{"title":"Indian Silver","description":"","products":[{"product_id":"antique-indian-colonial-silver-horn-yak-tail-fly-whisk-chowry-monson-armorial-india-1728-1800","title":"Antique Indian Colonial Silver, Horn \u0026 Yak Tail Fly Whisk, India – 1728-1800","description":"\u003cp\u003eAn unusual antique Indian colonial silver antelope horn and yak tail hair fly whisk\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e(chowry)\u003c\/em\u003e, finely engraved with a decorative border and the armorial crest of the distinguished Monson (pronounced Munson) family of Burton, Lincolnshire and bearing their motto, ’ Prest Pour Mon Pais’, which translates as ‘ready for my country’. The armorial features a baronial crown which dates the whisk to after 1728, the year in which George I created the peerage.\u003c\/p\u003e\n\u003cp\u003eAccording to the description of a 19th century Indian fly whisk within the collection of London's V \u0026amp; A Museum, fly whisks with \"..... a plume of yak tail hair in an elaborate holder - are the most frequently used and depicted emblems of royalty. Chauri are swayed on either side of the ruler by dedicated officials called chamardar. Chauri derives from the Sanskrit word chamara, meaning fly-whisk, which is extremely close to the word for 'yak'.\"\u003c\/p\u003e\n\u003cp\u003eThe horn is believed to have come from a large male Chinkara or Indian gazelle (Gazella bennettii) which is native to India, Pakistan and Iran. The ringed horns of the male, normally 15 to 25 rings, appear almost straight when seen from the front but in profile take a lightly ‘S’ shaped curve.\u003c\/p\u003e\n\u003cp\u003eThe whisk’s silver mount is unmarked but the high quality of engraving on the armorial suggests it was made by a colonial silversmith working in one of the principal colonial silver manufacturing centres, Madras and Calcutta at this time, most likely Madras, where William, George and William John Monson are all known to have resided – although it is not known which of the three purchased the whisk.\u003c\/p\u003e\n\u003cp\u003eThe Monson family’s association with India spanned the period from 1725 until 1800 and the fly whisk (\u003cem\u003echowry\u003c\/em\u003e) would have been purchased in India after 1728 as a necessary deterrent to the unwelcome attention of flies, particularly during the intense summertime heat.\u003c\/p\u003e\n\u003cp\u003eWilliam Monson was the first member of the family to travel to India. He went in 1725 with £1,000 initial capital from his father which he transported as silver bullion, converting it into pagodas (the South Indian currency) upon arrival. William Monson worked for the East India Company at Fort St George, Madras and served as Sheriff of Madraspatnam (Madras) in the year 1734. As was common practice at this time, he was also trading on his own account, assisted by his brother in London, whilst working for the East India Company in Madras. After several hiccups he started to make some money but lost most of it after the Battle of Madras when the French occupied Madras and confiscated several private warehouses, including Monson’s, following the defeat of the British garrison. William left India and returned home to England in 1747, leaving behind four horses, (which would have been extremely expensive and probably imported from Persia), and his two faithful servants who had been with him for the twenty-two years since his arrival in India.\u003c\/p\u003e\n\u003cp\u003eWilliam’s nephew, Sir John Monson, 1st Baron Monson of Burton, was created a peer of the realm by George I in 1728. He was a Privy Councillor and was appointed the first Commissioner of Trade and Plantations in 1737, what would now be termed, President of the Board of Trade.\u003c\/p\u003e\n\u003cp\u003eIn 1758, Major George Monson (1730-1776), his youngest son, who was also the grandson of the Earl of Rockingham, sailed to India with the Draper’s Regiment. The previous year, George had married a widow four years older than himself, Lady Anne Hope-Vere, the daughter of the Earl of Darlington and a great grand-daughter of King Charles II. George Monson and his wife both hailed from aristocratic and very well connected families and George held a position at Court as Groom of the Bedchamber of George, Prince of Wales, keeping this position after the Prince succeeded to the throne and became King George III. George Monson was elected a Member of Parliament for Lincoln in 1754. Re-elected in 1761, he retained his seat until 1768.\u003c\/p\u003e\n\u003cp\u003eWhen he arrived in India, George travelled to Bombay and Madras before distinguishing himself during the siege of Pondicherry in 1760, after which he was promoted to lieutenant colonel. He had been seriously wounded but recovered and in 1761 was given command of the 96th foot, distinguishing himself during action in the capture of Manila in 1762 after which he was promoted again; attaining the rank of brigadier-general in 1763. After the Peace of Paris he returned to England and in 1769 he became a full colonel and aide-de-camp to King George III, who is reported to have said about him that ‘though not a strong man he had excellent brains’!\u003c\/p\u003e\n\u003cp\u003eAppointed to the Supreme Council of Bengal in the Regulating Act of 1773, Monson returned to Calcutta again in 1774 with his wife, Lady Anne. George and Anne became active and prominent figures in Calcutta society. A contemporary diarist, Macrabie, described Anne as ‘a very superior whist-player’ but she was already very well known to those in the botanical and scientific community as an exceptional botanist, plant and insect collector.\u003c\/p\u003e\n\u003cp\u003eGeorge is best remembered for his staunch, almost immediate opposition to the policies of the Governor General, Warren Hastings and to the Judges of the Supreme Court, particularly in the affair of the Maharaja of Nandakumar (Nuncomar) in which he was particularly active. He was made Colonel of the 50th foot on 1st Sept. 1775. Since his return to Calcutta, George had been plagued by illness and following the death of his wife Anne, in February 1776, he resigned from the Supreme Council intending to return to England but died shortly afterwards in Calcutta in September 1776. Before the news of his death reached England, George had been promoted further, this time to the rank of Lieutenant-General.\u003c\/p\u003e\n\u003cp\u003eAnne’s contemporary, J E Smith, claimed that it was Lady Anne who had assisted James Lee in translating Linnaeus’s Philosophia Botanica, the first work to explain the Linnaean classification to English readers. Lee published the book under his own name in 1760, acknowledging Lady Anne anonymously in the preface. A few years later, Anne was introduced to the Danish entomologist, Johan Christian Fabricius, one of Linnaeus’s pupils. Anne was also mentioned by James Lee in his letters to Linnaeus.\u003c\/p\u003e\n\u003cp\u003eIn 1774, on her voyage out to Calcutta, Lady Anne had visited the Cape of Good Hope where she met Carl Peter Thurnberg, a pupil of Linnaeus and a seasoned collector of South African plants. She accompanied Thurnberg on several plant hunting expeditions around Cape Town, presenting him with a ring in remembrance of her visit. One of the South African plants collected by Lady Anne was a flowering shrub, later named ‘Monsonia’ in her honour by Carl Linnaeus. It is said that Anne and Linnaeus never met but were great correspondents. Specimens of Monsonia were sent to Kew Gardens in 1774.\u003c\/p\u003e\n\u003cp\u003eMajor Hon. William Monson (1760-1807), was the third member of the family to go to India. He was the son of the 2nd Baron Monson of Burton and George Monson’s nephew. He also had a distinguished service career in the Indian army, becoming a major of the 52nd foot in 1795 and lieutenant-colonel of the 76th Foot in 1798. His son, William John Monson, was born in Madras in 1796 whilst his father was stationed there. The family returned to England around 1800 and the Hon. William became the Member of Parliament for Lincoln until his death in 1807. As far as we have been able to ascertain, 1800 was the date at which the Monson family’s involvement with India ended.\u003c\/p\u003e\n\u003cp\u003eWhen the childless Frederick, 5th Baron Monson of Burton, died in 1841, William John Monson, Frederick’s second cousin, succeeded to the title and inherited the estates of Gatton and Burton, becoming 6th Baron Monson of Burton. William was already married to Eliza Larken, whose father had served in India at a similar time to his own, whilst working as a tea trader with the East India Company.\u003c\/p\u003e\n\u003cp\u003eThe Monson family continued to prosper as an important Lincolnshire family and continue to be very active in politics and diplomacy up to the present day. The 7th Baron, a notable Liberal politician, was created Viscount Oxenbridge in 1886. His brother, Sir Edmund Monson, had a glittering diplomatic career in South America and Europe, serving as British Ambassador to Austria from 1893 to 1896 and France from 1896 to 1904. In gratitude for his service, he was created a Baronet in his own right in 1905. The present incumbent, Nicholas, the 12th Baron Monson, is campaigning for female equality in the inheritance of hereditary peerages.\u003c\/p\u003e\n\u003cp\u003eAn Indian silver mounted horn and horsehair fly whisk is within the collection of the Islamic Arts Museum in Kuala Lumpur.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cstrong\u003e:\u003c\/strong\u003e\u003c\/em\u003e     UK Art Market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSize:\u003c\/em\u003e\u003c\/strong\u003e                     Length of Handle: 72 cms\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eReferences:\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eCollection of the Islamic Arts Museum, Kuala Lumpur\u003c\/p\u003e\n\u003cp\u003eThe Monson family papers, Lincolnshire Archives, Lincoln\u003c\/p\u003e\n\u003cp\u003eSoren Mentz, The English Gentleman Merchant at Work: Madras and the City of London 1660 – 1740, Museum Tusculanum Press, Copenhagen 2003\u003c\/p\u003e\n\u003cp\u003eArthur Collins, Volume 5, The Peerage of England, 3rd Edition, London 1795\u003c\/p\u003e\n\u003cp\u003eHenry Davidson Love, Vestiges of Old Madras, Mittal Publications, Delhi 1988\u003c\/p\u003e\n\u003cp\u003eV \u0026amp; A Museum, London, Museum Number 2491 (IS)\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34786649571478,"sku":"JC-COLO-06791","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Colonial-Silver-Horn-And-Yak-Tail-Fly-Whisk-Chowry-Monson-Armorial-India-1728-1800.jpg?v=1592522454"},{"product_id":"antique-indian-silver-parcel-gilt-gold-tea-kettle-india-early-18th-century","title":"Antique Indian Silver, Parcel-gilt \u0026 Gold Tea Kettle, India – Early 18th Century","description":"\u003cp\u003eThis extremely rare Indian silver kettle bears an inscription for 1736 but could actually have been made some years prior to this date as it was common practice at that time to give existing items of silver from the household collection as gifts, rather than having a new item specially commissioned for the occasion.\u003c\/p\u003e\n\u003cp\u003eThe Indian Colonial Silver period (silver made in India by silversmiths of European descent), can be traced back to circa 1790 and the kettle pre-dates this by, at least, fifty years.  Doubtless, there were a few European silversmiths working in India before 1790 but they did not mark the silver and are not recorded. However, the design and workmanship of this kettle suggest that it was made in India, by an Indian silversmith, for a European customer.\u003c\/p\u003e\n\u003cp\u003eThe kettle is of rounded shape with a deep protruding band stepping out from the central part of the body and increasing the width of the kettle at its mid-section. The band is edged with beading to top and bottom and shows traces of gilding. It is multi-sided or faceted which contrasts with the curved surfaces above and below. The faceted sides are chased to top and bottom with an architectural arch terminating in a stylised lotus motif. An arch shaped swing handle, bound with wicker, is attached to the body.\u003c\/p\u003e\n\u003cp\u003eThe domed lid has rope and bead borders and an applied gold band extends outwards from the base of the architectural style cupola which is surmounted by a lotus bud knob. The curved spout is of European form with a pronounced scrolling double acanthus leaf to the lower section near the junction where the spout meets the body of the vessel.  The acanthus leaf was a favourite decorative ornament of Mughal art and a bas relief representation is often found at the point at which a handle or spout meets the vessel, as in this case. A plain, push-on cover for the spout end is linked by a silver chain to the finial on the kettle lid.\u003c\/p\u003e\n\u003cp\u003eThe lid design is similar to the cupolas of Lucknow’s Bara, (Asafi Imambara). There is a silver gilt and enamelled tray cover in the National Trust Collection, dating to the late 18\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003ecentury, which demonstrates the same architectural style and was made in Lucknow.  It is most likely this kettle was also made there.\u003c\/p\u003e\n\u003cp\u003eThe kettle is a fusion of Indian and European elements. It was made in India for the European market, most likely for a British, Dutch or French customer.  The kettle bears a date of 1736, but could have been made several years earlier.  An inscription, pricked to the underside of the base, reads; ‘N’, ‘S * B’, ‘1736’, probably signifying it was given as a wedding gift.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eProvenance:\u003c\/em\u003e\u003c\/strong\u003e        UK Private Collection\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSize:\u003c\/em\u003e\u003c\/strong\u003e                        Height 20 cms, width 22 cms (max)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWeight:\u003c\/em\u003e\u003c\/strong\u003e                  1131 grammes\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMarkel, Stephen, Luxury Arts of Lucknow, Arts of Asia, 23 ii (1993) pp 108-120\u003c\/p\u003e\n\u003cp\u003eNational Trust Collection, inventory number 1180715.15, Powis Castle, Powys\u003c\/p\u003e\n\u003cp\u003eExhibition – The Indian Heritage – Court Life and Arts under the Mughal Rule, Victoria and Albert Museum, London 1982\u003c\/p\u003e\n\u003cp\u003eThe Asafi Imambara complex, Lucknow\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34786718908566,"sku":"JC-TEA-06792","price":5750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Parcel-Gilt-Gold-Tea-Kettle-India-Early-18th-Century.jpg?v=1592527662"},{"product_id":"antique-indian-colonial-silver-goblet-india-1879","title":"Antique Indian Colonial Silver Goblet, India – 1879","description":"\u003cp\u003eAn Indian silver presentation goblet decorated with bands of fine geometric and floral ornamentation. The underside of the drinking bowl with deeply gadrooned petals, chased with acanthus leaves to the surface. The bowl arises from an ornamental shaped and pendant skirt, possibly a stylised depiction of a lotus, supported by a knopped stem and circular domed foot.\u003c\/p\u003e\n\u003cp\u003eAn inscription on the front of the cup reads:\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003e“CHALLENGE FOURS\u003cbr\u003eWON BY – POONA CREW\u003cbr\u003e1ST SEPT. 1879\u003cbr\u003eI – F. G. Selby            2 – H. Maclaine\u003cbr\u003e3 – S. W. Tyndall       T.A. Lemesurier (stk)\u003cbr\u003eRG Oxenham (cox)”\u003c\/p\u003e\n\u003cp\u003eThis trophy was presented to the Poona crew after achieving first place  in a rowing competition. These lightweight boats had four rowers, hence the term ‘challenge four’, with a steersman or coxswain sitting at the back.\u003c\/p\u003e\n\u003cp\u003eIn this team, the coxswain was Robert George Oxenham, the principal of Deccan College. To make a good coxswain, he would probably have been a light man of small stature. Oxenham was closely involved with the rowing club and presented cups himself in the years following.\u003c\/p\u003e\n\u003cp\u003eThe Poona Boat Club practiced on the Mula-Mutha River and the club is still open today. Amongst the club’s most notable fans was Prince Arthur, the Duke of Connaught, who commanded the Bombay army from 1886 – 1890. The club was later re-named after him.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eWeight 336 grams,  Diameter 10 cms\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eItem: #308\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34787259515030,"sku":"JC-SILV-06793","price":1600.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Colonial-Silver-Goblet-India-1879.jpg?v=1592529286"},{"product_id":"antique-indian-silver-water-flasks-surahi-underplates-a-pair-ganga-jamuna-kashmir-circa-1860","title":"Antique Indian Silver Water Flasks (surahi) \u0026 Underplates, A Pair – C. 1860","description":"\u003cp style=\"text-align: justify;\"\u003eA pair of silver Surahi chased in Kashmiri shawl pattern with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGanga-Jamuna\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esilver gilt work.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eAn identical pair of Indian silver surahi, (water flasks)  with matching underplates and lids attached to the bodies by chains. The surahi have been ornamented with chased motifs in the Kashmiri shawl pattern, arabesques and paisley motifs.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eKashmiri silversmiths developed their own distinctive and recognizable style of silver ornamentation where the entire body is covered with intricately chased patterns.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eSurahi or water bottles made in Kashmir and derived their form from clay goblets used in the northern Punjab.  Kashmiri silver craftsmen were able to add elaborate details to this form.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eThis unusual silver-gilt work is called \u003cem\u003eGanga-Jamuna,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eand is named after the Ganges and Jamuna rivers which are found in northern India. The Ganges has white water, whilst its tributary, the Jamuna, has water of a deep blue colour.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eGanga-Jamuna\u003c\/em\u003e is the term used to describe the combination of a silver base with a parcel gilt applied to portions in relief. The two colours – the gold and silver- create a balancing effect and give the object a “pearly radiance.” As George Birdwood put it: “Their elegant shapes and delicate tracery, graven through the gilding to the dead white silver below, which softens the lustre of the gold to a pearly radiance, gives a most charming effect to this refined and graceful work.”