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The Charm of Ebony

March 4, 2014

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.

Elegance Under Canvas

July 25, 2013

Shivajirao Gaekwar of Saffronart shares some information on the campaign furniture available as part of Saffronart’s upcoming Travel & Leisure Auction

An Elegant Campaign Day Bed, Lot 36

An Elegant Campaign Day Bed, Lot 36. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=8587

Mumbai: Representative of a more elegant time, campaign furniture is synonymous with luxury travel, the gentleman traveller, historic military campaigns across the world in the 19th century, and the luxurious ‘shikar’ or shooting camps  of the British Raj. It’s surprising portability and light weight meant that the gentleman officers of the 19th century could take the comforts of home everywhere they went, be it the military campaigns across the Indian Empire or Africa – everything could be dismantled or folded within minutes, and would travel from camp to camp by long supply trains which would comprise of elephant, camel, bullock cart, or horses. Historically, campaign furniture has been documented as being used as early as the time of the Roman Empire, but most commonly associated with the British Empire through the Georgian, and right up to the Victorian periods (1714 – 1901). (Nicholas A. Brawer, British Campaign Furniture: Elegance Under Canvas, 1740-1914).

A Teakwood Campaign Bed, Lot 8

A Teakwood Campaign Bed, Lot 8. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=8559

Theoretically, all furniture, usually made either of teak or mahogany, specifically to be dismantled into two or more sections or folded for easy transport, and designed to be packed up and carried ‘on the march’, can be described as campaign furniture. Campaign furniture is easily recognizable as it usually comes with brass corners and strap work for protection during transportation. Everything from the brass detail, hinges in odd places or ‘X-frame’ legs, all give clues to the functionality of campaign furniture (Nicholas A. Brawer, British Campaign Furniture: Elegance Under Canvas, 1740-1914).

Even today, these rare, superbly engineered pieces, with their simple, clean lines are as elegant and functional as they were for their original purpose.

A Circular Folding Campaign Table, Lot 7

A Circular Folding Campaign Table, Lot 7. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=8558

You can view more examples of campaign furniture on our Travel & Leisure online catalogue.

Along with campaign furniture, other beautiful and interesting items will be available as part of the auction, scheduled to take place on the Saffronart website on 29-30 July, 2013.

From Floor to Ceiling: A Symposium on South Asian Murals and Floor-drawings

June 5, 2013

Emily Jane Cushing recommends an upcoming Symposium on South Asian murals

London: The South Asian Arts Group (SAAG) and The Centre for Research and Education in Art and Media (CREAM) have joined forces for an exciting 2013 symposium on South Asian murals to be held at the University of Westminster on 26 October 2013.

Until recently, Western scholarship focused primarily on the courtly arts of India, and this event is an opportunity for this vibrant and varied forms of Indian domestic arts, usually categorized as ‘folk’ or ‘tribal’ art, to be discussed. The aim of the event is to encourage debate and the exchanging of views on the vast but under-researched topic of Southern Asian murals and floor drawing traditions, and also their contemporary counter-parts.

The event hopes to uncover varied approaches to the research of the topic including art historical interpretations and aesthetic views as well as anthropological and ethnographic perspectives. Insightful debates will include whether the creators of these works should be considered artists or craftsmen, and examinations of the creative process behind such works; debate will also be encouraged concerning the materials used in the creation of these works and the possible heritage and conservation methods needed to preserve such examples.

Further thoughtful discussion will concern the transition and development of such arts, from domestic to public spaces, from amateur makers to professional artists and from ephemeral arts to permanent fixtures for the purpose of the art market.

In the hopes of accommodating a wider range of views on the topic the geographical scope of this event extends beyond just India to the rest of South Asia; papers are encouraged to concern Afghanistan, Bangladesh, Bhutan, India, the Maldives, Myanmar (Burma), Nepal, Pakistan, Sri Lanka and Tibet.

A thorough description of the symposium is available here.

Wynyard Wilkinson on ‘Silver from the Indian Sub-Continent 1858-1947’ at Saffronart

May 18, 2013

Emily Jane Cushing shares a note on a talk given by Wynyard Wilkinson at Saffronart in London

Wynyard Wilkinson introducing the evenings event.

London: On Wednesday 15 May, before the preview of the new Saffronart exhibition ‘Silver From the Indian Sub-Continent 1858-1947’ author and Antique silver specialist Wynyard Wilkinson held an informative discussion on the decorative nature of the silver articles on display.

Wynyard Wilkinson describing ‘Cutch’ style silverware.

