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.

Lot 27 Details

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

Kashmir Two...

Silver
c.1890

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 34 Details

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

Kashmir Parcel...

Silver
c.1900

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 41 Details

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

Lucknow Pierced...

Silver
c.1890

Diameter:...

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 42 Details

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

Lucknow Goblet...

Silver
c.1870

Height:...

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 54 Details

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

Madras Punkha...

Silver
c.1880

Height: 17...

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 49 Details

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

Madras Three...

Width: 20.3 cm (Teapot)
Total...

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.

P. Orr & Sons of Madras was the most popular silver firm in South India in the 19th century. Its silverware was chosen as a present for the Prince of Wales during his visit to India in 1875-1876, and thanks to the appreciation of this firm by the Prince, P. Orr & Sons were appointed "Jewellers and Silversmiths to His Royal Highness the Prince of Wales", on 22 April 1876.

Madras was the main trading settlement founded by the British in 1644, and for this reason the best silver craftsmen were protected by European firms. By 1880, P. Orr & Sons became very successful and supplied European, Australian and American markets. P. Orr was also responsible for new legislation enacted in 1884, enabling the import of silver to Great Britain under regulations.

The main characteristic of P. Orr silver was the juxtaposition of European shapes with Indian patterns and designs. They often represented gods, 'swamis', or traditional Indian myths and, as a result, P. Orr silverware is also referred to as 'swami' on occasion.

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.