Lot 17 Details

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

Cutch Centrepiece Featuring a Phoenix and Vases    

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 18 Details

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

Cutch Bud Vase with Snake by Oomersi Mawji    

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 19 Details

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

Cutch Oval Tray, Attributed to Oomersi Mawji    

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 20 Details

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

Cutch Flask with Two Nesting Beakers-fitted One Inside the Other    

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 Parasol Handle by Oomersi Mawji    

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 22 Details

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

Cutch Teapot by Oomersi Mawji    

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 Hand-Rinsing Fountain    

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    

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 25 Details

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

Kashmir Box Formed as a Book    

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 Tray in "Coriander" Pattern    

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 Handled Cup    

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 Gilt Surai    

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 Beakers in "Shawl Pattern"    

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 10 Details

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

Cutch Cheroot Case, Attributed to Oomersi Mawji    

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 11 Details

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

Cutch Scorpion Dish by Oomersi Mawji    

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 12 Details

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

Cutch Pair Boar Menu Holders by Oomersi Mawji    

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 13 Details

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

Cutch Salver by Oomersi Mawji    

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 14 Details

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

Cutch Tray    

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 Photograph Frame    

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 16 Details

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

Cutch Cylindrical Box by Oomersi Mawji    

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."