Lot 54 Details

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

Madras Punkha Handle with Ganesh    

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 55 Details

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

Madras Pair "Swami Ware" Salt Cellars 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 56 Details

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

Calcutta Large Three Piece Tea Set by Grish Chunder Dutt    

View Dimensions Calcutta was the capital of the province of Bengal, and was for a long period the capital of British India. However, the tradition of silversmithing existed in Bengal much before its European settlement. The "Calcutta style" of design was thought to have been fashioned in response to the desire for a 'local style'. The style was first displayed at the 1883 Calcutta International Exhibition.

Within the Calcutta style there are two main decorative forms; first scenes of local religious traditions, and second scenes of rural village life, which often depict activities such as ploughing and feature working animals such as the ox.

The quality of silver used to produce Calcutta silverware is particularly high; from 1900, artisans in Bengal were able to acquire sterling standard sheet silver which was imported from England, which is likely to have been of a higher purity than the locally produced metals.

One of the largest silverware manufacturers in the Bhowanipore suburb of Calcutta was the firm, Grish Chunder Dutt & Sons. The company was considered one of the most prolific in its field during the 19th and first part of the 20th centuries. A particular design style used by Grish Chunder Dutt & Sons were rural scenes depicting Bengal village life.

Lot 57 Details

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

Calcutta Fruit Bowl with Village Scenes by Grish Chunder Dutt    

View Dimensions Calcutta was the capital of the province of Bengal, and was for a long period the capital of British India. However, the tradition of silversmithing existed in Bengal much before its European settlement. The "Calcutta style" of design was thought to have been fashioned in response to the desire for a 'local style'. The style was first displayed at the 1883 Calcutta International Exhibition.

Within the Calcutta style there are two main decorative forms; first scenes of local religious traditions, and second scenes of rural village life, which often depict activities such as ploughing and feature working animals such as the ox.

The quality of silver used to produce Calcutta silverware is particularly high; from 1900, artisans in Bengal were able to acquire sterling standard sheet silver which was imported from England, which is likely to have been of a higher purity than the locally produced metals.

One of the largest silverware manufacturers in the Bhowanipore suburb of Calcutta was the firm, Grish Chunder Dutt & Sons. The company was considered one of the most prolific in its field during the 19th and first part of the 20th centuries. A particular design style used by Grish Chunder Dutt & Sons were rural scenes depicting Bengal village life.

Lot 58 Details

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

Bombay Rosewater Sprinkler in the Form of a Lion    

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 59 Details

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

Bombay Pair of Bird Vases    

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 60 Details

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

Bombay "Swami Box"    

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

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Vishnu with Anantha    

View Dimensions Vishnu is seen in an unusual form here, with Anantha, his five-headed serpent forming a canopy above his head.

Four-armed Vishnu is portrayed holding his attributes the 'shankha' and 'chakra' in his upper left and right hands respectively. The attributes rest above the index and middle fingers. Vishnu's lower right hand is in the 'abhaya mudra' and his lower left palm rests on the seat. His left foot is raised on the seat, close to his body, and the right foot is pendant. Vishnu's body is erect. The arms and the lower limbs are rounded. The face of the deity is serene, in keeping with his role of protector.

While his upper body is bare and bejeweled, his lower vestment, which is of a thin fabric, is wonderfully draped around his legs, falling in fine folds, reaching a little above his ankles. This vestment is held around his waist by a narrow, ornate belt. The face and figure of this lovely Pallava sculpture is further highlighted by the beautiful, elongated crown on the head and the five heads of Anantha or Sheshanaga, protecting the deity. A single large studded necklace adorns his neck. Typical Pallava styled ear-rings reach down on to his shoulders, and his amulets and bracelets are also typical of the school.

Anantha or Sesha is a creature of great significance in Vaishnava worship. According to the Bhagvat Purana he is an avatar of Narayana. One of his incarnations, Patanjali, compiled the yoga sutras. Anantha often accompanied his master during his incarnations. When Vishnu took birth as Rama Anantha was born as Laxmana. When he took the incarnation of Krishna, Anantha took the avatar of Balarama. Thus the significance of Anantha is beyond words.

The stone used to make this sculpture is beige granite, a colour seen in certain Pallava pockets. One unusual feature of this sculpture is the condition and clarity of the piece. Usually pieces of this period tend to be highly weathered with hardly any features visible. In this case that is not so. This piece not only has good clarity, but also a lovely texture. It is most likely to have originated from the Tiruchirapalli area. It can be seen that this sculpture is in high relief, which adds to its grace.

