“There has been no conscious effort to preserve Indian film collectibles”

Film critic, screenwriter and editor Khalid Mohamed speaks candidly with Rashmi Rajgopal about the sorry state of Indian film memorabilia.

Khalid Mohamed.  Credits: oneshotoneplace.com/

Khalid Mohamed
Credit: oneshotoneplace.com

Unlike paintings, film memorabilia seldom receive their due. Everyone knows this, and everyone wants to do something about it, but it’s always the authorities who get pointed at for not doing enough. Three weeks ago, I’d written to two collectors who’d very generously agreed to share their story on sourcing Indian film collectibles with me. When asked why they’d decided to auction their collection, their reply left me unconvinced: “…film memorabilia have immense potential…we would like to create an appreciation for this art form which is one of its kind.” I was hoping to know how they felt about auctioning their collection, and whether they were hopeful it would be received well. They’d clearly spent a lot of time and energy sourcing items from cities across India. There had to be more to this explanation.

So I ruminated on what they’d said. It sounded obvious, yes, but what kinds of stories lurked beneath the surface of the potential of Indian film memorabilia? I called Khalid Mohamed with a few hastily compiled questions on abandoned originals: posters and other publicity material brought out by the production companies at the time the film was first released. Many producers still retained these, but others were indeed left lying around, decaying with time. “The Grant Road and Chor Bazaar markets used to have a good collection of film posters”—whether originals or copies wasn’t clear—“but those are now gone.”

When it comes to government efforts to preserve something significant, we know how it turns out. Any indifference on their part is no news. “Originals by far are very few, and very badly archived,” Khalid explained, quite matter-of-factly. “Obviously at the time not many knew they would mean so much, so there was no conscious effort to preserve them.” Exceptions would be the National Film Archive of India and the Films Division. The latter’s website features an appeal from the government to donate films, manuscripts, equipment and artefacts to the National Museum for Indian Cinema, which opened in Mumbai this February.

Set of 8 lobby cards from Mughal-e-Azam.  Available till 26 June on StoryLTD.

Set of 8 lobby cards from the Mughal-e-Azam collection
Available till 26 June on StoryLTD

“What about the artists who worked on posters and lobby cards? Didn’t they do anything to retrieve their artwork?”

“Why would they? It’s a question of earning a living,” he replied.

Though Khalid tackled my questions convincingly, I sensed a cynicism in his voice as he spoke—the kind that comes through dealing with and resisting an indifference to conserving these originals, and knowing that any efforts would have been the bare minimal, and finally resigning to it. “There just hasn’t been a consciousness in preserving film posters,” he said with a tinge of bitterness. A market demand would surely compel a more conscientious approach to preserving what’s remaining of these originals—the thought came easily to me, but he countered it. “How would you define the market?”

The market, he argues, is unstructured and vague. People want film posters, but it cannot be pinned to any specific demographic. “After Hollywood started selling film memorabilia, we followed in their tracks.” While acknowledging a base of collectors, he believes it’s still a highly niche demand. Certain collectibles hold more allure than others. “Posters of Guide and Mughal-e-Azam are still extremely popular.” The interest is mainly driven by fondness and nostalgia. Khalid is right to an extent; fondness and nostalgia do lie at the base, but perhaps it’s also fuelled by a serious interest in film memorabilia as an art form. Of course, from a sales perspective, this kind of cultural validation holds more appeal over a primal human desire to possess something that evokes a bygone age. It’s almost impossible to uncover true motives, but it is a possibility.

So the best bet to find well-preserved originals would be with directors, film producers, actors, and others in the business who’ve sought out these posters. One would even get lucky at certain theatres. “If you go to Liberty Cinema, you would find a beautiful hand-painted poster of Awara,” he said, while adding other names. “Rishi Kapoor, Raj Kapoor…they had conserved many posters.”

 

From Princely Families to Shop Dealers: Seeking Out Vintage Indian Collectibles

Rashmi Rajgopal in a conversation with two collectors on sourcing and preserving an impressive collection of original Indian film memorabilia

In a culture where posters of Amitabh Bachchan juxtaposed with goddesses and politicians abound on shop-shutters and chipped walls, the garish colours and larger-than-life poses barely make a difference. The noise is overwhelming and too deeply permeated to make you pause and look. Online, googling any of the old ’50s-’80s (and more recent, but those are easier to come by) films churns up eye-catching jpegs. It’s the same story; they’re downloaded and regurgitated back on walls. Occasionally accompanying these images is a tale of abandoned originals, lying forgotten in design studios. When they are finally discovered, everyone takes notice. Stumbling upon originals is pure luck, but putting together a collection of carefully sourced posters, LP records, stills, film synopses and lobby cards requires immense patience and determination. Two collectors, now auctioning their repository of original film posters, among other film memorabilia, share their story.