\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eThis pair of Surahi is the finest example of Kashmiri silverwork we have seen, the bottles are elaborately chased and coupled with matching underplates of equal quality of design and execution.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSources: Watt, George. Indian Art at Delhi 1903. London: John Murray, 1904.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eProvenance: UK\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eWeight: 2354 grams, Height: 30.5 cms, Diameter of plate: 21.5 cms\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eItem: #099\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34787331834006,"sku":"JC-WATE-06794","price":7000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Water-Flasks-Surahi-And-Underplates-A-Pair-Ganga-jamuna-Kashmir-Circa-1860.jpg?v=1592530971"},{"product_id":"antique-indian-silver-walking-cane-handle-oomersi-mawji-bhuj-kutch-cutch-india-c-1880","title":"Antique Indian Silver Walking Cane Handle, Oomersi Mawji, Kutch, India C. 1880","description":"\u003cp\u003eThis delightful antique silver cane handle was made in Bhuj in the Kutch region of India, now named Gujerat, around 1890. The handle has been signed to the plain silver band at the base of the neck and the mark is O.M. within a rectangular cartouche, signifying the maker to be the greatly revered Kutch silversmith, Oomersi Mawji of Bhuj. \u003c\/p\u003e\n\u003cp\u003eThe whole handle has been ornamented in Mawji’s languorous rambling and free flowing signature Kutch style using repousse and chased techniques with the scattered repousse elements raised above a finely incised background, producing a striking contrast.  These floral and foliate elements were created freehand with the spacing and form of the foliage controlled only by the skill of the silversmith. As one would expect from Mawji, the craftsmanship and quality are both excellent and show the hallmarks of his mastery and assurance with all elements of the design well planned. He contrasts the richly ornamented free flowing naturalistic panels with the plain silver surround and the tailored simple diagonal hatched and beaded borders to the seams.\u003c\/p\u003e\n\u003cp\u003eThe handle is of circular section and resembles a ‘T’ shaped tree branch.  The practicalities of use have been carefully considered: the profile has been subtly shaped in order that it lies comfortably and supports the hand when gripped.  To either end of the top, the circular end sections have been capped with silver.  Ever thoughtful, Mawji has capped one end with plain silver and the other, outwardly facing edge, with an ornamental boss depicting a lotus flower within beaded borders.  The lotus flower would be front facing and visible from the front while the owner was walking and the other, plain silver end, would allow the owner to use the handle to knock on a door, for example, without damaging the ornament.  Practically, the repousse and incised surface treatment also afforded grip, which was an important consideration in such a warm climate.\u003c\/p\u003e\n\u003cp\u003eMawji founded Oomersi Mawji \u0026amp; Co in Bhuj in 1860.  Working with his sons, the firm became the premier Kutch silversmiths, widely known for its fine quality and highly skilled silverwork, coupled with exceptional design skills. Appointed Royal Silversmith to the Maharaja (Maharao) of Kutch, Mawji amassed a large international clientele who patronised his Bhuj workshop.  Mawji’s workshops were enterprising and he received many fine and important commissions. He produced many masterpieces and typically used silver of extremely high purity, normally 95-98%.  Practically, this meant that the material was softer and easier to manipulate. Mawji worked predominantly in the Kutch style but also in the European, ‘Madras swami’ and ‘Calcutta rural village’ styles. Participating in several foreign exhibitions, he won many prizes for his work and helped to popularise Kutch silver abroad, particularly in Great Britain. Oomersi Mawji has often been described as the greatest Indian silversmith of the nineteenth century and he was certainly the best known.  Born into a humble family which belonged to the lowly cobbler's caste, he went on to achieve international success, wide acclaim and celebrity status during his lifetime. Although the firm ceased operation in the 1930s, it produced many spectacular pieces and his work has become some of the most sought after examples of Indian silver today. His genius has been recognised internationally with many of his creations now displayed in some of the world’s most important museums and private collections in locations around the globe.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:-\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e UK art market\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eHeight 7.5 cms; Width 1.5 cms; Length 9 cm\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:-  \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e60 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWatt and Brown, Indian Art at Delhi, 1903, Being the Official Catalogue of the Delhi Exhibition,  1902-1903, Calcutta, Superintendent of Government Printing, India 1903 \u003c\/p\u003e\n\u003cp\u003eWynyard R T Wilkinson, Indian Silver 1858-1947, Decorative Silver from the Indian Subcontinent and Burma, Made by Local Craftsmen in Western Forms,  W Wilkinson \u0026amp; Indar Pashrical Fine Arts, London 1997 \u003c\/p\u003e\n\u003cp\u003eVidya Dehejia, Delight in Design – Indian Silver for the Raj, Mapin Publishing, India 2008\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34787560915094,"sku":"JC-WALK-06795","price":1200.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Walking-Cane-Handle-Oomersi-Mawji-Bhuj-Kutch-cutch.jpg?v=1592532467"},{"product_id":"antique-indian-silver-plate-kutch-cutch-india-c-1840","title":"Antique Indian Silver Plate, Kutch (cutch) India, C. 1840","description":"\u003cp\u003eThis exquisite antique Kutch silver plate is a fine example of the artistic and skilful work of the Kutch silversmiths. The standard of craftsmanship is extremely high and the quality superb.  This is believed to be an early example of Kutch silverware dating to around 1840. The repousse elements have been skilfully executed; they are all crisp, well defined and nicely detailed, with little signs of wear or use.  The overall design and the spacing of the individual elements have been carefully considered and the plate is of very pleasing appearance.   \u003c\/p\u003e\n\u003cp\u003eThe plate has been ornamented using repousse, chasing and pierced techniques.  The background has been finely incised and provides a contrast to the bright silver surface of the repousse and chased elements.  To the centre of the recessed area is a large lotus flower, reminiscent of the style of an eighteenth century Indian\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ethali\u003c\/em\u003e, which usually had a lotus flower at their central point.  Surrounding the lotus flower are palmettes, carnations, small open daisy-like flowers and scrolling acanthus leaves. Some elements seem to derive from the Islamic Mughal tradition and others from the Hindu tradition.  The contrasting plain silver to the steep side of the recess is also reminiscent of the typical construction of a thali, it leads up from the recessed area to the flat rim above and also forms a border.  The rim is wide with a continuous repeating border of scrolling floral and foliate elements and a beaded border to the exterior. The plate is surrounded by a pierced and hand cut repeating acanthus leaf border to the outer edge, almost lace-like in its appearance, which produces a deckled edge.    \u003c\/p\u003e\n\u003cp\u003eSilver from the Kutch (Cutch) region of India probably became the most famous of all the Indian regional styles. The Maharajas of Kutch gave a lot of help to the silversmiths living there, championing the artisans’ fine work and trying to encourage this ancient craft.  They commissioned silver for their own use and sent it out as diplomatic gifts. They also sponsored some of the silversmiths to attend various prominent national and international exhibitions.  Their efforts ensured that the region’s silverware was always well represented and exhibited to great effect.  This strategy helped to spread awareness of Kutch silverware and it became greatly admired and very popular.  It was highly regarded for its great craftsmanship and aesthetic sensibility and appreciated for its good weight and the high grade of silver used in its manufacture. The fineness of the silver itself was usually very high and a minimum of sterling quality or 925\/1000.\u003c\/p\u003e\n\u003cp\u003eThe \"Kutch style\" of silver decoration first emerged in the early 19th century and by the end of the century had developed into its distinctive and familiar form. Where the Kutch style of silver ornamentation originated is uncertain. Some writers point to the 15th century mosque of Ahmedabad as a major source of inspiration. The mosque's architecture fuses Islamic and Hindu imagery, particularly in its intricately carved stone windows, which could have inspired the scrolling decoration which became so characteristic of Kutch silver. The Dutch influence has also been noted in the appearance of the repoussé border ornamentation often found on Kutch silverware and there are also resemblances to the decoration on Portuguese pottery of the 17\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003ecentury.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eUK antiques trade\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e15cm diameter\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e218 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eVidya Dehejia, Delight in Design – Indian Silver for the Raj, Mapin Publishing, India 2008\u003c\/p\u003e\n\u003cp\u003eWynyard R T Wilkinson, Indian Silver 1858-1947, Decorative Silver from the Indian Subcontinent and Burma, Made by Local Craftsmen in Western Forms,  W Wilkinson \u0026amp; Indar Pashrical Fine Arts, London 1997\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34792864252054,"sku":"JC-SILV-06796","price":900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Plate-Kutch-cutch-India-C-1840.jpg?v=1592769145"},{"product_id":"antique-indian-silver-figural-parasol-handle-parrot-oomersi-mawji-bhuj-kutch-cutch-india-c-1890","title":"Antique Indian Silver Figural Parasol Handle, Parrot, Kutch, India – C. 1890","description":"\u003cp\u003eIs this the ultimate Oomersi Mawji parrot parasol handle? We really think so!  We could hardly believe that we were fortunate enough to acquire this spectacular parasol handle only a few weeks after selling the O.M. parrot parasol handle featured in our June bulletin.  This handle stands fifty per cent taller and is sixty per cent heavier than the previous one.\u003c\/p\u003e\n\u003cp\u003eDelightfully naturalistic, this figural parasol handle shows Mawji,s mastery of silver as a sculptural medium.  His sympathetic portrayal of the bird is very lifelike; the curved back, tucked in head, staring eyes and distinctively shaped beak are so characteristic and unmistakeable that we are immediately able to identify the bird.  The detailing is very fine with the different types of feathers treated in slightly different ways and the long tail feathers are particularly elegant. \u003c\/p\u003e\n\u003cp\u003eThe parrot perches on top of a column of silver which has been ornamented in signature Kutch style with floral and foliate sprigs set against a finely punched ground. This juxtaposition provides visual and tactile interest. The undersides of the parrot’s feet are visible and he appears to be examining them.  The dark ground of the column provides a great foil for the shimmering silver bird.  The plain silver ring at the base of the column bears Oomersi Mawji’s mark, O.M in a rectangular cartouche.   The mark is clear, well struck and well defined.  This mark was used by Oomersi Mawji whilst he was working in Bhuj.\u003c\/p\u003e\n\u003cp\u003eOomersi Mawji was the most popular and accomplished Kutch silversmith of his generation.  Every item he produced served as a testament to his consistently high quality craftsmanship, innovation and superb design skills.  In his workshop, the intended design would be drawn several times on paper, with corrections and edits being made with each revision. When the final draft was complete, and had met with the client’s approval, the piece was formed and executed. It was usual for each silversmith to be given a specific task, with the tasks requiring the greatest skill being left to the master silversmith.  Mawji was appointed Royal Silversmith to the Maharaja of Kutch and he amassed a large Indian and international clientele.  His reputation was huge during his lifetime and is undiminished today.\u003c\/p\u003e\n\u003cp\u003eRepresentations of parrots and parakeets feature in both the Hindu and Islamic Indian artistic traditions.  In the Hindu tradition, Kamadeva, the young and handsome God of Love, is depicted riding upon a large green parrot.  He is armed with a bow made from sugarcane and laced with a string of honey bees which he uses to shoot his stinging arrows of desire. Parrots are also associated with Meenakshi, an avatar of Parvati, the goddess of love fertility and devotion, who is mainly worshipped in Southern India, particularly at Madurai in Tamil Nadu. Meenakshi is often depicted with a parrot perched upon her right hand.  The parrot is also linked to Parvati through the story of Shiva, Parvati and Radha’s parrot, Suka.\u003c\/p\u003e\n\u003cp\u003eIn 2015, New York’s Metropolitan Museum of Art had an exhibition dedicated to the art of the Muslim kingdoms known as the Deccani Sultanates.  This exhibition entitled ‘Sultans of Deccan India 1500-1700 : Opulence and Fantasy’, featured  a number of parrots including a watercolour of ‘A bejewelled maiden with a parakeet’ 1670-1700,  ‘A rock-crystal knife with jewelled parrot handle’ circa 1600 and a watercolour of ‘A parrot perched on a mango tree; a ram tethered below’ from Golconda circa 1670, which also featured on the promotional poster for the exhibition.  Parrots and parakeets are not only a recurring theme in Indian art, but one that has a universal appeal. \u003c\/p\u003e\n\u003cp\u003eThis superb parasol handle was made by the best known and most celebrated Indian silversmith of his generation. Mawji’s naturalistic and sympathetic portrayals of the animals and birds he saw around him are very sought after and this tactile and sculptural piece must be one of his finest.  The handle could be re-mounted onto another umbrella or cane or fitted onto an acrylic pedestal base and displayed as a magnificent free standing sculpture, which would allow it to be viewed from all directions.   \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eUK art market\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:-\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eHeight 18 cms; Width (max) 6.5 cms\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:-\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e104 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWatt and Brown, Indian Art at Delhi, 1903, Being the Official Catalogue of the Delhi Exhibition,  1902-1903, Calcutta, Superintendent of Government Printing, India 1903\u003c\/p\u003e\n\u003cp\u003eVidya Dehejia, Delight in Design – Indian Silver for the Raj, Mapin Publishing, India 2008\u003c\/p\u003e\n\u003cp\u003eNavina Najat Haidar and Marika Sardar, Sultans of Deccan India, 1500–1700: Opulence and Fantasy, Metropolitan Museum of Art Publications, New York 2015\u003c\/p\u003e\n\u003cp\u003eWynyard R T Wilkinson, Indian Silver 1858-1947, Decorative Silver from the Indian Subcontinent and Burma, Made by Local Craftsmen in Western Forms,  W Wilkinson \u0026amp; Indar Pashrical Fine Arts, London 1997\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34793395847318,"sku":"JC-PARA-06797","price":5500.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Figural-Parasol-Handle-Parrot-Oomersi-Mawji-Bhuj-Kutch-cutch-India-C-1890.jpg?v=1592556224"},{"product_id":"antique-indian-silver-egg-cruet-for-six-persons-kutch-cutch-circa-1900","title":"Antique Indian Silver Egg Cruet, For Six Persons, Kutch (cutch) – Circa 1900","description":"\u003cp\u003eThis lovely antique Indian silver egg cruet is of European form with traditional Kutch style ornamentation. The set comprises thirteen separate elements; the stand, a set of six identical matching egg cups and a set of six identical matching spoons. It is wonderful to find a complete set in such superb condition!\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe stand is of six-lobed shape, resembling the outline of a simple regular six-petal flower head. It is supported by three decorative scroll shaped feet. All the pieces have been ornamented in the typical Kutch style using repousse and chased techniques. At the centre of the stand is a tall silver pillar surmounted by a large scroll shaped ring handhold. Below this, and surrounding the central pillar, is the circular spoon holder with separate semi-circular slots for each spoon.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eAt the centre of each petal, or lobe on the stand, is a plain silver circle with a short silver rod emanating up from the central point. The area between the circles has been ornamented in typical Kutch fashion with floral and foliate sprigs around the central pillar, which is surrounded by an acanthus leaf border. To the perimeter is a raised and finely chased rope border surrounded by a ribbon of scrolling flowers and foliage contained by the outer raised and beaded border.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe egg cups have hollow stems to accept the rods and the underside of the base of each contains a strip of silver straddling the width internally with a circular drill hole at the central point to guide positioning and ensure minimum movement. The cups would be lifted up and guided onto the rods through the central hole in the base plates with the tops of the rods concealed within the hollow stems. This would ensure that the cups stayed in position once the stand was carried or moved. Each cup has been ornamented in the Kutch style with loose and rhythmic floral and foliate scrolls to the body and a pronounced beaded border to the rim. The cups are held on a short pedestal stem over a spreading pedestal foot. The stems are ornamented with acanthus leaf borders.