Despite the many aspects of silver production during the colonial period in India, given the diverse nature of decorative designs varying from region to region, Wilkinson touched on all the key styles. He noted the aesthetic features and purposes of various pieces, and underlined the relationships between geographical areas and designs, also noting that various regional designs often inter-link.

Wynyard Wilkinson discussing Kashmiri style silverware.

First, Madras “Swami Ware” was taken in to account. Wilkinson noted that despite the fact that ‘swami’ designs exhibited fine and intricately detailed ornamentation of Hindu deities and mythological figures, the style was a huge success in Europe and Great Britain. The most frequently depicted deities in this genre are Vishnu and Brahma riding their vahanas, or associated animals.

Bangalore Silver 'Swami-ware' Three Piece Tea-set by Krishniah Chetty c. 1900. http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=35977&a=

Bangalore Silver ‘Swami-ware’ Three Piece Tea-set by Krishniah Chetty
c. 1900. http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=35977&a=

After the Madras region, the discussion turned to Cutch silver, known for its attractive patterns of scrolling foliage intertwined with animals, birds and hunting scenes. The Cutch style was the most venerated Indian silverware in the late 19th century. Wilkinson particularly noted the resemblances to 17th century Portuguese pottery decorations, and distinctive similarities in the depiction of animal and bird figures with Persian decoration.

Next, Wilkinson focused on Kashmiri silver, highlighting the shawl pattern in particular. Taking inspiration from the prevalent Kashmiri weaving industry, this pattern illustrates vines of blossoms and leaves amid and between flowing scrolls; these scrolls sometimes lack detailing as to accentuate the distinction between the floral and the scroll aspects of the pattern.

Kashmir Parcel Gilt Set of Four Finger Bowls and Plates in 'Shawl' Pattern c. 1900. http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=35971&a=

Kashmir Parcel Gilt Set of Four Finger Bowls and Plates in ‘Shawl’ Pattern c. 1900. http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=35971&a=

Wilkinson then moved on to silverware produced in Lucknow. Designs from this region are most commonly recognized for their use of two patterns, the ‘jungle’ and the ‘hunting’ pattern. These patterns feature, although not to scale, forests of palm trees containing both animal and male figures, and bold male figures on elephant back pursuing wild animals or competing in sporting activities.

Lucknow Silver Swing-handle Basket in 'Hunting' Pattern c. 1890. http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=35991&a=

Lucknow Silver Swing-handle Basket in ‘Hunting’ Pattern c. 1890. http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=35991&a=

The eclectic diversity of the silversmithing in Bombay, as a result of immigrant artisans from many regions of India who brought with them a wide range of design and decorative influences, was also discussed. Wilkinson noted, when discussing specific pieces, the use of domestic picture design by Bombay artisans, as a conscious move away from Cutch style foliage designs.

To conclude his informative talk, Wynyard Wilkinson drew the audience’s attention to two unique oversize examples of Indian colonial silverware on display. First, a large hand-rinsing fountain produced in Cutch in 1910, and, second, a voluminous two-handled vase crafted in Madras in 1890.

The exhibition will be on view till May 31, 2013, from 11:00 am to 7:00 pm Monday to Friday, and Saturday by appointment at Saffronart, London.

The catalogue may also be viewed online.

New Islamic Art Galleries at the Louvre

February 17, 2013

Guest blogger Saranna Biel-Cohen explores the stunning new galleries of Islamic art at the Louvre in Paris

Paris: Last year we featured a series of blog posts about the new Islamic wing of the Metropolitan Museum of Art in New York. 2012 was also the year of another significant opening in the world of Islamic art: Islam, at the Louvre in Paris.

Director of Islamic Art, Sophie Makariou explains the title was chosen to incorporate the expanse of the Islamic world throughout the centuries from Spain to India, The Empire of Islam, as it was known. Islam highlights cultural value of these works and their historical contribution spanning 1,300 years and three continents.

Bellini structure
Image credit: http://www.aasarchitecture.com

Bellini Structure
Image credit: nytimes.com

Comprising 18,000 objects dating from the 7th to the 19th century, the gallery explores the breadth and creativity of the civilization and is the largest collection of Islamic art in Europe. The collection is housed under an undulating structure made of aluminum and glass in the Louvre’s Visconti Courtyard, the most significant architectural addition to the museum since I.M. Pei’s glass pyramids of 1989. The project, by Italian architects Mario Bellini and Rudy Ricciotti, took six years to complete. Modeled on a silk scarf, the structure seems to float in mid air between the neoclassical buildings. Walking in to the gallery, there is an immediate sensation of being in a tent, with light pouring in from all sides.