Lot 2 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Seated Ganesha    

View Dimensions This granite sculpture of Ganesha is a very unusual piece. Vinayaka is shown seated with a prabha behind him. Although it is a four-armed traditional form of the deity, there are certain outstanding features. Ganesha's eyes are protruding, which gives the deity a powerful look. The shoulders are broad and well rounded. His ears are small, yet prominent. The head is broad and so is his trunk. His vahana, the rat, can faintly be seen beneath his right foot.

He is shown holding his attributes in his upper two hands, a ball of sweets is in his lower left hand, and his broken tusk in his lower right hand. His crown is small in size and a part of his forehead bulges out of the crown. The Yajnopavita or caste thread is very prominent and runs from the left shoulder to the right waist, almost seeming like a belt. A band is also seen above his rotund belly. Other ornamentation is minimal. The sculpture originates from Andhra Pradesh and is an unusual specimen due to its age, stylization and region of origin.

$12,500
Rs 6,50,000

Lot 3 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Seated Devi    

View Dimensions One of the Saptamatrikas (seven holy mothers) is seen here seated in royal ease. She is holding a 'khadaga' or large knife in her lower right hand, which rests on her raised right knee, and a shallow cup in her lower left hand, which rests on her thigh. In her upper hands she would have held the 'vajra' and 'shakti'.

The Devi has a well modeled body, broad at the shoulders and narrow at the waist. She has a rounded face with perfectly shaped lips and nose. Her limbs are long, well rounded and shapely. Her upper body is bare, while her lower vestment is beautifully draped around her legs in fine folds. Part of the large halo that surrounded her head is also visible. The Devi is crowned, and wears large earrings, armbands and wristbands. Her necklace is thick, multi-layered and prominent. Her hair is seen spread out behind her head like the flames of a fire. There is a strong determination in her appearance as she sits straight-backed on a pedestal.

The subject can be identified by the presence of a small elephant at the lower left, denoting that she is Indrani, the female aspect of Indra. This is a very rare and unusual piece in many respects. The manner in which a thick drape spreads over the shoulders is unusual. Also noteworthy is the design of the bracelets and the flaming hair. These features coupled with the blackish colour of the stone indicate that the piece is a rare creation that originates from Andhra Pradesh.

$12,500
Rs 6,50,000

Lot 4 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Jina Parsvanatha    

View Dimensions Parsavanatha is the twenty-third Jaina Tirthankara, born in Varanasi. Tirthankaras are spiritual conquerors; they were guides or ford-makers. This sculpture is a powerful example, depicting Parsavanatha standing in the Kayotasarga posture. He is bereft of clothes, and stands on the coiled tail of the serpent. His dark-hued body along with the sinuous multi-hooded serpent, his symbol offering protection over his head, gives this sculpture a strong aura. The body of the serpent is coiled and can be partially seen behind that of the Jina.

This sculpture has a very masculine, well-modeled and strong body. The shoulders are broad, the chest is thrust out and the waist is slim. His long arms hang by the sides of his powerful body. His face is rounded and serene, and his lips are curved in a faint smile denoting inner peace.

Most Jain and Buddhist sculptures of this early period are usually in very poor condition with the facial expressions tending to get completely worn off over time. This sculpture not only has the face and features intact, but is also a radiant and typical example. The whole composition has a very serene and peaceful aura.

Lot 5 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Vishnu    

View Dimensions The word Pala means protector in Sanskrit. Under the rule of the Pala kings significant developments took place in the field of arts in the states of Bihar and Bengal.

This standing Pala sculpture of Vishnu depicts him in a four-handed form. He is shown as the cosmic monarch. His upper left hand holds the discus as his upper right hand bears the mace. His lower left hand would have held the conch. His lower right hand bears a lovely lotus flower. He stands on a double lotus pedestal. He is flanked on his left by Saraswati and on his right by Laxmi. Saraswati holds her musical instrument, the veena while Laxmi holds a flywhisk. His facial features are clear and his posture emits confidence. Above Vishnu on either side, two apsaras can be seen. Two attendants and floral motifs occupy the lower part of the sculpture. Vishnu's fingers are delicately executed and the face exhibits a radiant smile. His emblem the Srivatsa is prominently placed on his chest.

The work is a typical example of the school. In the centuries after, the school had a significant impact on the arts of Nepal, Tibet and Southeast Asia.

Lot 6 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Lion    

View Dimensions Representations of lions have been seen for centuries in the Central Indian region. Apart from Kushan lions, which were stylistically very different, portrayals such as this one began from the 7th century onwards. Such earlier ones had certain traits and features that set them apart. All of them would have once formed part of old architecture, and would have mostly been placed as a pair to give the feeling of guardian beasts.

Most such sculptures tend to be either just heads or the upper torso, if not full figures in a highly mutilated form. It is rare to find a large complete sculpture in such a good condition with such an imposing form.

