths is of a high grade of purity, between 90- 98%; this makes the silver softer to work with. For this reason intricate aspects of pieces, such as the snake handles often depicting the texture of the skin, are able to be so skilfully produced.

Lot 32 Details

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

Kashmir Three Piece Tea Set in Kang Form