A lithographic poster of Don (1978)

A lithographic poster of Don (1978)

Amitabh Bachchan in Muqaddar ka Sikandar

A lobby card of Muqaddar ka Sikandar (1978)

Could you tell us how you sourced and put your collection together?

In 1998, we once visited a Nawab family in Saharanpur. They had a library which we were keen to buy. In one of their cupboards, there was a pile of B&W stills of films from the ’50s and ’60s. We started going through them out of curiosity and found them visually striking. The family had owned a theatre in town for a while and the collection was from that era. That was our first purchase. Then we chanced upon a collection of posters from the same period in Lucknow. These were of Raj Kapoor, Dilip Kumar and Dev Anand films. We were quite taken in by their artwork and very contemporary layouts. The Satyajit Ray collection was bought from a film distributor from Calcutta. In the beginning, we bought a bit hesitantly, being unsure how to go about it, but we soon gained confidence. We learned to recognise originals from reprints. We selected material on the basis of their visual appeal. At times, lesser known movies had some excellent publicity material. For the period from 40s to the 70s we bought everything, rejecting only what was damaged. Preserving them and keeping them safe is a big challenge since paper is fragile and tends to break easily.

A show card of Chinatown (1962)

A show card of China Town (1962)

A Mother India (1957) show card

A Mother India (1957) show card

How difficult was it to obtain so many originals?

We have sourced from various cities like Lucknow, Calcutta, Rampur, Banaras, Mumbai etc. Our sources were mainly old shops, dealers, antique stores, distributors and old families with their private collections. We initially bought what was available. After a few years, we asked people to source specific stars or films. We also managed to train dealers to pick originals with good artwork.

Are there any interesting stories behind some of the lots?

One of our favourite dealers remains an old operator of film machines in theatres. He is a true fan of Bollywood—there wouldn’t be a single film he couldn’t hum a song from, and he would enthral us with stories about old films which we hadn’t seen.

Once when we were in Calcutta, we visited a Thakur family. They had a few paintings we wanted to see. We caught sight of hundreds of LPs and film synopses while at their store. But their grandfather was reluctant to part with his collection, which was now gathering dust. It took us three visits to finally be able to complete the purchase.

Similarly the Raj Kapoor collection (Mera Naam Joker, Sangam, Awara etc.) was with a family who were film financiers and had unfortunately not been able to sustain in the film business, which they said was very risky.

A lobby card of Raaz (1967)

A lobby card of Raaz (1967)

A lobby card of Ashok Kumar's Bhai Bhai (1956)

A lobby card of Ashok Kumar’s Bhai Bhai (1956)

Any particular era in Indian cinema that strikes you in its visual appeal?

The period from the 1940s to the 1980s is the golden period of Indian cinema—movies were made with a lot of attention to minute details. This attention to detail is reflected in the designing of the publicity material. The B&W stills stand out for their light and shadow effect (chiaroscuro). Each photograph was developed with care and precision, making them beautiful and breathtaking. Before the onset of colour printing, these photographs were hand-coloured in lovely hues, displaying the finesse and dexterity of the artist. Soon, mixed media became the norm. There were big collages with hand-coloured photographs, bold headlines and hand-coloured designs making them very contemporary. With the advent of offset printing, lobby cards came to be designed sometimes in sepia or bold and rich colours.

The printing of posters has always been in coloured medium with lithographic technique. However, the quality is special with emphasis on composition and layout, the quality of printing being excellent. These were at times designed by well-known artists like Husain.

A Poster from Satyajit Ray's Kapurush-O-Mahapurush (1965)

A poster from Satyajit Ray’s Kapurush-O-Mahapurush (1965)

An offset lobby card of Razia Sultan (1983)

An offset lobby card of Razia Sultan (1983)

Why the decision to put this collection on auction?

Bollywood film memorabilia has immense potential. Some of them are as valuable as paintings and are very contemporary. We would like to create an appreciation for this art form which is one of its kind.