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe handle of each spoon has been ornamented with a typically Kutch flower and foliate sprig over a small acanthus leaf, contained within beaded borders around the edges of the handle. The ornamentation to the feet of the stand is similar.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eEgg cruets were a favourite and much-used item of breakfast silver in British households, particularly in the Georgian period and they continued in use up to the Edwardian period. They fell out of favour after World War I when tastes changed, lifestyles became less formal and the grand houses were experiencing great difficulties in recruiting adequate staff due to new opportunities for employment and profound social change. The cruet would have been filled with freshly boiled eggs and placed on a buffet or in the centre of a dining table, so that people could serve themselves. The quality of this set is extremely high and comparable to examples created by top London silversmiths.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIt is very unlikely that the silversmith who made this set was well travelled or had ever left the Kutch region, let alone seen such an item in use! He would have probably have been provided with an existing set to examine and copy or detailed design drawings to work from. European residents living in India included many wealthy merchants and officials, some of whom were of aristocratic stock. They liked to continue living their lives in the traditional British way and dining in the same way they would do at home. In India, they lived a life that, at the very least, mirrored their lifestyle at home or in most cases, was infinitely more affluent and cosseted than their lives would have been had they remained in Britain.\u003c\/p\u003e\n\u003cp\u003eSilver from the Kutch (Cutch) region of India was probably the most famous of the various Indian regional styles. The Maharajas of Kutch gave a lot of help to the silversmiths living there. Championing their fine work, they commissioned silver for their own use and sent it out as gifts. They also encouraged and sponsored some of them to attend various prominent national and international exhibitions, ensuring that the region’s silver wares were always well represented and exhibited to great effect. The fineness of the silver itself was usually very high and a minimum of sterling quality or 925\/1000. As a result, Kutch silver work became very well known in the UK, Europe and America. The style was greatly admired and very popular; highly regarded for its great craftsmanship and aesthetic sensibility and appreciated for its good weight and the high grade of silver they used in manufacture.\u003c\/p\u003e\n\u003cp\u003eProvenance:-  UK art market\u003cbr\u003eDimensions:-  Total Size: Height 17cms; Width 19cms\u003cbr\u003e                           Egg cup: Height 5.5cms; Width 5cms\u003cbr\u003eWeight:-           760 grammes\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34794184048790,"sku":"JC-EGG-06798","price":2800.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Egg-Cruet-For-Six-Persons-Kutch-cutch-Circa-1900.jpg?v=1592557162"},{"product_id":"antique-indian-silver-snuff-box-charak-puja-hook-swinging-festival-calcutta-kolkata-1800-50","title":"Antique Indian Silver Snuff Box, Charak Puja\/Hook Swinging, Calcutta – 1800\/50","description":"\u003cp\u003eThis fascinating silver box was made for the Europeans visiting or living in India.  Within raised floral and foliate borders, the scene on the lid depicts the ‘\u003cem\u003eCharak Puja\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(also known as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNil Puja\u003c\/em\u003e) Festival’, known by the English residents of Calcutta as‘The Hook Swinging Festival’. This colourful event was celebrated all over Bengal with much pomp and show on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eChaitra Songkranti\u003c\/em\u003e, the last day of the month\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eChaitra\u003c\/em\u003e, and the eve of the Bengali New Year.  The scene is after a drawing by Francois Baltazar Solvyns.\u003c\/p\u003e\n\u003cp\u003eSolvyns was an artist who was born in Antwerp in 1760 and studied painting at the Antwerp Academy.  In 1791, he came to India to seek his fortune as an artist but initially struggled to make an impact and subsisted by undertaking a range of part time jobs.  Noting the British interest in the diverse and exuberant Indian culture, he soon became fascinated by the Indian culture and people himself and started to learn Hindu and Sanskrit.  Encouraged by Sir William Jones, founder of the Royal Asiatic Society in Calcutta, he embarked on an ambitious project to produce \"250 coloured etchings descriptive of the manners, customs, character, dress and religious customs of the Hindoos\". \u003c\/p\u003e\n\u003cp\u003eBeing the first venture of its kind, Solvyns’ project brought in sufficient subscriptions to enable him to proceed with his plan. He recorded that his pictures of the Indian scene \"would be particularly interesting to those who had resided many years in India, as a help to them, on their retreat to their native country to recall occurrences of their youth and scenes formerly familiar to them\". \u003c\/p\u003e\n\u003cp\u003eSolvyns work was pioneering and provides us with much historical information today. “He began drawing his subjects from life, which included men and women of every possible caste or calling ranging from high-caste Brahmins to milkwomen and sweepers. He portrayed many servants carrying out their specific duties within European households in Calcutta, such as a \u003cem\u003eSarkar\u003c\/em\u003e, \u003cem\u003eHooka-bardar\u003c\/em\u003e, \u003cem\u003eAbdar\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eetc. He also drew pictures of the colourful Indian festivals, ascetics and mendicants roaming about in the towns and villages, various forms of transport, including boats on the river, different kinds of pipes for smoking and a variety of musical instruments.”  They were published in Calcutta in 1799, but the project was not a commercial success and he left India for France in 1804.\u003c\/p\u003e\n\u003cp\u003eIn Paris, he produced a folio edition of 188 plates with an accompanying descriptive text giving detailed information about the subject depicted in each text.  ‘Les Hindous’ was published in Paris between 1808 and 1812 in four large volumes.  Solvyns died in 1824.\u003c\/p\u003e\n\u003cp\u003eOne of the earliest and most vivid English accounts of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCharak Puja\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eFestival was written by Fanny Parkes, a Welsh travel writer, who came to Kolkata in 1822 along with her husband, Charles Crawford Parkes, a writer for the East India Company:-\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The other day, hearing it was a Burra Din, (day of festival in honour of the goddess Kalee, whose temple is about a mile and half from Calcutta,) I drove down in the evening to Kalee Ghaut, where, had not the novelty of the scene excited my curiosity, disgust would have made me sick. Thousands of people were on the road, dressed in all their gayest attire, to do honour to the festival of the Chiiruk Pooja, the swinging by hooks. Amongst the crowd, the most remarkable objects were several Voiragee mendicants; their bodies were covered with ashes, their hair clotted with mud and twisted round their heads ; they were naked all but a shred of cloth. One man had held up both arms over his head until they had withered and were immoveable, the nails of the clenched fists had penetrated through the back of the hands, and came out on the other side like the claws of a bird. To fulfil some vow to Vishnoo this agony is endured, not as a penance for sin, but as an act of extraordinary merit. At first the pain must be great, but it ceases as the arms become benumbed. A man of this description is reckoned remarkably holy, having perfect dependence upon God for support, being unable, his arms having become immovable, to carry food to his mouth or assist himself. Two or three other mendicants who were present had only one withered arm raised above their heads. Some Hindoos of low caste, either for their sins or for money, had cut three or four gashes in the muscular part of the arm, and through these gashes they kept running a sword, dancing violently all the time to hideous music; others ran bamboos as thick as three fingers through the holes in the arm, dancing in the same manner. One man passed a spit up and down through the holes, another a dagger and a third had a skewer through his tongue. \u003cbr\u003eA little further on were three swinging posts erected in this fashion; a post some thirty feet in height was crossed at the top by a horizontal bamboo, from one end of which a man was swinging, suspended by a rope, from the other end another rope was fastened to a horizontal pole below, which was turned by men running round like horses in a mill. The man swung in a circle of perhaps thirty feet diameter, supported by four iron hooks, two through the flesh of his back, and two in that of his chest, by which, and a small bit of cloth across the breast, he was entirely supported : he carried a bag in one hand, from which he threw sweetmeats and flowers to the populace below. \u003cbr\u003eSome men swing with four hooks in the back and four on the chest without any cloth, eight hooks being considered sufficient to support the body. The man I saw swinging looked very wild, from the quantity of opium and bengh he had taken to deaden the sense of pain. Bengh is an intoxicating liquor, which is prepared with the leaves of the Ganja plant (Canabis Indica) .\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHindoos of the lower castes are very fond of this amusement, accidental deaths occasioned by it are reckoned about three percent. Sometimes four men swing together for half an hour ; some in penance for their own sins ; some for those of others, richer men, who reward their deputies and thus do penance by proxy.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKhraunchies full of nach girls were there in all their gaily-coloured dresses and ornaments, as well as a number of respectable men of good caste. I was much disgusted, but greatly interested. Sentries from the Calcutta militia were stationed round the swings to keep off the crowd.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe men on the mound at the foot of the second swing run round with the bamboo frame which is connected with the pole, at the summit of which are the cross bamboos. As they proceed, the four men above swing merrily on their hooks, scattering flowers and sweetmeats on the people, and repeating verses and portions of the shastrs. “\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis unusual snuff box is stamped with the letter ‘P’, and dates between the years 1800 and 1850.   One school of thought believes that these boxes were made in China for export to the Indian market whilst the other believes that they were actually made by Chinese silversmiths working in Calcutta. It is known that many fine Chinese craftsmen were working in Calcutta during the first half of the 19th century. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe principal panel on the lid illustrates a remarkable, if gruesome, ceremony which fascinated Europeans living in or visiting Calcutta. Fashioned using repousse and chased techniques, the depiction is after the drawing by French artist, Francois Solvyns. Around the sides of the box are figures dressed in an Indian style relaxing amongst trees and buildings which are once again in Indian style.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eProvenance:\u003c\/em\u003e\u003c\/strong\u003e       UK art market\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSize:\u003c\/em\u003e\u003c\/strong\u003e                         Height:  2 cms, Width:  7.5 cms, Depth:     4.5 cms\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWeight:                \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e106 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eReferences:\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFanny Parkes Parlby with an introduction by Indira Ghose and Sara Mills, Wanderings of a Pilgrim in Search of the Picturesque, page 35, Manchester University Press 2001, Manchester and New York (first published in 1850)\u003c\/p\u003e\n\u003cp\u003ePran Neville, India a French View, Spectrum, The Tribune, Sunday, July 12\u003csup\u003eth\u003c\/sup\u003e, 2009\u003c\/p\u003e\n\u003cp\u003eVictoria and Albert Museum collection, drawings by Francois Baltazar Solvyns\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34802824937622,"sku":"JC-SNUF-06800","price":3800.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Snuff-Box-Charak-Puja-hook-Swinging-Festival-Calcutta-Kolkata-1800-50.jpg?v=1592585060"},{"product_id":"antique-indian-silver-mounted-horn-trichonopoly-tiruchirappalli-india-late-19th-c","title":"Antique Indian Silver Mounted Horn, Trichonopoly, India – Late 19th C","description":"\u003cp\u003eThis magnificent antique Indian silver mounted horn has a pleasing crescent shape and is well proportioned. The translucent deep golden or tawny brown horn shades to a much darker brown towards the tip. The horn’s very large size indicates that it would have come from an old buffalo and the surface of the horn would have been finely polished before mounting with silver. A silver chain has been threaded through a ring mounted at the tip of the horn and another which pierces the rim to the inside curve of the horn, probably to facilitate display.\u003cbr\u003eThe silver mountings are of heavy gauge and the ornamentation uses repousse and chased techniques in the distinctive regional style of Trichonopoly. Just below the rim, a silver band with raised and ornamented edges features a repeating pattern of caparisoned elephants separated by vegetation. The animals are well modelled and the details have been finely chased. The area just above the tip of the horn has been covered by a silver sleeve. The floral and foliate ornament is dense and deep; forming an almost three-dimensional carpet. The wider end of the sleeve has been finished with a pierced and hand cut acanthus leaf border.\u003cbr\u003eBetween these two areas a very finely detailed silver serpent, chimera or snake like mythological being, wraps around the horn with the tail of the creature nearest the tip of the horn and the head at the rim end. The scales are diamond shaped and have been very finely chased. Each scale resembles an orchid like flower, or possibly, a flame. At the head end, the underside of the body is visible and a fish scale pattern has been used to differentiate this. The head is unusual; the eyes protrude and the mouth is very wide and open with, possibly, teeth. The area to the back of the head has been ornamented with foliage, which could also be viewed as locks of hair.\u003cbr\u003eTrichonopoly silver is far less common than some of the other Indian regional styles, like those of Kutch or Lucknow. Objects are usually made of a heavy gauge of silver, occasionally gold, and highly decorated. In the early 19th century the majority of silver items made in Trichonopoly were small portable objects of a personal nature, such as boxes, card cases, tinder tubes, goblets etc. rather than domestic items. This reflected the fact that most customers would have been male military or East India Company personnel, serving there alone and without families. The stylistic inspiration came from the stone carvings of local temple architecture, particularly those of the huge Sri Ranganatha Swamy temple on the holy islet of Srirangam on the opposite side of the Kaveri River from the Rock of Trichonopoly. Standing on a site of 156 acres, this temple is the most important of those dedicated to Vishnu. It is also the largest temple in India and the largest functioning Hindu temple in the world.\u003cbr\u003eThe British East India Company finally conquered Trichonopoly and made it part of the Madras Presidency in 1801, when it became an important stronghold. Trichonopoly was a strategic and extremely well fortified city with an excellent vantage point over the surrounding countryside. In the middle of the town was a rock 300 feet high surmounted by the 7th century pagoda shaped Hindu Ucchi Pillayar temple, dedicated to Ganesh. From the top of the temple there was an uninterrupted view of 40 miles in all directions. The city was protected by a four mile long double wall with towers at intervals which encircled the city. The outer wall was 18 foot high and fronted by a moat 30 foot wide and 15 foot deep.\u003cbr\u003eIn 1926, an Indian railway guide stated that ‘Trichonopoly is one of the biggest markets in the world for rubies.’ and ‘Articles in silver and gold are excellently made by the local gold and silversmiths, who are very successful with their repousse work. The cost of well-made silver articles is usually double the value of their weight in rupees’.\u003cbr\u003eThe Great Southern India Railway Company was formed in England in 1853 and the GSIR’s first line was planned from Negapatam to Trichonopoly. The line was completed on 11th March 1862 when the last section, the 35 mile long Tanjore-Trichonopoly stretch, was opened. The coming of the railway brought more traders and later, visitors, to the town. This increased the number of customers visiting the silver workshops and these new customers required different objects to their previous clientele, allowing the silver maker’s repertoire to expand. In addition, the railway provided a way in which larger domestic objects, such as this horn, could be safely transported with minimal effort. That said, even post railway, most silver objects still tended to be relatively small in size in comparison with the silverware produced in other Indian regions.\u003c\/p\u003e\n\u003cp\u003eProvenance:-  UK art market\u003c\/p\u003e\n\u003cp\u003eSize:- The horn measures 48cm long\u003c\/p\u003e\n\u003cp\u003eReferences:-\u003c\/p\u003e\n\u003cp\u003eSouth Indian Railway Illustrated Guide, Madras 1926\u003cbr\u003eS Muthiah, The Railway of the Deep South, The Hindu, 9th May 2010\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34803382616214,"sku":"JC-HORN-06802","price":3600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Mounted-Horn-Trichonopoly-Tiruchirappalli-India-Late-19th-C.jpg?v=1592589367"},{"product_id":"antique-indian-bidri-platter-tray-silver-inlay-hindu-figural-design-rajasthan-india-1800-1850","title":"Antique Indian Bidri Platter\/tray, Silver Inlay, Hindu Figural Design, Rajasthan, India – 1800\/1850","description":"\u003cp\u003eThis charming, if slightly naïve, bidri platter or tray has been inlaid with silver using\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ekoftgari\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003etarkashi\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etechniques.  