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Lot 33 Details
Decorative Arts. 20-29 July 2017
THREE TIER...
1930 Stamped 'L C B Co. Ltd. 925'...
0 x 0 in
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Lot 18 Details
'BAGATELLE'...
France, Designed by René Lalique, 1939...
View Dimensions "Glass is a marvellous material."- René Lalique, 1925 Lalique is a French glassware design house founded by artist, master ceramist and jewellery designer René Lalique. One of the best-known designers of the Art Nouveau period, Lalique's glass designs often included dancing nymphs, fish, dragonflies, and foliage, typical of this period. His unique style played with the contrast between clear and frosted glass, sometimes embellished with a patina, enamel or stained glass. Before he started his own business in 1887, Lalique designed jewellery for prestigious houses such as Cartier and Boucheron. In a time when the emphasis was on the quantity of precious stones in a jewellery piece, Lalique, who was fascinated with the natural world, created nature-inspired pieces depicting animals and the female form. In 1888, he registered his "RL" stamp and engraved the unique pieces created in his workshop with these letters. In the next few years, Lalique had started experimenting with glassware, having already used enamel and glass with gold and precious stones in his jewellery designs. In 1907, Lalique met the famous perfumer François Coty, and created ornate perfume bottles for his early brands such as L'Effleur and Ambre Antique, and developed a technique that allowed mass production of glass bottles. By 1921, Lalique had fully devoted himself to glassmaking, and his efforts took him to Alsace in eastern France, which had a strong and historic glassmaking tradition. Here he established the Verrerie d'Alsace glassworks factory at Wingen-sur-Moder in Alsace. After Lalique's death in 1945, his son Marc took over and the company transitioned from producing its famous Lalique glass to crystal. It was named Cristallerie Lalique in 1962, and is now the world's only Lalique factory.
Lot 20 Details
SILVER TANKARD...
Gujarat, 1918Engraved...
View Dimensions An early twentieth century silver tankard with a leaf-capped scroll handle and a dense foliage pattern across the body. Oomersi Mawji was the son of a cobbler and rose to become court silversmith to the Maharaos of Kutch, and the Maharajas of Baroda, two of the most important royal courts in princely India. The firm of Oomersi Mawji & Sons ceased operations in the 1930s. O.M. silver, as it has come to be known among collectors, has an endearing value as much for its artistry as for the history of Indian craftsmanship associated with its manufacture. Objects manufactured by the workshops of Oomersi Mawji can be seen at the Victoria and Albert Museum in London, the Musee Guimet in Paris and Harvard University's Arthur M. Sackler Museum, and at most major museums all over the world.Artisans in the Bhuj region of Kutch enjoyed patronage from a lineage of rulers, including the Gaekwads and the Maharaos. The Maharao of Kutch, Khengarji III, played a particularly significant role in helping Kutch silversmithsgain international recognition by ensuring that they regularly attended regional and international silver exhibitions to display and popularise their creations.
Lot 44 Details
Equus: Paintings and Sculptures. 4-18 July 2024
Brown Beauty
Acrylic on canvas
66 x 59 in
Lot 45 Details
Ashvin
Acrylic, oil and gold foil on canvas
41.75 x 59.75 in
Lot 16 Details
'JURANÇON...
France, Designed by René Lalique, Circa...
Lot 59 Details
Silver from the Indian Sub-continent 1858-1947. 15 May-1 Jun 2013
Bombay Pair of...
Silverc.1920Height:...
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
Cutch Atomiser
Silverc.1910Height: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.
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