Lot 20 Details

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

Cutch Flask with ...

Silver
c.1890

Height: 17...

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 21 Details

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

Cutch Parrot...

Silver
c.1880

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.

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."

Lot 23 Details

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

Cutch...

Silver
c.1910

Height: 63...

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 40 Details

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

Lucknow Pierced...

Silver
c.1890

Diameter at ...

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...

Silver
c.1890

Width: 24...

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 53 Details

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

Madras Large...

Silver
c.1890

Diameter at ...

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 5 Details

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

Cutch Teapot

Silver
c.1890

Width: 22...

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 24 Details

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

Cutch Vanity Box

Silver
c.1890

Height:14...

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.