The design is unusual in that it depicts the natural world and has a wide border featuring a whirlwind of figures from the animal kingdom including mammals, fish, reptiles and birds. Figural designs in bidri are rare as they were extremely time consuming and difficult to execute as the craftsmen worked freehand.  The eyes on some figures appear black; this was achieved by cutting out eye holes from the silver sheet so as to reveal the black background beneath whilst the outlines of feathers, scales, folds of skin, hair, fur and harnesses have been lightly engraved. \u003c\/p\u003e\n\u003cp\u003eThe ornamentation is much looser, freer flowing and without the rigid structure usually observed in bidri ware. This freedom of movement can also be seen in the inner and outer floral and foliate borders and in the fern-like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003etarkashi\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003evegetal fronds between the figures.  Only the central geometric lotus flower, the strict division of the different areas of ornamentation and the simple running border of two undulating intersecting\u003cspan\u003e \u003c\/span\u003e\u003cem\u003etarkashi\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewires to the rim, show the formal rigid and rhythmic structure usually associated with bidri wares.  Figural examples are far less common than bidri depicting geometric and floral designs and the subject matter indicates that the ornamentation of this tray follows the Hindu rather than the Muslim tradition.  The tray is believed to have been made by Hindu craftsmen of the Lingayat sect, working in the early part of the 19\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003ecentury, probably in Rajasthan.  \u003c\/p\u003e\n\u003cp\u003eGreat bronzes with copper and silver inlay were made in India as far back as the 5th and 6th centuries but according to Indian oral history, the technique of bidri inlay originated in Iran and was brought to India in the 15th century by the Bahamani ruler Ala’uddin Bahamani. Bahamani brought craftsmen from Bijapur and established them in Bidar.  The oldest examples of bidri which can be seen in museums today only date as far back as the 17th century with no earlier examples known to have survived. During the 17th and 18th centuries, Bidri objects were highly prized and produced for Indian Royalty.  Several paintings of the period depict Maharajas and courtiers at the royal courts of Deccan and Mughal India with bidri ware articles such as hookahs and boxes.  Other articles were also produced in bidri, particularly \u003cem\u003ePandans, Lotas, Surahi, Thali\u003c\/em\u003e, shields and weaponry.\u003c\/p\u003e\n\u003cp\u003eBirdri was created by Muslims and by Hindus of the Lingayat sect. The Lingayats are a sect which devolved from Hinduism, becoming separate and breaking away from mainstream Hinduism with members worshipping Shiva exclusively.  Pandey explains that ‘The Nawabs, who rose to power on the ruins of the great Mughal Empire, seem to have been especially fond of Bidri and that is how at Lucknow, in Murshidabad and Purnea, Bidri workshops sprang up from the 18th century onwards. Everywhere, however, the same six stages of the process ….. seem to have been followed equally by Muslim and Hindu craftsmen.’   He identifies the patterns deriving through the Hindu tradition which include the Swastika, lotus, human figures, birds, animals and fish.\u003c\/p\u003e\n\u003cp\u003eThe British public was first introduced to Bidri Wares at London’s 1851 Crystal Palace or ‘Great’ Exhibition and Markel quotes the writer and Victorian art critic, Owen Jones’, impressions of bidri hookahs \u003cem\u003e(huqqas\u003c\/em\u003e) he had seen there. Jones noted that ‘In the equal distribution of the surface ornament over the grounds, the Indians exhibit an instinct and perfection of drawing perfectly marvellous.”\u003c\/p\u003e\n\u003cp\u003eTo read more about Bidri Wares on our blog, please follow this link  \u003ca href=\"https:\/\/www.josephcohenantiques.com\/bidri-indian-inlay\/\"\u003ehttps:\/\/www.josephcohenantiques.com\/bidri-indian-inlay\/\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance\u003c\/em\u003e:-  UK art market\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:–\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eDiameter 35cms, Height 1cm \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eNational Museum, New Delhi, India Hookah\/Huqqa base featuring scenes from the Padamvat\u003c\/p\u003e\n\u003cp\u003eJagdish and Kamla Mittal Museum, Hyderabad, Hookah\/Huqqa base with hunting scene and animals\u003c\/p\u003e\n\u003cp\u003eDr Anjali Pandey, Bidri Ware:  A Unique Craft of India, Vol 4 (Issue 3), International Journal of Research Granthaalayah, March 2016\u003c\/p\u003e\n\u003cp\u003eStephen A Markel, Bidri Ware [in LACMA]: Lyric Patterns\u003c\/p\u003e\n\u003cp\u003eMark Zebrowski, “Bidri:  Metalware from the Islamic Courts of India”, Art East, 1, 1982, pp. 27-ff\u003c\/p\u003e\n\u003cp\u003eSusan Stronge, \u003cem\u003eBidri Ware: Inlaid Metalwork from India. \u003c\/em\u003eEdition, Victoria \u0026amp; Albert Museum, London 1985\u003c\/p\u003e\n\u003cp\u003eOwen Jones, The Grammar of Ornament, Bernard Quaritch, London, 1868 pages 78-79\u003c\/p\u003e\n\u003cp\u003eB N Goswamy, Metalware from the South, ‘Art and Soul, Spectrum, The Tribune, 7th August 2011\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34803737231510,"sku":"JC-BIDR-06804","price":4500.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Bidri-Platter-Tray-Silver-Inlay-Hindu-Figural-Design-Rajasthan-India-1800-1850.jpg?v=1592591964"},{"product_id":"antique-indian-silver-tinder-box-flint-holder-with-flint-cacutta-kolkata-india-1800-50","title":"Antique Indian Silver Tinderbox With Flint, Calcutta, India – 1800\/50","description":"\u003cp\u003eIn the days before matches were invented, a flint and steel were the fastest and most reliable way to start a fire and widely used.  They were so important that they would be kept on the person at all times, often hung around the neck or from a belt. A tinder box and flint would have been an indispensable piece of equipment for anyone wishing to light a fire and an essential piece of kit for those serving in the military or traveling out of the cities in India prior to the arrival of fast and reliable forms of transportation from city to city, specifically the railways. \u003c\/p\u003e\n\u003cp\u003eThe box would be used to store the fine dry tinder which would be initially required to start a fire. Certain dried leaves, fungi, wood shavings or charred cloth were favourite tinder, whichever material was most convenient and highly combustible. Once the fire was built, the flint would be struck repeatedly on a piece of steel, commonly a knife, which would produce small sparks.  These sparks would ignite a small pile of fine dry tinder which would be gently blown upon and fanned until a small flame was produced.  At that stage, larger pieces of dry tinder would be introduced before using this bundle to set alight to the larger twigs and branches necessary for a good fire. A good fire gave warmth, allowed cooking and warded off predatory animals.\u003c\/p\u003e\n\u003cp\u003eThis antique Indian silver fire striker compendium comprises a box with a hinged lift up lid and a protruding silver thumbpiece to facilitate easy opening.  Below this hangs a curved silver frame to hold the flint.  The flint is in place and probably original. There is a sturdy ring to the top of the box which would accept a silver chain, leather thong or thick cord.\u003c\/p\u003e\n\u003cp\u003eThere are two repousse and chased panels to front and back, both feature designs after illustrations by Solvyns and both have a connection with fire.  To the front is a copy of Solvyns portrait entitled ‘Paramhamsa, a Purum Hungse’. This was the name of a particular type of fakir who superstitious Hindus believed was a man who had descended from heaven and had lived for thousands of years without taking any nourishment.  They believed that if this man was thrown into water or fire, he would suffer no fatal effect from either experience. The inspiration for the back is another Solvyns illustration entitled ‘Sahagamana, A Sho Hogomon, 3’ which shows a widow about to step onto the funeral pyre of her late husband.\u003c\/p\u003e\n\u003cp\u003e‘When the Flemish artist Balthazar Solvyns arrived in Calcutta in 1791, the debate over sati (suttee) was just beginning as missionaries, amongst others, condemned official toleration of the \"dreadful practice\" and called for its suppression. Of all Hindu customs, none more fascinated--or appalled--the Europeans than \"suttee,\" the practice of widow-burning. The term sati is Sanskrit for \"virtuous woman,\" but it is used principally to refer to the faithful wife who \"becomes sati\" through self-immolation on the funeral pyre of her husband. Europeans erroneously took the word to mean the practice itself, and suttee, the European corruption, has become the conventional term for the wife's self-immolation. Solvyns uses neither suttee nor sati as terms in his description, but rather the Sanskrit word he spells phonetically from Bengali pronunciation. The practice by which the wife joins her husband in the flames and becomes sati is termed sahamarana, \"dying together,\" also known as sahagamana--Solvyns's Shoho-Gomon--meaning \"going together.\"\u003c\/p\u003e\n\u003cp\u003eThe practice was prevalent in Bengal in the eighteenth and early nineteenth centuries. Benoy Bhusan Roy, in 'Socioeconomic Impact of Sati in Bengal', writes that suttee was most frequent among Brahmins, but that the practice was found among the families of lower castes that had distinctive positions in wealth or property. Indeed, the possible increased frequency of suttee may have reflected an aspiration to higher social status among upwardly mobile sudra families. But, as official records in the early nineteenth century reveal, suttee was not limited to the more affluent. The practice was to be found among many castes and at every level of society.\u003c\/p\u003e\n\u003cp\u003eAmongst European travelers in India during the late eighteenth and early nineteenth centuries, no description was complete without a reference to suttee--preferably with at least one eye-witness account! Pierre Sonnerat, who traveled in India in the 1770s, describes the practice and provides an engraving of an Indian woman going to be burned with the body of her husband. Another French traveler, Grandpre, writing of his experience in Bengal in 1789 and 1790, relates his own unsuccessful effort to rescue a beautiful young woman who was to become sati, and notes that the practice of suttee was particularly \"horrible\" in Bengal. Failed intervention was a frequent theme in European accounts, as in Thomas Twining's description of his thwarted effort to prevent a suttee some 60 miles outside Calcutta in 1792. Confirming accounts of restraints to prevent the woman's escape, Edward Thompson writes in Suttee that \"Especially in Bengal, [the woman] was often bound to the corpse with cords, or both bodies were fastened down with long bamboo poles curving over them like a wooden coverlet, or weighted down by logs.\"\u003c\/p\u003e\n\u003cp\u003eMost instances of suttee were described as \"voluntary\" acts of courage and devotion. But there were surely cases involving the use of force, drugs, or restraints. \"An Account of a Woman burning herself, By an Officer,\" appeared in the Calcutta Gazette in 1785, one of various instances of suttee reported periodically in Calcutta newspapers.  The observer describes the woman as likely under the influence of bhang or opium but otherwise \"unruffled.\" After she was lifted upon the pyre, she \"laid herself down by her deceased husband, with her arms about his neck. Two people immediately passed a rope twice across the bodies, and fastened it so tight to the stakes that it would have effectually prevented her from rising had she attempted.\"\u003c\/p\u003e\n\u003cp\u003eThe Reverend William Ward, a Baptist missionary at Serampore, near Calcutta, and a contemporary of Solvyns, recounts his own witness of the practice (which he terms suhu-murunu ), as well as reported instances in the area of Calcutta. William Carey, the famed author of the Dictionary of the Bengali Language and Ward's colleague at the Serampore Mission, undertook a census of suttees in 1803 and counted 438 that had reportedly taken place that year, within a thirty mile radius of Calcutta.\u003c\/p\u003e\n\u003cp\u003eIn contrast to the expressions of horror in most accounts, an American merchant, Benjamin Crowninshield, described the suttee he witnessed while in Calcutta in 1789 with \"extraordinary detail\" and \"great sensitivity.\" In his ship's log, he concluded his sober account: \"Whether it is right or wrong, I leave it for other people to determine. . . . [I]t appeared very solemn to me. I did not think it was in the power of a human person to meet death in such a manner.\" Similarly, Maria Graham, in her Letters on India, published in l8l4, wrote sympathetically and without judgment of the practice--particularly remarkable at a time when European missionaries and Indian reformers were mounting their campaign against suttee.\u003c\/p\u003e\n\u003cp\u003eWithin the city of Calcutta, under the jurisdiction of British law, suttee had been prohibited since 1798, but outside of Calcutta, the \"dreadful practice\" flourished in Bengal, some said, in epidemic proportions.  As the debate over widow-burning intensified, officials took steps to suppress this practice.  In 1812, a distinction was made between \"legal\" (voluntary) and \"illegal\" (involuntary) suttee.  Its complete abolition came under Lord William Bentinck through Regulation XVII of the Bengal Code, December 4, 1829, declaring ‘the practice of suttee, whether voluntary or not, illegal and punishable by the criminal courts.’ (Hardgrave)\u003c\/p\u003e\n\u003cp\u003eFrans Balthazar Solvyns (1760-1824) was an artist who was born in Antwerp in 1760 and later studied painting at the Antwerp Academy.  In 1791 he came to India to seek his fortune as an artist but initially struggled to make an impact and subsisted by undertaking a range of part-time jobs.  Noting the British interest in the diverse and exuberant Indian culture, he soon became fascinated by the Indian culture and people himself and started to learn Hindu and Sanskrit.  Encouraged by Sir William Jones, founder of the Royal Asiatic Society in Calcutta, he embarked on an ambitious project to produce \"250 coloured etchings descriptive of the manners, customs, character, dress and religious customs of the Hindoos\". \u003c\/p\u003e\n\u003cp\u003eSolvyns work was pioneering and provides us with much historical information today. “He began drawing his subjects from life, which included men and women of every possible caste or calling ranging from high-caste Brahmins to milk-women and sweepers. He portrayed many servants carrying out their specific duties within European households in Calcutta, such as a Sarkar, Hooka-bardar, Abdar etc. He also drew pictures of the colourful Indian festivals, the ascetics and mendicants who roamed about in the towns and villages, various forms of transport, including boats on the river, different kinds of pipes for smoking and a variety of musical instruments.”  His drawings were first published in Calcutta in 1799.\u003c\/p\u003e\n\u003cp\u003eThe silver is stamped with the letter ‘P’, and dates between the years 1800 and 1850.   One school of thought believes that these boxes were made in China for export to the Indian market whilst the other believes that they were actually made by Chinese silversmiths working in Calcutta and it is known that many fine Chinese craftsmen were working in Calcutta during the first half of the 19th century.      \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eUK Antiques Trade\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eHeight 4 cms; Width 5 cms\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e  34 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eMuseum of Fine Arts, Boston, Inventory Number 2014.869\u003c\/p\u003e\n\u003cp\u003eThe Representation of Sati: Four Eighteenth Century Etchings by Balthazar Solvyns, Robert L. Hardgrave, Jr, The University of Texas at Austin, U.S.A.\u003c\/p\u003e\n\u003cp\u003eSolvyns, A Collection of Two Hundred and Fifty Coloured Etchings (1799),      Sec. XII, No. 15. \"A Sho Hogomon, 3.\".  Plate 201. Sahagamana (pp. 430-32) and Sec. VII, No. 1. \"A Purum Hungse.\" Plate 135. Paramhamsa (pp. 314-15).\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34803967590550,"sku":"JC-TIND-06805","price":1800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Silver-Tinder-Boxflint-Holder-With-Flint-Cacutta-Kolkata-India-1800-50.jpg?v=1592593631"},{"product_id":"unusual-indian-silver-bowl-tutankhamun-large-size-signed-india-c-1925","title":"Unusual Indian Silver Bowl, Tutankhamun, Large Size, Signed, India – Circa 1925","description":"\u003cp\u003eThis extremely unusual antique Indian silver bowl is of large size, boasting a diameter of 34 cms and stands 18.5 cms high from base to rim.  It weighs just under two and a half kilograms. The bowl has been ornamented using repousse, chasing and engraving.  We believe that the bowl was made in the first quarter of the 20th century, probably shortly after Howard Carter, the British archaeologist and Egyptologist, became world famous after discovering the intact tomb KV62 in the Valley of the Kings, the resting place of the 18th Dynasty Pharaoh, Tutankhamum, commonly referred to as ‘the boy king’ in November 1922.\u003c\/p\u003e\n\u003cp\u003ePictures of this sensational tomb with its amazing contents featured heavily in newspapers around the world, resulting in a frenzy of interest. The images were heavily copied and inspired many artists to create objects in the Egyptian style which became the latest fashion.  There was a surge of interest in the ancient Egyptians, their mythology and the pantheon of Egyptian Gods. There is a vacant cartouche on the side of the bowl which can be found to the top of the principal border.