Your E-Pocket Guide to Exhibitions This June

The folks at Saffronart have put together a compact list of art events in Mumbai, Delhi, London and New York. All you need is a fully-charged phone to guide you and enough money if you’ve got travel plans.

There’s a lot happening in the South Asian art world that shouldn’t be missed. We’ve got it mapped for you, so head out and start taking it all in, beginning with…

Mumbai

Meera Devidayal: A Terrible Beauty, at Gallery Chemould Source: http://www.gallerychemould.com/exhibitions-works/a-terrible-beauty-meera-devidayal-chemould-prescott-road-art-mumbai-exhibition-mill-photograph-video-2014-cricket/Untitled_Painting.html

From the exhibition Meera Devidayal: A Terrible Beauty, at Gallery Chemould
Source: Gallery Chemould Website


Waswo X. Waswo: Sleeping Through the Museum
Where:  Sakshi Art Gallery, Colaba
On View Till: June 21, 2014

Has the title of the show piqued your interest yet? Udaipur based American artist Waswo X. Waswo simulates a museum in this solo show through numerous “artifacts” and photographs arranged to replicate the look and feel of one. On a deeper level, it questions the act of preserving and displaying such pieces as perpetuators of culture and heritage. For folks hanging out at SoBo and looking to do more than just kill time, head to Sakshi Art Gallery between 11am and 6pm, except on Sundays when they’re closed.

Amrita Sher-Gil: The Passionate Quest
Where:
National Gallery of Modern Art, Mumbai
On View Till:
June 30, 2014

Commemorating the birthday of the well-renowned late artist Amrita Sher-gil, this exhibition curated by art historian Yashodhara Dalmia presents a range of her oeuvre including works depicting her life in Paris, nude studies, still-life studies and portraits of her friends and her fellow students. Sher-gil, who is also recognized as India’s own Frida Kahlo, has been the youngest and only Indian artist to be elected as an Associate of the Grand Salon in Paris. The exhibition also includes her photographs, and original letters. A must-visit show for art enthusiasts in the city.

A Terrible Beauty
Where:
Gallery Chemould, Mumbai
On View Till:
July 9, 2014

This exhibition includes works by Delhi-based artist Meera Devidayal who has adopted the theme of the dilapidated mills of Mumbai and their future as the subject for her works. Her unique style and extremely sight-specific theme make this a show that is bound to make viewers not just appreciate the aesthetics of the works but also ponder about the future of the mills.

Figures of Speech: Using the Written Word in Contemporary Art
Where: Four Seasons Hotel, Mumbai
On View Till: July 15, 2014

Exploring the relationship between words and images, this exhibition features the works of contemporary artists such as N. Ramachandran, Bhavna Sonawane, Brinda Miller and Rajesh Patil among others. Of course, you can combine a visit to this exhibition with a meal or a coffee at the Four Seasons Hotel to make for a lovely afternoon or evening.

Walk the Line with Sudhir Patwardhan
Where:
Jehangir Nicholson Gallery, Kala Ghoda, Mumbai
Walkthrough:
Wednesday 11th June, 5 – 6:30 pm
On View Till: August 30, 2014

If the ongoing exhibition, “Taking the Line for a Walk” at the Jehangir Nicholson Gallery already doesn’t sound exciting enough to visit, the idea of being walked through it with contemporary artist Sudhir Patwardhan himself certainly makes it hard to miss. The exhibition showcases 45 drawings by well-acclaimed artists such as Tyeb Mehta, Akbar Padamsee, F.N. Souza, S.H. Raza, Laxman Shreshtha, Manjit Bawa and Sudhir Patwardhan. A message especially for the drawing enthusiasts out there: don’t miss this event!

 

Delhi

Raj Rewal:  “Memory, Metaphor and Meaning in his Constructed Landscape”  at NGMA, Delhi Source: caravanmagazine.in

From the exhibition Raj Rewal: “Memory, Metaphor and Meaning in his Constructed Landscape”, at NGMA, Delhi
Source: caravanmagazine.in

Kaleidoscope: Group Art Show
Where: Chawla Art Gallery, Delhi
On View Till: June 14, 2014 

This group exhibition shows some of the finest works of contemporary artists such Asit Kumar Patnaik, Bharat Bhushan Singh, Farhad Hussain, Jayasri Burman, K.S. Radhakrishnan, Ramesh Gorjala, Satish Gujral, Shipra Bhattacharya, Surya Prakash, Thota Vaikuntam, Tapas Sarkar and Manu Parekh. Having works by so many artists under one roof makes for an interesting variety of styles and themes. There is bound to be something that catches the eye of every individual view!