The collection opens with an introduction to the Islamic world, beginning with the Prophet’s exile in 632 (Hegira in Arabic) and the subsequent conquest of Persia, Byzantium and beyond. The early period of Islam is represented by glass, metal and ceramics.

Vitrines of glass stamps, Egypt, 700

Vitrines of glass stamps, Egypt, 700

The gallery focuses on the intricacies of decorative texts on religious and secular objects and its various influences. Arabic writing predates Islam by a century. Then different forms of writing, Qu’ranic script and secular were used to adorn pieces, describe their function or offer protection to an object. The later incorporation of Persian, an indo-European language, further developed the use of decorative text and many objects with Persian poetry are on view. Read more about decorative calligraphy here.

A sleek, industrial looking metal staircase leads to the lower-ground floor. Large Turkish mosaics greet you at the bottom. They were found by a team of French-American archaeologists in the 1930s at Antioch (Antakya), once the capital of Syria, in the residential neighborhood of Daphne. A Roman tradition, mosaic making spread across the Roman Empire and was then used by subsequent civilizations for religious, public and private use.

Phoenix Mosaic, Antakya, 6th Century

Phoenix Mosaic, Antakya, 6th Century

This particular mosaic depicts a phoenix, a mythical bird that rises from ashes, bordered by pairs of ram heads. It was discovered in 1936 almost completely intact. Greek and Roman classical sculpture can be found in a two small rooms above the mosaics. Statues of Greek and Roman gods are housed there, a memory of an earlier civilization that had occupied parts of the region covered in the rest of the galleries.

Marble sculpture of goddess, Artemis, Akshehir, Turkey, 2nd Century

Marble sculpture of goddess, Artemis, Akshehir, Turkey, 2nd Century

There are large vitrines of Egyptian textiles dating from the 6th century. They bear Roman and Byzantine iconography that later evoked Christian interpretations. Cherubs picking grapes, playing instruments and dancing references the Roman god of wine, Bacchus while Christians interpreted this theme of wine as reference from a passage from the Gospel of John in which Jesus is a vine and God the vine grower.

Cupid Picking Grapes
Linen and wool tapestry, Egypt, 6th Century

The Islamic conquest of Persia (633–656) ended the Sassanid Empire. Iran became a part of the Islamic Empire and many of the objects in the gallery are associated with the mix of cultures that ensued.

Ceramic stars, Iran, c. 665

Ceramic stars, Iran, c. 665

Hughes Dubois/Musée du LouvreA silver and gold inlaid casket, Iran, 14th-century

A silver and gold inlaid casket, Iran, 14th-century
Image credit: Hughes Dubois/Musée du Louvre

The Islamic Empire expanded west to Spain and east to India. By the 16th century the Islamic world made up 30% of the global population.

Carved ivory pyxis of al-Mughira, Cordoba, c. 968
Image credit: Hughes Dubois/Musée du Louvre

Wood doors inlaid with ebony and ivory, Egypt c. 1380-1420

Wood doors inlaid with ebony and ivory, Egypt c. 1380-1420

An extensive collection from the Mughal Empire (about 1526-1858) includes intricate armor, elaborate daggers, ceramic tiles and Indian carpets. Many of the carpets were made in factories founded by Emperor Akbar (1556-1605) in Fatehpur Sikri, capital of the Mughal Empire for only about 10 years. To learn more carpets, click here.

Philippe Ruault/Musée du Louvre

Louvre Islamic Galleries
Image credit: Philippe Ruault/Musée du Louvre

Indian carpets

Indian carpets

Jade dagger with horse head handle inlaid with rubies, emeralds and gold, MughalPeriod, 17th CenturyImage credit: www.bbc.co.uk

Jade dagger with horse head handle inlaid with rubies, emeralds and gold, Mughal
Period, 17th Century
Image credit: http://www.bbc.co.uk

The Ottoman Empire (14th–20th Century) stretched from the Balkans and Anatolia, around the Mediterranean basin, and as far as Morocco. Ottoman carpets are displayed, as well as large and small scale Iznik ceramics.

Ottoman ceramic wall, Turkey, c. 1560–80Image credit: Raphaël Chipault /Musée du Louvre

Ottoman ceramic wall, Turkey, c. 1560–80
Image credit: Raphaël Chipault /Musée du Louvre

Funding for the 98 million Euro gallery was provided by the French government and supported by endowments from Saudi Arabia, Morocco, Kuwait, Oman and Azerbaijan. Of the 18,000 objects in the collection, 3,000 are currently on view and 300 objects will move to the Louvre Abu Dhabi in 2017.

Guest contributor Saranna Biel-Cohen lives and works in London. She holds a Master’s Degree in History of Art from University College London with a focus on Modern Indian Art.