\u003c\/p\u003e\n\u003cp\u003eThe pictorial ‘signature’ of the maker has been engraved to the underside of the bowl.  This depicts a composite creature with the body of a winged horse with a peacock’s tail and a human face, which is known as a\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBuraq\u003c\/em\u003e. By choosing this symbol to mark his work, it also indicates that the silversmith who made the bowl was most probably Moslem, a follower of the Islamic faith.\u003c\/p\u003e\n\u003cp\u003eIn Indian and Persian Islamic art, the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBuraq\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis depicted as having a beautiful, usually female, humanoid face with the body of a white horse, colourful wings attached to its shoulders and the tail of a peacock.  It is believed that the physical description of the creature might originate from a misinterpretation or mistake when translating the hadith texts of the Koran from Arabic to Persian. The phrase that was used was: “beautiful-faced creature”. This phrase captured the imagination of Indian and Persian artists and examples of 16th century paintings of a human-faced, horse-bodied\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBuraq\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare known although in the scripture itself it was never written that the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBuraq\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas winged or that it had a humanoid face.\u003c\/p\u003e\n\u003cp\u003eA short distance under the rim is a repeating vegetal border with beaded borders which lies immediately above the deep Egyptian inspired principal border.  Below this, a narrow plain silver ribbon border provides contrast to the rich ornamentation and echoes the band of plain silver under the rim, balancing the design.\u003c\/p\u003e\n\u003cp\u003eThe principal border depicts deities from the Egyptian patheon.  Often, the gods can be identified as such by their dress and the objects they hold or carry.  The animal headed staff or sceptre, called a\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ewas,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etraditionally signified a male deity but here it seems also to have been used to denote a Goddess. The symbol of a staff with triangular appendage to the top, is also the picture representing the word ‘God’ in Egyptian hieroglyphs. Many of the figures also hold an ankh symbol.  This represents eternal life and a drawing of an ankh was the hieroglyph used for the word life. Commonly, the looped top of the ankh is held in the hand with the bottom of the cross only visible.  Many of the figures depicted on the bowl are holding an ankh. \u003c\/p\u003e\n\u003cp\u003eThe scenes on the bowl appear to be a composite of wall paintings and objects which were found in the tomb of Tutankhamun and ancient Egyptian beliefs.  Among the objects were the mummified remains of two of Tutankhamun's children, probably stillborn.  It seems likely that the bowl was commissioned as a memorial object for the elderly Indian gentleman with the moustache depicted in the principal border.  Perhaps he too had lost a baby, which might explain the theme chosen for the lower border. \u003c\/p\u003e\n\u003cp\u003eThe first image shows, from left to right, the God Anubis (fully visible), the Goddess Nut and the God Osiris,  Osiris is weighing the heart of Tutamkhamun - represented by a miniature version of Tutankhamun - against the feathers in his scales.\u003c\/p\u003e\n\u003cp\u003eIn Egyptian belief, the weighing of the heart was a ceremony where the God Anubis\/Osiris would judge the dead using a feather which represents the Goddess of truth and justice, Ma'at.  Hearts heavier or lighter than the feather were rejected and eaten by Ammit, Devourer of souls. \u003c\/p\u003e\n\u003cp\u003eThe next image appears to show (the dead) Tutankhamun kneeling on a chair waiting to hear the judgement from the weighing.  Behind him stands the God Horus holding out a torch.  \u003c\/p\u003e\n\u003cp\u003eThe second photo shows the God Amun, arguably the most important god in the Egyptian pantheon.  Amun adopts the traditional pose with his left leg forward. He can be identified by his characteristic flat-topped crown, supporting tall feathers. He has the Gods' braided beard with a curled tip and carries a flail in his left hand with a crook placed across his chest.  To his right is the jackal headed God Anubis, who appears again on the left hand side behind Osiris.  Anubis and Osiris are both connected with death and the afterlife.\u003c\/p\u003e\n\u003cp\u003eIn the fourth image, under the vacant cartouche is an Indian gentleman with a moustache, seated.  To his right stands the God Horus.  The Indian gentleman appears in the scene again, seated next to Tutankhamun as they both wait to hear what their fate in the afterlife will be.\u003c\/p\u003e\n\u003cp\u003eThe last image of the principal scene is believed to show the Goddess Wadjet standing behind the seated God Amun.  In front of  Amun a man holds out a swaddled baby.  This is thought to refer to the stillborn children buried with their father in the tomb.  Wadjet has her arms raised to receive the baby.\u003c\/p\u003e\n\u003cp\u003eThe silver background has been finely incised to contrast with the raised three-dimensional figures with their elaborate and highly detailed clothing. Large flowering plants, vines and creepers fill the spaces around the figures, adding interest to the scenes.  Some of the flowers are in very high relief, stylised but also handled with sensitivity and finely modeled.\u003c\/p\u003e\n\u003cp\u003eThe jolly border around the base is of very different style and depicts a frieze of animals with musical instruments. Although the Indian deity Ganesh was often depicted playing musical instruments, such as the tabla drums, we have been unable to identify examples from the Indian artistic tradition where a group of various animals are playing musical instruments. It is therefore likely that the inspiration for this charming border stems from another artistic tradition. We have identified the European and\/or Japanese as strong possibilities, albeit with an Indian twist.\u003c\/p\u003e\n\u003cp\u003eThis border is a whimsical flight of fantasy which holds universal appeal and has been well executed. It is particularly appealing to children or the ‘child in all of us’ and follows the tradition of anthropomorphising animals, bestowing them with human emotions, drawing them undertaking human tasks or dressing them in human clothes. The popular books written and illustrated by Beatrix Potter would be a good example of this genre.  There does not appear to be an obvious connection between the subject matter of the principal border and the lower border save for the animal headed deities of the former and the animal musicians of the latter.\u003c\/p\u003e\n\u003cp\u003eAmongst the animals portrayed in the lower border are four birds, including a peacock and a cock, whose voices or bird calls are their instruments; a bull and a cow playing gongs;  a dog playing a tambourine, an elephant a piano; a tiger playing drums; a monkey a horn and a boar a trumpet.\u003c\/p\u003e\n\u003cp\u003eThere are three potential sources dating from the 18th and 19th centuries which may, singly or in combination, have inspired this design.  First is the story of \"The Town Musicians of Bremen\" (Die Bremer Stadtmusikanten), a popular fairy tale which was first published by the Brothers Grimm in ‘Grimms’ Fairy Tales’ in 1819. It tells the story of four aging domestic animals, a donkey, a dog, a cat and a rooster, who after a lifetime of hard work and service are no longer wanted by their former masters. Eventually, independently, they all decide to run away from home and meet each other as they journey, deciding to band together and become town musicians in the German city of Bremen. In the 1920s, a charming series of postcards illustrating this story was produced in Stuttgart with illustrations by the German artist, Oskar Herrfurth. The second source is whimsical paintings from the 1880s by the Japanese artist, Kawanabe Kyosai.  Two examples are held within the collection of the British Museum, one depicts a group of dancing frogs, some of which are playing musical instruments and another depicts a Shinto band comprising a mixed group of animals playing musical instruments.  The third source is porcelain from the Meissen factory.  In the mid-18th century, Johann Joachim Kändler (1706-1775) was an artist at the Meissen factory who was responsible for some of Meissen’s most notable designs during its ‘Golden Age’.  Kandler’s ‘monkey orchestra’, a large group of individual porcelain figures of monkeys playing musical instruments, became one of Meissen’s most notable and celebrated designs.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:-  \u003c\/em\u003eEuropean Art Market\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eDiameter 34 cms; Height 18.5 cms\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e   2420 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eStatuette of Amun, Metropolitan Museum, New York, inventory no. 26.7.1412\u003c\/p\u003e\n\u003cp\u003eThe Brothers Grimm, Grimms Fairy Tales, Germany 1819\u003c\/p\u003e\n\u003cp\u003eJutta Assul and Georg Jäger, The Bremen Town Musicians at\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.goethezeitportal.de\"\u003ewww.goethezeitportal.de\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe works of Beatrix Potter, Frederick Warne \u0026amp; Co, London\u003c\/p\u003e\n\u003cp\u003eThe British Museum, London, inventory numbers 1881, 1210, 0.1865 and 1881, 1210, 0.1879\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":34804077232278,"sku":"JC-SILV-06806","price":8000.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Unusual-Indian-Silver-Bowl-Tutankhamun-Large-Size--India-Circa-1925.jpg?v=1599127680"},{"product_id":"antique-indian-enamelled-minakari-oil-dispenser-india-18th-century","title":"Antique Indian Enamelled (Minakari) Oil Dispenser, India - 18th Century","description":"\u003cp\u003eThis antique Indian enamelled oil dispenser was likely made for use within a large residential dwelling or temple complex, where many lamps needed filling and would have been used to hold the oil to fill the lamps.  In India, oil lamps would have provided all supplementary light to the property once the sun had gone down.  The vessel was designed to hold the oil safely and to pour the oil into the lamps without spilling any.  This was important for three reasons; minimising fire hazard, minimising accidents caused by slippage on spilt oil and minimising costs.  It is not known where this oil dispenser was made but probably Jaipur.\u003cstrong\u003e  \u003c\/strong\u003eHendley states that there were thirteen principal enamelling centres and that in Jaipur, one of the most important centres, the lotus flower design was a traditional favourite.\u003c\/p\u003e\n\u003cp\u003eThe oil pourer has been ornamented with colourful enamels of dark blue, dark green, cream, black and turquoise.  The neck can be unscrewed from the base at a point immediately above the handles. The neck has been ornamented with repeating zig-zag bands which contain green enamel. A similar pattern has been used to ornament the stem of an 18\u003csup\u003eth\u003c\/sup\u003e century Indian turban ornament, or \u003cem\u003esarpech,\u003c\/em\u003e within the David Collection. As some of the enamel to the neck has now been lost, the underlying structure of the hatched surface beneath is revealed. Hatching was a process used to help the enamel bond better to the surface of the metal.  Travelling downwards, there are two protruding knops separated by a geometric band which create a place for the fingers to support the neck whilst guiding the upper end of the neck into the correct position before pouring. The lowest portion of the neck contains a border of creamy lotus blossoms with green leaves, portrayed in a naturalistic style.  The bulge which follows has a turquoise enamel ground with golden fish, a naïve depiction of a river and an arrangement which places the lotus flowers above in context.\u003c\/p\u003e\n\u003cp\u003eThe lower part of the vessel has two handles ornamented with stacked, or repeating chevrons containing black enamel and recalling the zigzag border to the neck above.  Within the David Collection is an 18\u003csup\u003eth\u003c\/sup\u003e century enamelled lidded bowl where a similar chevron pattern has been used to ornament the foot and rims. Inlaid chevrons to the rims of bidri wares of the same period are found frequently. As before, lotuses follow with their creamy petals and green leaves.  This time the depiction is more formal in style with the side views of the large upright lotus pods on their straight vertical stems interspersed by fish dominating.  Following on, another depiction of a river with turquoise water and golden fish with a stylised floral and foliate border of dark blue enamel beneath. Within the David Collection is an 18\u003csup\u003eth\u003c\/sup\u003e century enamelled hookah base from Lucknow which portrays a river in a similar way and using similar colour.   The principal border is deep and encircles the widest part of the body of the dispenser.  It is a study of the lotus with flowers once again dwarfed by the larger lotus pods which are portrayed in a more relaxed and more naturalistic arrangement here. A narrow ‘fish and river’, border below leads down to the rounded underside of the base. \u003c\/p\u003e\n\u003cp\u003eTo the centre of the underside is a fully open lotus flower, with a green leaf nestling between adjacent petals, depicted as if viewed from above. This medallion framed by a simple geometric border of black enamel and, in turn, surrounded by a repeating lotus pod border in formal style.  Each pod or seed head is flanked by a large leaf at either side with the pods separated by a slender, drop shaped arrangement of creamy lotus petals.  \u003c\/p\u003e\n\u003cp\u003eThe near spherical body to the base of the dispenser forms the reservoir which holds the oil, ensuring that the maximum weight lies nearest the base.  The underside of the base itself is rounded not flat and should something knock into the vessel when it had been placed on a table or shelf, this effective design would work together with gravity so that it rocked and wobbled on its base rather than toppling straight over and spilling the oil.  There are strong similarities of design with the ubiquitous toddlers’ ‘spillproof’ training cups in common use today which, have a similar shaped base and two handles, placed one at either side.\u003c\/p\u003e\n\u003cp\u003eA smaller, near spherical reservoir which feeds the oil to the long neck, can be seen above the handles,  Grasping both handles, the dispenser could be quickly inverted above the lamp and held in the vertical position until the lamp was full when the vessel would be reversed with another quick movement.  The secondary reservoir and very long neck have the effect of delaying the emergence of the oil by milliseconds, again helping to avoid unnecessary spillage. The oil would be dispensed via the single small hole at the top of the neck. The top part of the vessel unscrews from the base to accommodate filling and cleaning, as can be seen in the photos.\u003c\/p\u003e\n\u003cp\u003eThe art of enamelling is believed to have been brought to India from Persia and most enamellers or \u003cem\u003eminakars\u003c\/em\u003e were members of the Sikh religion in the Punjab who worked in their own homes, assisted by members of their family.  They did not deal with the public directly but worked as sub-contractors to the trade. A metal worker would form the object and his chaser would chase the surface of the object with the chosen design, hollowing out depressions to accept the enamel and hatching them to facilitate the bonding of the two materials; a lengthy and painstaking process. It would then be passed to the \u003cem\u003eminakar\u003c\/em\u003e to enamel. This type of enamelling is usually referred to as baisse-taille enamel.\u003c\/p\u003e\n\u003cp\u003eUsually, the enamellers did not manufacture the vitreous materials they used for enamelling themselves but bought it in and then ground it down and mixed the colours in their workshop. The enamelling process was lengthy and very complex, requiring many different stages of cleaning with acid, firing and burnishing. Objects were fired in clay ovens and were placed on pieces of talc during firing. Different colours of enamel required different firing temperatures, necessitating a strict order of application. If one firing was not successful, it would be redone until it was perfect. Reportedly, some elaborate pieces required as many as eighteen separate firings with cleaning and polishing between each firing.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:-   \u003c\/em\u003eUK Trade\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:-   \u003c\/em\u003eHeight  21.5    cms;  Width 7.5  cms \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:-          \u003c\/em\u003e288  grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eColonial and Indian Exhibition, 1886 Official Catalogue, W Clowes, London 1886\u003c\/p\u003e\n\u003cp\u003eH Hendley, Journal of Indian Art, Issue 2, Volume 1, W Griggs, London 1886\u003c\/p\u003e\n\u003cp\u003eHenry Baden-Powell, Hand-Book of the Manufactures \u0026amp; Arts of the Punjab, Punjab printing Company, India 1872\u003c\/p\u003e\n\u003cp\u003eThe David Collection, Copenhagen, inventory numbers 2\/1981 (Sarpech), 20\/2018 (Huqqa base), 1\/1982 (Lidded Bowl)\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":35372071485590,"sku":"JC-OIL-06821","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Indian-Enamelled-Oil-Dispenser.jpg?v=1599136883"},{"product_id":"antique-indian-silver-heart-shaped-dish-o-m-bhuj-kutch-gujerat-india-c-1890","title":"Antique Indian Silver Heart Shaped Dish, O.M Bhuj, Kutch, India - C. 1900","description":"\u003cp\u003eThis charming antique Indian heart-shaped silver dish was made by Oomersi Mawji, widely considered India's greatest ever silversmith. His workshop was in Bhuj, a city in what is now called the Gujerat region of India but was formerly known as Kutch.\u003c\/p\u003e\n\u003cp\u003eThis is a very unusual and fascinating cross-cultural object which reflects the influence of Japanese art on the European aesthetic movement (1860-1900).  