Raj Rewal: “Memory, Metaphor and Meaning in his Constructed Landscape”
Where: National Gallery of Modern Art, New Delhi
On View Till:
June 15, 2014

This is a retrospective show of the works of Raj Rewal, one of India’s finest architects. Known for several iconic buildings in India and abroad, his works have also been showcased at famous museums abroad such as the Pompidou Centre in Paris. Looking at architecture as a visual art allows for a unique experience for many viewers who may otherwise overlook the artistic element in buildings, which are typically judged by their functionality.

Identity Control
Where: Vadehra Art Gallery, Delhi
On View Till:
June 17, 2014

This exhibition features works that deal with “notions of policing, tracking, security, immigration, loss of individuality and rebellion, all of which are issues that affect us in more than one level.” Considering the different perspectives and approaches of leading contemporary artists such as Shilpa Gupta, Jitish Kallat, Karthik KG, Rafael Lozano-Hemmer, Natalia Ludmila, Armando Miguelez, should allow you to gain an extensive view of the complexities surrounding one’s identity.

Degenerate
Where: VadehraArt Gallery, Delhi
On View Till:
June 17, 2014

Featuring the works of contemporary artists such as Atul Bhalla, Ruby Chishti, Minal Damani, Jagannath Panda, Ashim Purkayastha and B. Ajay Sharma, this exhibition focuses on the different facets of Indian urban life in contemporary times. Combine a visit to this show with the ‘Identity Control’ exhibition, taking place in the same gallery!


London

M.F. Husain, Ganesha, 2008 from the exhibition M.F. Husain: Master of Modern Indian Painting at the Victoria and Albert Museum, London Source: http://www.vam.ac.uk/content/exhibitions/mfhusain/about-the-exhibition/

From the exhibition M.F. Husain: Master of Modern Indian Painting, at the Victoria and Albert Museum, London
Source: http://www.vam.ac.uk/content/exhibitions/mfhusain/about-the-exhibition/

S.H. Raza: Pyaas
Where:
Grosvenor Gallery
On View Till:
June 14, 2014

What would you say to being in London in summer for an exhibition of paintings by one of India’s most revered Modern artists? If it isn’t a whoop and a jump (or an acknowledging smile for the more poised amongst you), we can only surmise you don’t have a visa to make the trip. The exhibition ‘S.H. Raza: Pyaas’ is just the thing for art enthusiasts—it intends to display the development and range of styles in which Raza has depicted his characteristic subject matter in recent times. The paintings contain a great deal of vigour, vibrancy and a strong connection to India and its religious heritage.

Art Antiques London
Where:
Kensington Gardens opposite the Royal Albert Hall
On View: June 12 – 18, 2014, 11am onwards

‘The most important Asian sales of the year will be held in London during this annual event.’ —BBC Homes & Antiques Magazine

‘Asian Art in London is a brilliantly conceived celebration of Asian Art and has made London the undisputed Asian Art capital of the world.’ — Essential London Magazine

Accolades alone won’t do it, so hear it from us. Asian Art London has grown to become a highly prestigious art fair dealing in antiques and art, bringing together renowned dealers, collectors and enthusiasts. It is a one-of-a-kind opportunity to procure beautiful and rare items in antique and contemporary Asian art. Among participating galleries from London and Paris, Galerie Christophe Hioco is one to look out for. Crowning this is its convenient location opposite the Royal Albert Hall, against the backdrop of the verdant Kensington Gardens—you certainly can’t say no to that!

Olivia Fraser: Subtle Bodies Exhibition
Where: Grosvenor Gallery
On View Till: June 21, 2014

India’s art traditions draw the internationally-acclaimed artist Olivia Fraser to reference it in her works, and her latest paintings attest to this. Having lived in India for the last ten years, Fraser’s work reflects a grasp of Indian traditional iconography, but used to express sensations of a meditative process. ‘Subtle Bodies’ displays a mix of paintings on hand-made paper and limited-edition prints prepared during the last few years and the work announces Fraser’s emergence. The incredible blend of east and west, traditional, and contemporary for the new exhibition is a direct reflection of Fraser’s ideology.

