Lot 17 Details

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

Cutch...

Silver
c.1890

Height:...

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

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

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

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

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

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

Lot 47 Details

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

Bangalore "Swami ...

Silver
c.1900

Width: 20...

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 60 Details

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

Bombay "Swami Box"

Silver

Height: 4.5 cm...

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 57 Details

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

Calcutta Fruit...

Silver
c.1900

Diameter at ...

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 56 Details

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

Calcutta Large...

Silver
c.1900

Width: 30...

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 7 Details

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

Cutch Large Goblet

Silver
c.1890

Height: 24...

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

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

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

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

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

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

Lot 15 Details

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

Cutch Large...

Wood and silver
c.1900
...

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

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

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

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

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

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

Lot 6 Details

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

Cutch Pierced...

Silver
c.1880

Lenght:...

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.

Among the most well-regarded colonial silversmiths were a small number of successful Indian designers and firms. Some of the most sought after and expensive Indian silver today are those pieces stamped "O.M." - the maker's mark of Oomersi Mawji of Bhuj, a town in the Cutch region of Gujarat, perhaps the greatest Indian silversmith of the nineteenth and twentieth centuries. Mawji founded Oomersi Mawji & Co. in 1860, and although the firm ceased operation in the 1930s, it, produced many stunning pieces, a number of which are now displayed in many of the most important museums and in important private collections around the world, and remains one of India's most celebrated silversmiths.

"During his lifetime -- from his humble beginnings as a member of the cobbler's caste in Bhuj, in the region of Kutch in Gujarat -- Oomersi Mawji became the most celebrated Indian silversmith during the Raj period, with a large international clientele. He participated in major international exhibitions and became the court silversmith to the Maharaja of Cutch. Today, scholars laud him as perhaps the greatest silversmith of the Nineteenth century."