At first glance, someone would in all likelihood, assume that this dish was of European origin but it was made in India. If you were able to turn the dish over, you would see that it is clearly marked to the underside with the stamp of Oomersi Mawji:  ‘O.M’ in a rectangular cartouche and, in a separate rectangular cartouche underneath, the word ‘BHUJ’   The marks have been well struck and are clearly defined.\u003c\/p\u003e\n\u003cp\u003eMawji worked predominantly in the Kutch style but also in the European, Madras swami and Calcutta rural village styles. This is a rare example of Mawji’s work in the European style which is testament to his versatility and total mastery of the medium and demonstrates his ability to produce convincing silver in a wide range of styles.  Other examples are known including a copy of a Centaur vase, one of the items excavated from the House of Silver in Pompeii and several of Mawji’s surviving design drawings also feature European cityscapes.\u003c\/p\u003e\n\u003cp\u003eIn his book ‘Industrial Arts of India’, published in 1880, George Birdwood writes, ‘Lord Northbrook exhibited at Paris (the Paris International Exposition of 1878) some fine Kutch repousse work by Umersi Manji, a goldsmith of Katch, Bhuj’.  Despite the strange spelling, this is obviously a reference to Oomersi Mawji. It is known that Mawji exhibited at many exhibitions in India, Britain and elsewhere.  Several pieces of his work featuring Italian landmarks, such as this, or replicating Italian archaeological finds or classical statues are also known.  Although we have not yet found documentary evidence, it seems very likely that these objects may have formed part of the Indian exhibit at the Milan International Exposition of 1906. \u003c\/p\u003e\n\u003cp\u003eFlowers adorn the rim and frame the central scene.  They have been portrayed in the Japanese style with characteristic asymmetry and elegant surface patterning. These flowers: irises, hydrangea, plum blossoms and wisteria, are some of Japan’s favourite and most iconic flowers. However, the centre of the dish illustrates a favourite Italian topographical scene or veduta, a view of Rome’s Ponte Sant’Angelo, a bridge which spans the River Tiber.  In the background is St Peter’s Basilica and to the right is the Mausoleum of Hadrian.\u003c\/p\u003e\n\u003cp\u003eThis bridge was a favourite subject for artists including Flemish artist, Lieven Cruyl, working in Rome in the 17th Century and Piranesi and Antonio Joli in the 18th century.  By the late 19th century great advances in photography and printing processes allowed the production of affordable, mass produced books illustrated by photographs, such as Stoddard’s ‘Glimpses of the World’ which contained a photograph of the Ponte Sant’Angelo.  These books were sometimes sold by subscription and aimed at the burgeoning middle class.  They captured views of the world and brought them into people’s homes, allowing for virtual but realistic ‘travelling from an armchair’ for the first time.  It is likely that Mawji based his design on an illustration he found in this book or in a similar publication. \u003c\/p\u003e\n\u003cp\u003eMawji’s interest in Italy may well have been ignited by the building of a new palace for the \u003cem\u003eMaharoa\u003c\/em\u003e of Kutch in Bhuj which started in the reign of Pragmal II.  The building was designed by architect and former British Indian army officer, General Henry St Clair Wilkins, who also supervised the construction.  Building works commenced in 1865 and the palace was completed in 1879 during the regency of Pragmal’s son, Khengarji III.  This palace became known as the Prag Mahal.  It was designed in an Italianate style variously described as Italian Gothic, Romanesque and Indo-Saracenic Revival.  \u003c\/p\u003e\n\u003cp\u003eAlongside scores of local builders and labourers, many Italian artisans were brought over from Italy to labour on the palace’s construction and ornamentation.  Their wages were paid in gold coins.  The building featured Italian marble, a clock tower, Corinthian columns, chandeliers, classical statues and jali work, depicting European plants and animals.  As Mawji would have been working in Bhuj during the long building project, it is very likely that he became deeply interested in the palace’s design and construction and likely met some of the Italian craftsmen involved in the project, perhaps even becoming friends with some, particularly after he was appointed Royal Silversmith to the Maharao which may have necessitated visiting the construction site.\u003c\/p\u003e\n\u003cp\u003eOomersi Mawji has become the best known and most celebrated Indian silversmith of his generation. His first workshop was in Bhuj, Kutch and with help from the Maharaja of Kutch, he became the premier Kutch silversmith.  Silver from the Kutch (Cutch) region of India was probably the most famous of the various Indian regional styles. The Maharajas of Kutch gave a great deal of help to the silversmiths living there. Championing their fine work, they commissioned silver for their own use and sent it out as gifts. They also encouraged and sponsored some of them, including Mawji, to attend various prominent national and international exhibitions, ensuring that the region’s silverware was always well represented and exhibited to great effect. Participating in several foreign expositions, Mawji won many prizes for his work and helped to popularise Kutch silver abroad, particularly in Great Britain.\u003c\/p\u003e\n\u003cp\u003eAfter Mawji was appointed Royal Silversmith to the Maharaja of Kutch, he amassed a large international clientele and set the benchmark for other Indian silversmiths to aspire to. He is widely regarded as the greatest Indian silversmith of his generation.\u003c\/p\u003e\n\u003cp\u003eMawji’s workshops were enterprising and he received many fine and important commissions. Helped by his sons and using silver of an extremely high purity (normally 95-98%) he produced many masterpieces which combined superb technical skills with artistry and an overwhelming desire to excel.  His designs were masterful, often joyous and surprising with the high quality of the silverware itself and its ornamentation executed with superb craftsmanship and a high degree of precision.  His quality control was very stringent; objects were made to please and to last. He enjoyed great commercial success in his lifetime. His original design drawings attest to the careful and professional way in which he planned his designs.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance\u003c\/em\u003e:-  UK antiques trade\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions\u003c\/em\u003e:-   Height 11 cms;  Width 12.5 cms (Max)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight\u003c\/em\u003e:-          180 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences\u003c\/em\u003e:-\u003c\/p\u003e\n\u003cp\u003eOomersi Mawji, original design drawings\u003c\/p\u003e\n\u003cp\u003eJohn L Stoddard, Glimpses of the World, A Portfolio of Photographs of the Marvelous Works of God and Man, The Werner Company, New York USA 1892\u003c\/p\u003e\n\u003cp\u003eVidya Dehejia, Delight in Design – Indian Silver for the Raj, Mapin Publishing, India 2008\u003c\/p\u003e\n\u003cp\u003eWynyard R T Wilkinson, Indian Silver 1858-1947, Decorative Silver from the Indian Subcontinent and Burma, Made by Local Craftsmen in Western Forms, W Wilkinson \u0026amp; Indar Pashrical Fine Arts, London 1997 \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":35372809388182,"sku":"JC-HEAR-06825","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Silver-Heart-Shaped-Dish-Mawji-Bhuj-Kutch-India-Circa-1880.jpg?v=1599103723"},{"product_id":"antique-indian-silver-candlesticks-a-pair-lucknow-1890","title":"Antique Indian Silver Candlesticks, A Pair, Lucknow – 1890","description":"\u003cp style=\"text-align: justify;\"\u003eCylindrical, with chased jungle depictions on base and neck, the rim undulating. Two bands with circular repeating fish on neck.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eWeight: 294grams, Height: 18.5cms, Base diameter: 9cms\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":35627810816150,"sku":"JC-CAND-06837","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/NewDoor.jpg?v=1596677034"},{"product_id":"antique-indian-silver-tea-set-madras-chennai-india-circa-1880","title":"Antique Indian Silver Tea Set, Madras (chennai), India – Circa 1880","description":"\u003cp style=\"text-align: justify;\"\u003eThis Madras silver tea service consists of three pieces of oval form and is chased with ‘swami’ style religious motifs associated with Madras Silver.  The scene depicts a temple procession with men carrying banners and idols. The teapot has an S-shaped handle in the form of a human, with an elephant trunk spout and an elephant finial.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003e‘Swami’ or Madras (Chennai) style silver was inspired by and pays homage to the magnificent stone built Dravidian temples found in southern India. These temples consisted of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003egopuras\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eor stepped pyramid shaped structures with layers of carvings of deities, kings and dancers. ‘Swami’ silver also focuses on deities and religious scenes, with depictions standing in relief.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eA wall carving of two figures from the Shore Temple, located in Mahabalipuram and dating back to the 8th century, has similarities with the depictions on the tea set. The Shore Temple is the earliest structural stone temple in southern India.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eProvenance: UK\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eWeight: 979 grams, Length of teapot: 22cms, Width of teapot: 8cms\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eItem: #140\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":35627872911510,"sku":"JC-TEA-06838","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/madras-silver-tea-set-1880.jpg?v=1596677296"},{"product_id":"antique-indian-silver-tea-service-f-p-bhumgara-and-co-madras-india-late-19th-century","title":"Antique Indian Silver Tea Service, F P Bhumgara \u0026 Co, Madras, India, Late 19th Century","description":"\u003cp\u003eThis extremely fine antique Indian silver tea service was made in Madras in the late 19\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003ecentury.  The set comprises three pieces, a teapot, cream jug and sugar bowl.  The vessels are of globular shape with each vessel supported by a plain silver stepped and coiled pedestal foot.  This design is echoed in the corresponding plain silver coiled edge to the rims of the openings above. \u003c\/p\u003e\n\u003cp\u003eThe finial of the tea pot takes the form of an elephant, representing the deity Ganesh. The pot has a spectacular coiled and arched serpent handle containing insulators, which serves as a rest and support for the hinged cover, ensuring that the hinge is not overstrained once the lid is opened. The handle to the cream jug and two handles to the sugar bowl are of similar style.\u003c\/p\u003e\n\u003cp\u003eThe vessels have been ornamented using repousse and chased techniques with well known scenes from the stories of the Hindu pantheon. There are two scenes on each piece which have been inspired by the paintings of Indian artist, Raja Ravi Varma, (please see below for further information) whose paintings and prints would have been widely admired and well known at the time this set was made.\u003c\/p\u003e\n\u003cp\u003eOnly a master silversmith would have been capable of the standard of work required to accurately depict human figures, particularly to differentiate and create realistic faces with human expressions. Above each scene is a succession of architecturally inspired archways, alternating with a floral and foliate sprig. The scene to the tea pot which shows Shiva seated on his throne, with an umbrella above him, and surrounded by his devotees is an absolute masterpiece. With nine figures in total, all the figures are realistically posed, active and expressive with the details of the fabric of their robes, jewellery and the folds and drape of the cloth, finely rendered. The patterned fabric to Shiva’s umbrella is particularly noteworthy as is the finely detailed carving on his throne. The way in which the shape of the bolster supporting his back has distorted with the pressure is also very realistic. The serpent handle is just magnificent with every scale on the snake’s skin precisely rendered as are the striations and detailing of the under belly.\u003c\/p\u003e\n\u003cp\u003eThe background to all the scenes has been finely incised, with the natural elements such as mountains and trees portrayed in a very accomplished, if stylised, manner.  To the opposite side of the teapot, Shiva is shown riding a lion through the countryside, whilst holding Ganesh on his knee and bearing a lotus in his left hand. There is a mountainous backdrop in the distance, probably representing the Himalayas. A male figure follows Shiva and two female figures stand before him, one has her arms raised in welcome.\u003c\/p\u003e\n\u003cp\u003eThe cream jug depicts Shiva resting on Shisha, with a female crouching by his side and holding the lower part of his leg.  Once again, this scene is set against a mountainous backdrop.  To the opposite side, Shiva is depicted walking in the forest amongst the hills.  A female figure is offering him a drink of water from her waterpot.\u003c\/p\u003e\n\u003cp\u003eThe scenes on the sugar bowl are believed to illustrate Krishna with the Gopis, female cowherds, and their cows, with the second scene showing Lakshmi in the forest with two plaintiffs.\u003c\/p\u003e\n\u003cp\u003eThe tea pot has been inscribed to the underside of the base with ‘F.P.B. MADRAS’.  This is the mark of the Parsee merchant, Framgee Pestonjee Bhumgara, who traded from premises at 5 Mount Road, Madras as F.P. Bhumgara \u0026amp; Co. Framgee started his business in the Indian seaport of Surat in 1841, employing six workmen making sandalwood boxes and toys.  In 1865 he obtained premises in Bombay.  By the 1880s the firm had expanded, with other branches in Madras, Calcutta, Amritsar and Kashmir; then Bhumgara looked to expand internationally.\u003c\/p\u003e\n\u003cp\u003eAs reported by The Watchmaker, Jeweller and Silversmith on 2nd September 1889, ‘\u003cem\u003eSome time ago he (Framgee) visited England for the purpose of familiarising himself with the requirements of Western taste, and on that occasion he succeeded in obtaining an introduction to the Queen, who received him at Windsor, and expressed herself greatly pleased with the work, and appointed Mr. Framjee a jeweller to the court.\u003c\/em\u003e’With a royal appointment safely in his pocket, Bhumgara opened offices in London in the late l880’s, trading in Swami silverware, jewellery and other oriental wares.  He traded from premises at 135 London Wall, entering his silver mark with the London Assay Office on the 29th September 1891.\u003c\/p\u003e\n\u003cp\u003eF.P. Bhumgara \u0026amp; Co exhibited at the 1893 Chicago Exposition in the USA and opened their New York branch at 524 Broadway, the following year.  They also exhibited at The Louisiana Purchase Exposition, informally known as the St. Louis World's Fair, in 1904.  Bhumgara advertised a wide range of Eastern imports including various types of new and antique goods including furniture, textiles, metalwork, weapons and embroidered summer draperies.  They described themselves as ‘manufacturers and importers’. At this time, the novelty and exotic appeal of foreign goods in the market place was a source of great pleasure to the consumer who was often starved of any prospect of foreign travel or exploration of other cultures. Cullinane and Ryan explain that “foreignness itself was a large part of the appeal of imports”.  In this climate, traders like Bhumgara saw a great opportunity for profit.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMadras, now named Chennai, is one of India’s principal cities today.  It was founded in 1644 as a strategic trading post of the British East India Company.  As the city grew, it became a centre for silversmiths and other metalworkers. The arts and crafts of Madras were steeped in the Hindu tradition, influenced by the region’s rich legacy of temple architecture and Hindu bronze sculpture. During the nineteenth century, silver produced in Madras became known to the British as “Swami silver” because it depicted an abundance of decorative deities and scenes of religious festivals drawn from the iconography found in the surrounding temples.\u003c\/p\u003e\n\u003cp\u003eFrom 1884 onwards, the work of Indian artist, Raja Ravi Varma (1848 – 1906) became the principal source of inspiration for the silversmiths and this fine tea service is a superb example which illustrates his influence.  Varma was the first Indian artist to fuse contemporary European realism and techniques in his paintings of Indian subjects which he painted with a purely Indian sensibility. In 1894, he started a lithographic printing press to make his art available to the masses.  This enterprise was phenomenally successful: the oleographs produced by the press mainly depicted gods, goddesses, and scenes from the Mahabharata, Ramayana and Puranas.  They were very popular and continued to be printed in their thousands, for many years.  The prints, unlike his paintings, were affordable for almost everyone. In 1901, Varma sold his press to a printing technician from Germany who still continued to produce and distribute Varma’s prints for many years afterwards. \u003c\/p\u003e\n\u003cp\u003eRaja Ravi Varma’s portfolio of work shaped Indian art profoundly, with his visions influencing Indian literature and the arts of the 20th century.  His influence is still very apparent in the visual arts today, with Bollywood film productions basing their portrayals of the Indian pantheon on his art as these images have now become so ingrained in the Indian psyche that they form the foundation for how the general public still envisages those deities, mythological creatures and ceremonial scenes.