M.F. Husain: Master of Modern Indian Painting
Where: Victoria & Albert Museum, South Kensington
On View Till: July 27, 2014

Seems like there’s no end to exhibitions featuring South Asian art in Central London. Head to the V&A for a sumptuous collection of paintings by Maqbool Fida Husain (1915-2011). A member of the Bombay Progressives, he was famed for his freehand drawing and vibrant colours and was among India’s pioneering Modern artists. The eight painted triptychs on display illustrate Indian civilization and were commissioned in 2008 by Mrs Usha Mittal as a tribute to the richness of India’s history. The artist was still working on the project at the time of his death and originally envisaged a series of 96 panels. History and religion feature in a feisty splurge of colours and expression—be sure to not miss out on this one!


New York

Sadequain  UNTITLED, RED BRACELET, 1980s from the exhibition Sadequain: A Retrospective at Aicon Gallery, New York Source: http://www.aicongallery.com/exhibitions/2014-06-12_sadequain-a-retrospective/?page=2#/images/20/

From the exhibition Sadequain: A Retrospective at Aicon Gallery, New York
Source: http://www.aicongallery.com/exhibitions/2014-06-12_sadequain-a-retrospective/?page=2#/images/20/

Sadequain: A Retrospective
Where:
Aicon Gallery, New York
On View: June 12 – July 12, 2014

When the Moderns were earning a name in India, Sadequain Naqqash carved his path to fame and later came to be known as a pioneering Pakistani artist in his country and the world. He came from a family of scribes and the background served him well: Sadequain came to be recognised as Pakistan’s foremost calligrapher and painter and is credited with the renaissance of Islamic calligraphy in Pakistan. His vocabulary developed through a mingling of Eastern and Western artistic traditions, as well as Hindu and Muslim ideology. Aicon Gallery hosts a collection of 24 works from the 1960s to the ’80s that trace the trajectory of his artistic development.

Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century
Where:
Metropolitan Museum of Art
On View Till: July 27, 2014

This monumental exhibit is the first of its kind and scale to bring together works on loan from South East Asia’s distinguished national collections, showcasing sculptural art produced in the earliest kingdoms of the Southeast Asian region. The Lost Kingdom features some 160 sculptures representing distinct Hindu and Buddhist cultural groups that flourished in the Southeast Asian region, that has been out of view owing to the shadow of time. Epigraphic efforts of the 20th century brought to the fore the cultural practices and remains of the Pyu, Funan, Zhenla, Champa, Dvāravatī, Kedah, and Śrīvijaya groups, which date back to many centuries. The art works highlight the influence and local amalgamation of Indic culture in regional belief systems and practices. It is interesting to see popular deities from India being depicted in a different avatar by these regional patrons. Many of the works have never travelled outside their source countries before providing visitors an opportunity to view works they may not have access to easily.

SxSE: Selections from the Asia Society Museum Collection
Where:
The Asia Society Museum
On View: June 17 – August 3, 2014

Don’t miss out on this selection of video artworks which will be on display at the Asia Society Museum, starting June 17. It features works since 2000 by South and Southeast Asian artists that highlight current artistic trends in the region, with a special focus on disparities between globalisation, modernisation, urbanisation and tradition.

For the insatiable among you, we have an events listing page that is updated each month. Be sure to drop by regularly for updates.

Why You Should Consider a Textiles Course

Rumal from Kashmir, Featured at Saffronart, November 2012

Rumal from Kashmir, Featured at Saffronart, November 2012

London: When was the last time you walked into a store and marvelled at an intricately designed shawl, or a beautiful saree? Those delicate threads intertwining, forming pleasing patterns that you know would instantly uplift you. Or perhaps you walked in and decided there was nothing to your liking, and you’d rather design your own shawl. Or salwar. Did you ever think, I’d love to create something like that if only I had the time? Or the talent? Or both time and talent, but patience? All of the above?

Then your solution is here, packed compactly into two short courses on Indian Textiles and Asian Arts at the Morley College in London. And you may thank Jasleen Kandhari for that.

The Indian Textiles course will focus on India’s rich textile traditions. You will learn about regional variations of Indian textiles from the Punjab and Gujarat to Bengal and the Coromandel Coast, understand and appreciate the designs, patterns and techniques of stitching as well as the stylistic development of the designs like the boteh or paisley design in Kashmir shawls and discover Indian trade textiles to the west like chintz and to the east in South east Asia.

