Lot 38 Details

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

Karachi Tea Set...

Silver
c.1910

Width: 24...

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 25 Details

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

Kashmir Box...

Silver
c.1900

Length:...

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 29 Details

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

Kashmir Pair...

Silver
c.1890

Height: 9...

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...

Silver
c.1890

Height:...

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 26 Details

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

Kashmir Circular ...

Silver
c.1890

Diameter:...

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 28 Details

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

Kashmir Parcel...

Silver
c.1870

Height: 23...

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

Silver
c.1910

Height:...

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 33 Details

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

Kashmir Three...

Silver
c.1890

Width: 27...

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.