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:-  \u003c\/em\u003eUK art market\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:- \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eTeapot:-         Height 14 cms; Width 22.5 cms\u003c\/p\u003e\n\u003cp\u003eSugar Bowl:- Height 10cms; Width 17.5cms\u003c\/p\u003e\n\u003cp\u003eCream Jug:-   Height 10.5cms; Width 12.5cms\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:- \u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eTotal weight - 1,090 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eVidya Dehejia, Delight in Design – Indian Silver for the Raj, Mapin Publishing, India 2008\u003c\/p\u003e\n\u003cp\u003eThe Watchmaker, Jeweller and Silversmith, 2nd September 1889\u003c\/p\u003e\n\u003cp\u003eWynyard R T Wilkinson, Indian Silver 1858-1947, Decorative Silver from the Indian Subcontinent and Burma, Made by Local Craftsmen in Western Forms,  W Wilkinson \u0026amp; Indar Pashrical Fine Arts, London 1997 \u003c\/p\u003e\n\u003cp\u003eU.S. Foreign Policy and the Other edited by Michael Patrick Cullinane, David Ryan, Berhahn Books, New York, USA\u003c\/p\u003e\n\u003cp\u003e925-1000.com\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":35689650520214,"sku":"JC-TEA-06943","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/9CYS7_1.jpg?v=1597014690"},{"product_id":"antique-indian-silver-pedestal-rose-bowl-lucknow-india-1876-to-1910","title":"Antique Indian Silver Pedestal Rose Bowl, Lucknow, India - 1876 to 1910","description":"\u003cp\u003eThis antique Indian silver pedestal rose bowl was made in Lucknow, India.   It has been ornamented using repousse and chased techniques.  The bowl is supported by a short plain silver stem over a plain silver stepped and spreading foot with a repousse and chased border featuring a hunting scene.   The scene features a landscape with undulating ground, knolls and grassy hummocks, shrubs and trees including a palm tree.  Two deer appear to be fleeing from a lion behind them which is now being attacked by a wild boar.  A hunter with a rifle is approaching the boar and lion with his gun aimed and ready to fire.  To the body of the bowl, a deep and finely cut acanthus border surrounds the base with a scrolling floral and foliate border just below the rim.  Between them, a deep principal border depicts scenes from a tiger hunt but something more subversive, or at best, satirical, appears once you examine the scenes more closely.\u003c\/p\u003e\n\u003cp\u003eThe imagery has undoubtedly been inspired by the four month tour of India in 1875-6 by Prince Albert Edward, eldest son of Queen Victoria, the future King Edward VII, whilst Prince of Wales.  He was a fanatical, almost obsessive hunter, who committed absolute carnage whilst on his visit to India, particularly during his two week tiger hunt in the Terai, an area of flatland in Nepal in February 1876.\u003c\/p\u003e\n\u003cp\u003eAccompanied by the Prime Minister of Nepal, Maharajah Jung Bahadur, another legendary hunter, the Prince hunted relentlessly.  Mounted on elephants, they bagged pheasants, deer, bears, wild pigs and countless tigers. One day, seven hundred elephants were employed in beating the jungle.  They crossed the river in a single file and a couple of hours later they came across some tigers in a gully, which they encircled with elephants.  One of the tigers, seeking escape, attacked the Prince’s elephant.  Although shaken, he quickly turned around in the howdah and shot the tiger dead.  An artist’s impressions of the scene, applauding the Prince’s quick actions and sharp shooting and entitled ‘The Critical Moment’ was widely distributed. The scene to the bowl with the two elephants and their passengers, undoubtedly references that famous encounter.\u003c\/p\u003e\n\u003cp\u003eHowever, when you look at the people in the howdahs on the bowl, they all appear to be in Indian dress, not European.  Turn the bowl around and you come to a scene where a standing man is fighting a tiger.  The man, in his underpants, appears European and it is obvious that the tiger has inflicted some injuries to his leg.  He is the only figure with a beard and bears an uncanny resemblance to King Edward VII and also to his son, the future George V, both of whom sported beards.  The man wields a knife as he battles with the tiger.  Possibly the tiger represents Tipu Sultan, who the British called the Tiger of Mysore, but the tiger could also symbolise India’s struggle against  British colonial power and the King Emperor.\u003c\/p\u003e\n\u003cp\u003eTipu was a renowned Moslem Sultan who kept tigers and used the tiger as his emblem.   He was killed by the British at the Battle of Seringapatam on 4\u003csup\u003eth\u003c\/sup\u003e May 1799.  Tipu had tried to forge an alliance with other Indian rulers and with the French, to resist the East India Company and prevent it from conquering the South of India.  Some Indians, then and now, view him as a freedom fighter.  It would not be surprising if in Moslem Lucknow, which had its own bloody history with the British during the Indian Rebellion, enduring the long Siege of Lucknow in 1857, that people viewed Tipu as a heroic resistance figure.  The date the bowl was made is unknown, but the style suggests it was made during the last quarter of the nineteenth century or the first few years of the twentieth century.  It is also possible that it could have been made at the time the next Prince of Wales, Edward VIIs son and the future George V, also visited Lucknow.\u003c\/p\u003e\n\u003cp\u003eThe future King George V and his wife, the future Queen Mary, visited India whilst they were still the Prince and Princess of Wales.  Their tour took place in 1905-06 and the royal couple visited Bangalore, Benares, Jaipur, Udaipur, Kaputhala, Bikanir, Delhi, Lucknow, Indore, Mandalay, Rangoon, Karapur, Madras, Gwalior, Agra, Calcutta and Lahore.  Like his father before him, he also visited Lucknow, which was the second visit by a Prince of Wales and future King.\u003c\/p\u003e\n\u003cp\u003eThis royal tour was very well publicised and widely reported in British newspapers at home as well as in the Indian press and internationally.  At the time, the British public’s interest in all aspects of India and Indian life was extremely high.  Their interest had been fuelled by the magnificence, pomp, and sheer exoticism, of the Delhi Durbar of 1903, which had presented such a spectacle just two years earlier. The couple’s progression through India caught the imagination of the British public again and the demand for news and pictures was insatiable.    Many articles and reports of their visit were published in the press and accompanied by photographs.  There is also surviving film footage, which was probably intended as a newsreel for the picture houses.  The first picture house in Britain had opened in 1896, about ten years earlier, with others rapidly following.\u003c\/p\u003e\n\u003cp\u003eA silent black and white film in the archives of the British Film Institute, documents the visit of the Prince and Princess of Wales to Lucknow in 1905.  It follows the Prince’s itinerary which included visits to the Legislative Council Chambers, his inspection of the March past of the 16th Lancers, visits to the Residency, the Kaiserbagh and the Imambara, where he witnessed the distribution of food to the poor in Victoria Gardens.  There is footage of the Prince enjoying a game of polo and visiting the racecourse for the Lucknow Gymkhana.  The prince rode in some of the horse races himself and was placed first in two races and second in his other two races. \u003c\/p\u003e\n\u003cp\u003eDuring the tour, the Prince also indulged his love of hunting, shooting and fishing, which his Indian hosts accommodated.  There is a photo of him standing next to a tiger he has shot outside Hyderabad.  He and the Princess were photographed at various hunts and shooting parties and amongst the many surviving photos are pictures of the Prince and Princess riding elephants and of the Princess riding a camel.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:-  \u003c\/em\u003eUK Antiques Trade\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:-\u003c\/em\u003e \u003cem\u003e \u003c\/em\u003eHeight 19 cms;  Width 26 cms \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:-  \u003c\/em\u003e       1160 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences:-\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eStanley Reed, The Royal Tour in India:  A Record of the Tour of T.R.H. The Prince and Princess of Wales in India and Burma, from November 1905 to March 1906, Bennett Coleman \u0026amp; Co, 1906\u003c\/p\u003e\n\u003cp\u003eBritish Film Institute Archive – Film of the Prince and Princess of Wales visit to Lucknow in 1905 with clips available to view at  \u003ca href=\"https:\/\/www.youtube.com\/watch?v=dVAdRg10DyE\"\u003ehttps:\/\/www.youtube.com\/watch?v=dVAdRg10DyE\u003c\/a\u003e and \u003ca href=\"https:\/\/www.youtube.com\/watch?v=3bWLKvrysS4\"\u003ehttps:\/\/www.youtube.com\/watch?v=3bWLKvrysS4\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eVidya Dehejia, Delight in Design – Indian Silver for the Raj, Mapin Publishing, India 2008\u003c\/p\u003e\n\u003cp\u003eWynyard R T Wilkinson, Indian Silver 1858-1947, Decorative Silver from the Indian Subcontinent and Burma, Made by Local Craftsmen in Western Forms, W Wilkinson \u0026amp; Indar Pashrical Fine Arts, London 1997\u003c\/p\u003e\n\u003cp\u003eH Hazel Hahn, Indian princes, dancing girls and tigers: The Prince of Wales’s tour of India and Ceylon, 1875\/1876\u003c\/p\u003e\n\u003cp\u003eThe Graphic, 1st April 1876, p 313, Illustration: ‘The Prince of Wales Hunting in the Terai. One of the Suite at Close Quarters’,\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":35739933507734,"sku":"JC-PEDE-06948","price":3500.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Indian-Rose-Bowl-Lucknow-Silver.jpg?v=1599104264"},{"product_id":"antique-imposing-silver-model-of-the-kalas-mahal-section-of-the-chepauk-palace-chennai-madras","title":"Antique imposing silver model of the Kalas Mahal section of the Chepauk palace Chennai (Madras)","description":"\u003cp\u003eA fine and imposing silver model of the Kalas Mahal section of the Chepauk palace Chennai (Madras). The model stands on an ebony base containing a drawer, with silver handles and applied silver armorial with inlaid green glass to denote the windows. The model is inscribed above the two main windows ‘CHEPAUK PALACE MADRAS’ and there is a further inscription ‘THE OLD RESIDENCE OF THEIR HIGHNESSES THE LATE NAWABS OF CARNATIC’, the armorial plate is also inscribed ‘H.H. THE PRINCE OF ARCOT G.C.I.E’\u003cbr data-mce-fragment=\"1\"\u003eThis impressive object, dating from c.1917 is a fine and detailed model of the central pavilion of the Chepauk palace, the historic official residence of the Nawab of Arcot (the Carnatic Sultanate) from 1768 to 1855.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eThe palace c.1905 showing the central pavilion.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Carnatic Sultanate emerged in the late 17th century as an important dependency state of the declining Mughal Empire gaining effective independence in 1710. The Sultanate controlled a vast area south of the Krishna river and through the 18th century there was increased contact with both the French and the English as they sought to expand their influence on the sub-continent.\u003cbr data-mce-fragment=\"1\"\u003eThe original capital was at Gingee before moving to Arcot in 1710 and finally to Chepauk (Madras) in 1768. Arcot was to become the name most associated with the Sultanate and the rulers are invariably referred to in English as the Nawabs of Arcot. They allied to the British and eventually in 1801 the Sultanate became a Princely State under the British East India Company largely as a result of the growing dependency on the Company’s resources of money and manpower.\u003cbr data-mce-fragment=\"1\"\u003eIn 1855 the last ruler Ghulam Muhammad Ghouse Khan died with no male heir, the claim of his uncle was put aside by the British authorities and the State was annexed by the British under the doctrine of lapse. The uncle, Azim Jah, was created the first Prince of Arcot (Amir-e-Arcot) in 1867 by Queen Victoria and granted a tax-free pension in perpetuity.\u003cbr data-mce-fragment=\"1\"\u003eFollowing the move of the capital from Arcot to Chepauk, the Nawab Muhammed Ali Khan Wallajah decided to construct a new palace. He was closely allied to the British and employed a British engineer, Paul Benfield, to design and construct the new residence. The building is known for its intricate carvings, wide arches, red bricks and lime mortar and is one of the first buildings of the Indo-Saracenic style to have been built.\u003cbr data-mce-fragment=\"1\"\u003eThe palace now comprises two blocks named the Kalas Mahal and Humayun Mahal. The Kalas Mahal was the official residence and is the earliest part of the palace and the area the model represents. The Humayun Mahal, the northern block, was virtually rebuilt between 1868 and 1871 to incorporate a new records office and Revenue Board.\u003cbr data-mce-fragment=\"1\"\u003eFollowing the death of the last Nawab the palace was auctioned to pay off his debts and was eventually purchased by the Madras government. Serving as a records office and centre of the Revenue Board it also housed the Civil Engineering College, its use continuing throughout the period of British rule. Its scale is truly impressive, being built over an area of 117 acres surrounded by a wall but it has sadly fallen into decay in recent years.\u003cbr data-mce-fragment=\"1\"\u003eThe applied silver armorial, representing the Prince of Arcot, is inscribed ‘H.H. THE PRINCE OF ARCOT G.C.I.E’ and this would indicate Khan Bahadur Sir Ghulam Muhammad Ali Khan (1882-1952), the fifth prince of Arcot who was raised to the rank of Knight Grand Commander of the Order of the Indian Empire (G.C.I.E) in 1917. The exceptional craftsmanship exhibited on the model, with the very fine detailing of the architectural elements, suggests the model was perhaps created as a gift to the prince on his elevation to this rank and as a fine reminder of his ancestral home\u003c\/p\u003e\n\u003cp\u003eH:40cm W:47.6cm\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42738385682582,"sku":"JC-CHEP-07137","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_1-214_1.jpg?v=1693838291"},{"product_id":"antique-indian-crown-style-cap-silver-gilt-and-embroidered-lucknow-c-1855-lucknow-crown","title":"Antique Indian Crown Style Cap, Silver Gilt and Embroidered, Lucknow c. 1855 Lucknow Crown","description":"\u003cp\u003eAntique Indian Crown Style Cap, Silver Gilt and Embroidered, Lucknow c. 1855 Lucknow Crown \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe V \u0026amp; A suggest that an impressive crown style cap, such as this one, would have been worn by a royal female or a young nobleman. The crowns around the base reinforce that this would have been made for a royal head whilst the abundance of fish signify that it was made for a member of the ruling family of Lucknow. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe cap comprises many parts, a headband, a cap which attaches to the headband and covers the head and an open-sided crown superstructure comprising eight fish whose heads attach to the headband whilst their tails attach to a central flower with star, placed above the cap. The embroidered cap is still visible through the gaps between the fish, which are not attached to each other at the sides but form a cage over the cap. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe needlework and textile treatments are amazing. The whole has been fashioned from silver on silk fabric. Real silver gilt threads have been embroidered and used to create the tinsel. Real silver gilt sequins have been used throughout. They have been used to form the bodies of the fish, the seeds of the sunflower and the background to the relief embroidery on the headband. The details of the fishes’ fins, tails and heads have been embroidered and each fish has a fringe of small fine silver tinsel tassels to either side. The fish have red glass eyes. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe headband features raised silver embroidered elements comprising crowns and foliate sprigs with buds set against a silver gilt sequin covered ground. There are silver thread rope borders to top and bottom of the band, which define the panel. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe cap is of silk with a central Islamic eight-pointed star. It has been embroidered with stylised flowerheads and ears of grain, worked in metallic silver thread. This alludes to the fertile agricultural land of the region. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe V \u0026amp; A have several examples of Indian caps dating to the period c. 1855. Made in various cities, some of the elements are similar, accession number 0505 (IS) also features silver gilt sequins; 5739 (IS) tinsel and 6376 (IS) shares a similar crown style construction. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhen Delhi, the home of the Mughal dynasty, was sacked by Iranian invaders in 1739, painters, poets, dancers and musicians re-located in droves to the prosperous and fertile region of Oudh and, in particular, to the city of Lucknow, where the new arrivals generated an artistic renaissance. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 1754, ruler, Shuja al Daula came to the throne and made Lucknow his permanent residence. This marked the beginning of the city’s ‘golden age’. For just over a century, Lucknow, capital of the Mughal province of Awadh or Oudh, (now known as Uttar Pradesh), sparkled as an Indo-Muslim city of unparalleled sophistication and cosmopolitan culture, which became known as ‘the city of gold and silver’. The last Nawab of Lucknow, Wajid Ali Shah, was removed by the British East India Company in 1856, when the province was annexed, ending the city’s ‘golden age’. This would have been very close to the time this crown cap was made, probably just a few years previously.  \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 1819, Ghazi al-Din Haidar took the title of king and freed Awadh from the nominal suzerainty of the Mughals, with the blessing of the East India Company. He modelled his crown on those of European monarchs and the \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e concept of the crown as a symbol of kingship was adopted by the Nawabs of Lucknow. There is a wonderful photo by Felice Beato, which was taken in the 1850’s, of Moostafar Ali Khan, the ruler of Oudh, showing him resplendent in his crown. Within the collection of the Royal Collection Trust is a gold, enamel, pearl, emerald and diamond crown which was presented to Prince Edward during his tour of India in 1875 by the Taluqdars (rulers) of Oudh. