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.

Lot 17 Details

Decorative Arts. 20-29 July 2017

'ANNECY' CRYSTAL ...

France, Designed by René Lalique, 1935...

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 12 Details

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

Durga on a Lion

Wood
20th Century

Tamil...

View Dimensions Goddess Durga is one of the most popular and powerful manifestations of Parvati, the consort of Lord Shiva. It is said that at one time the 'asuras' or demons were wreaking havoc and misery in the celestial world of the Gods. One of them, Mahishasura, was extremely powerful and could change his form at will, thus escaping the Gods. He had received a boon that no man or mortal could kill him. The Gods therefore performed a religious ritual and created Goddess Durga, a extremely powerful goddess of paramount beauty with ten arms, who's 'vahana' or vehicle is a lion. Each one of the Gods and Goddesses gave her one of their choicest weapons to destroy Mahishasura.

Goddess Durga chased Mahishasura over the three worlds, which shook in a terrible fight that ensued over days. To escape notice, the 'asura' finally assumed the form of a buffalo. However, Durga immediately saw through this disguise and killed the buffalo with the 'trishula' or trident given to her by Shiva, thus killing Mahisasura. Durga is therefore also called 'Mahisasuramardini'.

This exquisite woodcarving portrays goddess Durga seated on the back of a lion with a trident in her raised hand. Durga is crowned and bejeweled. She looks all-powerful, and the lion looks menacing with large bulbous eyes, a thick mane and a powerful muscular body. This carving is vibrant and full of life. Multi-armed Goddess Durga seems to be poised to attack Mahishasura. This is quite a rare subject on wood and has been very well executed by a master artisan.

Lot 13 Details

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

Krishna with his ...

Wood
20th Century

Tamil...

View Dimensions This exquisitely carved wooden fragment originates from Tamil Nadu and depicts Krishna with his consorts. Here, he is seen bare-bodied with an ample belly, bejeweled and seated majestically on the coils of the multi-hooded serpent Sesha. The hood of the serpent above his head offers protection. He is flanked by his consorts Satyabhama and Rukmini, to his left and right respectively.

He holds a ball of butter in his right hand and the tasseled end of his angavastra in his left hand. His body is adorned with large necklaces, long earrings, wristbands and anklets. His face bears a radiant smile.

Both Satyabhama and Rukmini are standing on pedestals. They are clad in saris and blouses. The folds of the saris flow down beautifully. Both are shown with eager faces. Rukmini, who is to the right of Krishna, bears a bird on her hand.

Lot 15 Details

Equus: Paintings and Sculptures. 4-18 July 2024

Ompal Sansanwal

Untitled

Acrylic and pen and ink on canvas

10 x 14 in

Lot 55 Details

Equus: Paintings and Sculptures. 4-18 July 2024

Meena Sansanwal

Untitled

Acrylic on papier-mâché

View Dimensions 24 x 18 in (61 x 45.7 cm) (each)

Lot 6 Details

Decorative Arts. 20-29 July 2017

SILVER AND GLASS ...

Hong Kong, Circa 1930s
Signed 'Sammy ...

0 x 0 in