The beast is seen standing at attention on its hind legs. The tail is long and thrown up in a curl. The face is expressive with the mouth wide open in a realistic manner. The upper torso is majestic in appearance, and the paws are carved in a very realistic manner with great detailing. The motifs seen on the body are typical of the period. The entire look imparted is that of a very powerful ferocious creature.

Lionel figures of this scale, completeness, condition and quality are very rare to come by. They would have once occupied a prominent spot in ancient architecture in Central India.

$5,769
Rs 3,00,000

Lot 7 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Female Torso    

View Dimensions The powerful Chola Dynasty ruled Tamil Nadu from the 10th to the 13th century A.D. The Empire was magnificent and spread from the islands of the Maldives up to the banks of the Godavari in Andhra Pradesh. Apart from being great conquerors, the Chola kings were also dedicated patrons of the arts and had outstanding aesthetic sensibilities. Under their rule, some of the most exceptional sculptures in metal and stone were created. Raja Raja Chola and his son Rajendra Chola also built spectacular temples. The proportion, posture, expression and rhythm of sculptures of this period still stand unrivalled. Today collectors the world over realize the rarity of sculptures of this period, and are always looking to acquire the few available, surviving examples which are reminiscent of this great ancient civilization.

This beautiful lady's torso is a fine example of the skilled craftsmanship that prevailed in the Chola kingdom. The figure is four handed and stands in the samabhanga posture. In this pose, both legs are held straight. The fact that the sculpture has stood witness to several centuries is visible in the condition of the attributes; the head and hands are also lost. However, the beauty that remains is beyond compare. The manner in which the body shape is contoured is spectacular. A large choker necklace decorates the neck. The breasts are small and firm and the waist is slim. The hips are shown full and rounded. A yajnopavita or sacred thread flows down artistically over the body. The waist ornament has great detailing and the lower garment is a thin fabric that clings to the body, taking the shape of the knee, with its creases flowing out symmetrically. The anklets and toe rings are also carved in great detail. One cannot fail to imagine what kind of a beauty this figure would have been in full.

The finest of torsos like this one have long excited the sensibilities of passionate collectors with great taste. The full three-dimensional body and fine detailing point out that this piece must have been the work of one of the master carvers of the Chola regime. Going by South Indian iconography, after studying the posture and hands we can conclude that the subject would most likely have been Durga, one of the most important Devis or goddesses in Hindu mythology.

Lot 8 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

Ganesha    

View Dimensions Ganesha, known as the remover of all obstacles, is seen here seated in his usual four-handed form. He is the son of Shiva and Parvati, and perhaps the most widely worshipped of all Hindu Gods.

In this buff-sandstone sculpture, he holds his attributes in his upper hands. The upper right hand holds an axe, and the upper left hand holds a lotus bud. His lower left hand holds scriptures, denoting his wisdom. It is said that he had assisted the great sage Vyasa in writing the Mahabharata. His lower right arm rests on his knee and holds a bowl of his favorite sweets, the 'modak'. The long trunk of this food loving deity extends to the bowl to fetch a morsel of the sweet. Several necklaces adorn his neck, and large anklets decorate his feet. A large crown rests on his head.

The sculpture is large and complete. The fact that the attributes are intact and the beige colour add to the visual impact of this sculpture.

Lot 9 Details

Select Indian Antiquities & Collectibles. 18 Apr-1 May 2013

An Elephant    

View Dimensions This dignified looking sculpture of an elephant bears intricate carvings on its back, sides and head. Decorative rings are also seen around its legs. The beast stands on its own base of stone, with its trunk falling straight towards the base and then curling inward. Attentive looking ears, well defined eyes, and the posture indicating motion accentuate the beauty of this sculpture.

In Indian mythology as well as history this peaceful animal has enjoyed pride of place. The elephant or 'gaja' has been tamed and used as a mode of transportation since ancient times, as well as for other peaceful and martial purposes. Gods, kings and people of status have all appropriated elephants as their vehicles, as they are symbolic of auspiciousness, abundance, strength, wisdom and royalty among other positive attributes. According to Hindu legend, Airavata was the first elephant, a pure white animal with four tusks and seven trunks who served as the 'vahana' or vehicle of the God of War and Thunderstorms, Indra. In ancient sculpture, one frequently sees rows of elephants placed in various parts of external architecture.

Lot 50 Details

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

Madras Parcel Gilt Gopuram with Statue of a God Inside    

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 51 Details

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

Trichinopoly Garuda Dagger and Sheath    

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 52 Details

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

Madras Cylindrical Cigar Box in the Aesthetic Style 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 53 Details

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

Madras Large Two-Handled Vase    

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.