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA pair of fish had long been used in Lucknow as a symbol of identity and these were seen as auspicious symbols bringing good fortune. There are diverse theories as to how and why this originated but scholars believe that it sprang from the Maahi-Maratib, a Mughal military honour, although there are many diverse theories as to how one fish became a pair. However, the fish gained more prominence and became Lucknow’s ‘brand’ after British Court artist, Robert Home, designed the royal insignia for Nawab Ghaziudddin Haider’s coronation as the first King of Awadh. He used the twin fish as one of the chief visual elements, and after this, the twin fish became inextricably linked to Lucknow’s identity and to that of its royal house. They featured prominently and everywhere, even boats were made in the shape of fish; but the twin fish motif featured on architecture, furniture, silver ware, jewellery, fabrics etc. and is prominent here, on this remarkable crown cap with its four pairs of fish, which undoubtedly was intended for a member of Lucknow’s ruling family prior to annexation in 1856.\u003c\/p\u003e\n\u003cp\u003eH:19cm W:21cm\u003c\/p\u003e\n\u003cp\u003eWeight: 476 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42738430705814,"sku":"JC-INDI-07140","price":8250.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_2-621_1.jpg?v=1693841985"},{"product_id":"a-large-19th-century-indian-silver-bowl-ornamented-using-repousse-chasing-and-engraving-depicting-scenes-of-naraka-hell","title":"A large 19th-century Indian silver bowl ornamented using repousse, chasing and engraving depicting scenes of Naraka (Hell)","description":"\u003cp\u003eA large 19th-century Indian silver bowl ornamented using repousse, chasing and engraving depicting scenes of Naraka (Hell). This fascinating object is ornamented with a series of dramatic and gruesome scenes which illustrates various torments that are to be found in the Hindu Hell, Naraka, which is also to be found in Jainism and Buddhism. Also known as Yamaloka, Naraka is the abode of Yama, the god of Death, and is described as located in the south of the Universe and beneath the Earth. Below a plain rim and a band of stylised foliage, the main body of the bowl consists of a continuous frieze of gruesome scenes punctuated with stylised trees and foliage to give the impression of a dense jungle. The tormented souls are subjected to the various torments associated with their sin by animal-headed demons called Yama-dhutas or Yama-purushas who are also the messengers of Yama and tasked with the collection of the soul at death as well as performing the necessary punishments. The base of the bowl is decorated with another frieze of a repeating group separated by an acanthas leaf of angelic figures emerging from fish-holding feeding bowls and tending Sarus Cranes. These animals represent the symbols of long life, prosperity, good luck, and good health. The inclusion of these birds contrasts with the torments represented above and perhaps refers to the benefits of leading a good life and that after the punishment of the soul there remains a chance to be reincarnated as higher beings. The bowl's bottom is decorated with an intricate representation of a writhing cobra between two palm trees. The cobra, and indeed snakes in general, symbolise eternity, fertility, and regeneration in Hinduism as well as being the bearer of ancestors' souls, a role that ties in with the bowls decoration and the possibilities the soul of the deceased may face. There are various texts describing the number and names of the hells in the Hindu tradition, each one being intended for a specific sin and resulting torment. Many describe 28 hells. After death the messengers of Yama bring all beings to the court of Yama where he weighs the virtues and vices of the being and passes judgement. In general, the time a being is kept in hell is temporary, after the punishment the souls are reborn as lower or higher beings. The majority of all living beings, including humans and beasts, go to Yama's abode upon death where they are judged. However, very virtuous beings are taken directly to Svarga (heaven). People devoted to charity, especially donors of food, and eternal truth speakers are spared the justice of Yama's court. War-heroes who sacrifice their life and people dying in holy places like Kurukshetra are also described as avoiding Yama. Those who get moksha (salvation) also escape from the clutches of Yamadutas. Those who are generous, and ascetics are given preferential treatment when entering Naraka for judgement. The way is lighted for those who donated lamps, while those who underwent religious fasting are carried by peacocks and geese. Early texts like the Rigveda do not have a detailed description of Naraka. It is simply a place of evil and a dark bottomless pit. The Atharvaveda describes a realm of darkness, where murderers are confined after death. The Shatapatha Brahmana is the first text to mention the pain and suffering of Naraka in detail, while the Manu Smriti begins naming the multiple hells. The epics also describe Hell in general terms as a dense jungle without shade, where there is no water and no rest. The names of many of the hells is common in Hindu texts; however, the nature of the sinners tormented in particular hells varies from text to text. The 28 hells outlined in the Bhagavata Purana, and the Devi Bhagavata Purana are as follows: Tamisra Andhatamisra Raurava Maharaurava Kumbhipaka Kalasutra Asipatravana\/Asipatrakanana Shukaramukha Andhakupa Krimibhojana\/Krimibhaksha Sandansa\/Sandamsa Taptasurmi\/Taptamurti Vajrakantaka-salmali Vaitarni\/Vaitarna Puyoda Pranarodha Visashana Lalabhaksa Sarameyadana Avici\/Avicimat Ayahpana Early 20th century popular print illustrating Naraka Ksarakardama Raksogana-bhojana Shulaprota Dandasuka Avata-nirodhana Paryavartana Sucimukha While Naraka is described in various texts and Hindu epics the depiction of the various ordeals to be found there is uncommon in art. Specific deities and demons do appear in sculpture and are to be found in wall paintings and in the decoration of some texts. It was, however, in the nineteenth century and the development of mass production prints that Naraka became a popular subject for artists such as Raji Ravi Varma (1848 - 1906) whose paintings were quickly reproduced and sold to a mass market. On decorative objects and silver, however, it remained a rare subject making this bowl an exceptional example and most likely a special commission as there appears to be nothing comparable.\u003c\/p\u003e\n\u003cp\u003eWeight: 2780 grams\u003c\/p\u003e\n\u003cp\u003eMeasurements:\u003c\/p\u003e\n\u003cp\u003eHeight: 20cm\u003c\/p\u003e\n\u003cp\u003eWidth: 35cm\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42776714281110,"sku":"JC-ALA-07163","price":1.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_1-585_1.jpg?v=1696522670"},{"product_id":"a-fine-and-rare-early-19th-century-indian-silver-and-parcel-gilt-elephant-toy","title":"A fine and rare early 19th century Indian silver and parcel gilt Elephant toy.","description":"\u003cp data-mce-fragment=\"1\"\u003eA fine and rare early 19th century Indian silver and parcel gilt toy. Modelled as an elephant, richly caparisoned with bells and floral adornments, with elaborate howdah and ridden by an elephant driver in a decorated tunic holding a combination axe and ankus the whole mounted on a decorated base with four wheels. The elephant has a long and complex history in the culture of the Indian sub-continent. The Asian elephant appears in various religious traditions and mythologies. They are treated positively and are sometimes revered as deities, often symbolising strength and wisdom. According to the Hindu cosmology of ancient India the Earth is supported and guarded by mythical World Elephants at the compass points of the cardinal directions. The classical Sanskrit literature also attributes earthquakes to the shaking of their bodies when they tire. Wisdom is represented by the elephant in the form of the deity Ganesha, one of the most popular gods in the Hindu religion's pantheon. In Hindu iconography, many devas are associated with a mount or vehicle known as a vāhana. In addition to providing a means of transport, they symbolically represent a divine attribute. The elephant vāhana represents wisdom, divine knowledge and royal power; it is associated with Lakshmi, Brihaspati, Shachi and Indra.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe strong association of the elephant with wisdom, strength and royal power has naturally become a strong artistic and cultural trope in India. From large stone carvings to humble models of clay or wood the elephant has been portrayed as both a sacred animal and an emblem of power. The peak of such representations lies in the Mughal period when the great age of miniature painting produced many images incorporating the elephant as part of an elaborate royal iconography.\u003c\/p\u003e\n\u003cp\u003eMeasurements:\u003c\/p\u003e\n\u003cp\u003eHeight: 32cm\u003c\/p\u003e\n\u003cp\u003eLength:17cm\u003c\/p\u003e\n\u003cp\u003eWidth: 10.5cm\u003c\/p\u003e\n\u003cp\u003eWeight: 3,840 grams\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Company painting of an Elephant with a Howdah c.1850\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMoving models, such as this example, originate in the long tradition of idol cars. These vehicles, often of large scale, were produced to carry a representation of a deity during festivals in their honour and could be pulled either by groups of devotees or by animals such as elephants. Small versions, often in brass or wood, were produced as votive offerings. These models are often referred to as ‘Temple Toys’, especially those that were mounted with wheels. While many were intended simply as an offering, others were used within the temple complexes as an aid to play and teaching the younger devotees.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Mid-19th century painted wooden ‘Temple Toy’\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThese models were obviously not limited to temple use and there has been a long tradition of toy making more generally in India. However, examples in silver are particularly rare. While static silver\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003estatues are to be found as votive offerings, a silver toy model suggests a special commission from a member of the ruling elite.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe elaborate nature of the model, with rich decoration and great attention to detail, closely matches the decoration used on elephants that carried the rulers of the various Indian states during festivities as does the fine attire of the driver. For the child of a noble this would be an excellent representation of what he would see on these festive occasions and a way for the child to be a part of it and learn his place within such ceremonies. Such a luxury item is also very much a part of the Indian nobilities love of display and richness.\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":43121154785430,"sku":"JC-19TH-07169","price":16000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_2-565_1.jpg?v=1707747464"},{"product_id":"antique-indian-silver-box-19th-century","title":"Antique Indian Silver Box 19th century","description":"\u003cp\u003eA fine early 19th century Indian silver box. Of square shape with each side applied with an\u003cbr\u003eintricate lotus motif. The lid has a reeded border with foliate decoration to each corner, the\u003cbr\u003ecentre of the lid rises from a complex lotus motif to a domed stupa like finial.\u003cbr\u003eAlthough of small scale, this exquisite box displays great quality in both technical and\u003cbr\u003eaesthetic aspects.\u003cbr\u003eThe lotus flower has an ancient history in the art and religions of the Indian sub-continent.\u003cbr\u003eWithin Hinduism the flower is associated with a number of divinities, most notably Vishnu\u003cbr\u003eand Lakshmi. The symbolism of the lotus is extensive within the Hindu canon, it symbolises\u003cbr\u003ethe divine and immortal aspects in humanity as well as divine protection and the realization\u003cbr\u003eof inner potential. It is frequently referenced in Puranic and Vedic literature and appears\u003cbr\u003efrequently in depictions of the deity’s often as a throne. in Tantric and Yogic traditions, it\u003cbr\u003esymbolizes the potential of an individual to harness the flow of energy moving through the\u003cbr\u003echakras (often depicted as wheel-like lotuses) flowering as the thousand-petaled lotus of\u003cbr\u003eenlightenment at the top of the skull.\u003cbr\u003eMany of these aspects were adopted into Buddhism, and indeed the Buddha is quoted as\u003cbr\u003ecomparing himself to the lotus saying that the lotus flower rises from the muddy water\u003cbr\u003eunstained, as he rises from this world, free from the defilements taught in the specific sutta.\u003cbr\u003eThis symbolism is expanded so the lotus represents the purity of the body, speech and mind\u003cbr\u003efloating above the murky waters of material attachment and desire.\u003cbr\u003eThe religious importance of the lotus naturally meant it was a frequent motif in the art of the\u003cbr\u003esub-continent as the great temples were decorated with sculpture and reliefs and religious\u003cbr\u003etexts were often illuminated.\u003cbr\u003eAs the lotus is closely associated with the Buddha the flower is often incorporated into the\u003cbr\u003earchitecture of the stupa’s that were built as shrines often containing relics associated with\u003cbr\u003ethe Buddha. The top of this box bears a design reminiscent of a stupa with a dome rising up\u003cbr\u003efrom an open lotus motif.\u003cbr\u003eThe emphasis on the lotus could suggest a specifically Buddhist use for the box although the\u003cbr\u003egeneral importance of the flower in all the major religions of the sub-continent make a\u003cbr\u003especific attribution difficult. It was obviously intended for something precious and is a fine\u003cbr\u003eexample of the quality of silver artisans working in the early years of the 19th century.\u003c\/p\u003e\n\u003cp\u003eLength: 5.2 cm  \u003c\/p\u003e\n\u003cp\u003eWidth: 5.2 cm\u003c\/p\u003e\n\u003cp\u003eHeight: 7 cm\u003c\/p\u003e\n\u003cp\u003eTotal Weight: 155 grams \u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":46364538798230,"sku":"JC-07217","price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/010526_1.jpg?v=1778059961"},{"product_id":"an-indian-colonial-period-silver-salver-or-presentation-silver-tray-1865","title":"An Indian colonial-period Silver Salver or presentation Silver tray, 1865","description":"\u003cp class=\"p1\"\u003eAn Indian colonial-period Silver Salver or presentation Silver tray, 1865\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis Silver Tray appears to be a Testimonial Address to an Assistant Engineer, Great Southern India Railway, to honor an unnamed Assistant Engineer upon his departure from the company's service, presented to a departing railway engineer in 1865.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis large silver salver is of shaped circular form with a scalloped rim and raised on scroll feet. The surface is richly decorated with intricate foliate scrolls, flowering plants, and ornamental arabesques executed in high relief. At the centre is an oval reserve engraved with a sailing ship, enclosed by dense scrolling foliage. The broad border is similarly embellished with finely chased floral ornament characteristic of luxury silver produced in colonial India during the late nineteenth century.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tray exemplifies the highly decorative silverware made by Indian craftsmen for both local patrons and the British export market during the period of the British Raj. Workshops in Bombay, Calcutta, and Madras became renowned for their technical virtuosity, combining Indian decorative traditions with forms popular in Victorian Britain. Such salvers were often commissioned as presentation pieces, commemorative gifts, or prestigious dining accessories.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe elaborate workmanship reflects the skill of Indian silversmiths who employed chasing, repoussé, and engraving techniques to create richly textured surfaces that appealed to European tastes while retaining a distinctly Indian ornamental vocabulary.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Great Southern India Railway was one of the major private British companies that built and operated India's early railway network. In 1865, the Indian railway system was still in its rapid expansion phase, with construction driven by both commercial interests and the colonial administration's strategic and administrative needs. This item offers a tangible connection to that era of railway history.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe text is arranged in a formal, hierarchical style typical of Victorian presentation pieces. It begins with the word \"PRESENTED\" in large type, followed by the recipient's designation as \"Assistant Engineer Great Southern India Railway\" and the reason for the gift—his \"leaving the service.\" The plaque records that the presentation was made by the \"Officers and men of his district\" as \"a mark of their esteem and respect for him as a gentleman and engineer,\" a phrase that highlights the Victorian values of professional competence and personal character.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe inscription raises intriguing historical questions. While this specific Assistant Engineer is not named on the item, records show that a Robert White (1842-1925) joined the Great Southern India Railway as an Assistant Engineer in 1869, a few years after the 1865 date. This suggests either an earlier, unidentified engineer or that this is a general style of presentation from the period.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe plaque is a significant artifact for understanding the social and professional hierarchies of the colonial railway enterprise. It demonstrates the formalized nature of professional relationships and the importance placed on recognition and respect between ranks, from senior officers to the \"men\" working under them.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMeasurements:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLength: 29,3 cm  \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWidth: 24,3 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 3,4 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTotal Weight: 781 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":46425628999830,"sku":"JC-SILV-07232","price":3900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/T1.jpg?v=1781801125"}],"url":"https:\/\/www.josephcohenantiques.com\/collections\/indian-silver.oembed?page=2","provider":"Joseph Cohen Antiques","version":"1.0","type":"link"}