The Asian Art course will examine the vibrant arts of China, Japan, Korea, South Asia, South-east Asia and Tibet during visits to museums, galleries and temples in London and Oxford. You get to  explore a range of designs, artistic techniques and materials including paintings, illuminated manuscripts, sculpture, textiles and decorative arts in tutor led discussions and object study sessions.

Sign up while you have time.The courses begin soon, so drop an email to  Jasleen Kandhari or visit the Morley College website.

The Charm of Ebony

Saffronart’s forthcoming auction ‘Elegant Design’ features some amazing ebony furniture. Elisabetta Marabotto unearths the fascination with one of the most enduring and sought-after of woods

A Stunning Anglo Indian Ebony Table for Special Occasions Featuring in The Elegant Design, Saffronart, 25-26 March 2014

A Stunning Anglo Indian Ebony Table for Special Occasions Featuring in The Elegant Design, Saffronart, 25-26 March 2014

 London: Our upcoming Elegant Design auction features a collection of stunning furniture, as well as silverware and other rare finds. Quite often, silver takes over other pieces, perhaps because of its sheen and value. What about the appeal of less lustrous objects—wood, anyone? I’ve decided to dedicate this post to ebony—a wood that we all know is valuable, yet doesn’t pop in to our heads while talking about valuable objects.

Have you ever wondered why ebony has been so popular and sought after?

Let’s begin with the basics. Ebony (diospyros ebenum or Ceylon ebony) is a native wood of southern India and Sri Lanka. Its hardness allows for beautiful intricate carvings. The wood acts as a natural insect repellent and its smoothness— once polished—produces a black lustre similar to that of Chinese or Japanese lacquer, giving it a beautiful radiance.

The production of ebony furniture in India seems to have first begun along India’s Coromandel Coast, a textile-producing region where a number of East India company trading factories were based. Turnery (the art of making objects using the lathe) was and still is one of the most fundamental and outstanding of Indian arts. European visitors have expressed their admiration for this art form since the sixteenth century. A Dutch traveller, Georg Rumphius, recorded that “the Coromandel Coast ‘is exceptionally richly provided of this [ebony] as the natives make from it all kinds of curious works, as chairs, benches and small tables, carving them out with foliage, and sculpture”(Victoria & Albert Museum Collection, London). Also Francisco Pelsaert , a Dutch merchant who worked for the Dutch East Indies Company, noted in 1626 that in Tatta, Sindh, “Ornamental desks, draught-boards, writing cases, and similar goods are manufactured locally in large quantities; they are very prettily inlaid with ivory and ebony, and used to be exported in large quantities to Goa and the coast towns.” Writing at the close of the seventeenth century, Captain Cope, an officer of the East India Company,  confirmed that at Tatta, ‘They make fine Cabinets, both lack’d and inlaid with ivory'( Victoria & Albert Museum Collection, London).

Luxury Relaxation, An Ebony Chaise Lounge, Featuring in the Elegant Design, Saffronart 25-26 March 2014

Luxury Relaxation, An Ebony Chaise Lounge, Featuring in the Elegant Design, Saffronart 25-26 March 2014

Europeans have, however, been acquainted with ebony since the Classical Age.  References to the wood can be traced to Marco Polo’s books. By the 17th century, ebony had become one of the most appreciated of Indian woods in Europe, and quickly grew to be the most highly priced wood of that century.  The first mention to Parisian cabinetmakers, ébénistes, dates to 1638, and, incidentally, the term finds its roots in “ebony”.   Many European merchants in India adapted to these local customs which were previously discussed but others brought furniture from home or commissioned Indian artists to create western style fur­niture for them. This made the production and exchange of furniture quite varied, since traditional objects were produced along with western style furniture made of Indian materials.

These kinds of pieces, such as the ones featuring in our auction, are extraordinary because they witness the merging of western and Indian motifs as well as materials which makes these objects unique and rich of history.

The Perfect Durability for Family Gatherings and Dinner Parties Featuring in The Elegant Design, Saffronart, 25-26 March 2014

The Perfect Durability for Family Gatherings and Dinner Parties Featuring in The Elegant Design, Saffronart, 25-26 March 2014

Colonial furniture, like the furniture in our catalogue, has been admired since the 16th century up to contemporary times for its versatility, elegance and practicality and it has the power of adding beauty, distinction and interest to any interior setting whether modern or traditional.

Now that you know a little about ebony, you shouldn’t miss the opportunity of owning one of these unique objects of art. Drop by the Mumbai gallery to view our lovely collection of ebony furniture, among other prized woods.