State of the Art

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Art Deco and India’s Royal Families

October 26, 2012

Nishad Avari of Saffronart on the status of Art Deco in India’s royal collections 

Mumbai: In the nineteenth century, first under the East India Company and then as part of the British Empire when Queen Victoria assumed the title of Empress of India, not only did the Indian princes find themselves “…increasingly having to accommodate and entertain Europeans on equal terms,” but they also started developing a taste for the Western luxury goods and standards of living they now had a chance to experience.

By the 1920s, “Within one generation of western education the lifestyle of India’s princes were transformed and they began to wear western clothes, engage in western games and eat western food…those princes who could afford it abandoned their traditional residences for new, substantial palaces principally designed by western architects…[and] were built to accommodate western-style living, with its specific rooms for dining, sleeping, socializing, sport and recreation. The western-style elevated furniture and domestic articles needed to outfit these new vast palaces were readily supplied by British firms such as Maple & Co. and Waring & Gillow, both of which had showrooms in India… For Western firms making luxury goods, be it F & C Osler, Baccarat, Cartier, Boucheron, Louis Vuitton, Holland & Holland or Rolls Royce, Indian princes proved to be substantial clients and at certain times, such as during the Great Depression, were the mainstay of business” (Amin Jaffar, Made for Maharajas, Lustre Press/Roli Books, Mumbai, 2007, p. 15. 18).

Many of the items created by these firms for Indian royals between the 1920s and 1940s were crafted in the Art Deco style that had taken Europe by storm at the time. As a result, members of India’s royal families came to be regarded as some of the greatest patrons of Art Deco architecture, interiors, jewelry and accessories were.

From entire palaces constructed in the style, most notably in Morvi, Jodhpur and Indore, to highly customised jewelry, furniture and accessories purchased from European firms like Cartier, Boucheron and Louis Vuitton, India’s maharajas were captivated by the glamour, elegance and modernity that Art Deco represented as these were all principles central to their lifestyles.

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To read more about the history of the Art Deco movement, click here.

Learn more about our Art Deco Auction auction.

An Introduction to Art Deco

October 19, 2012

Kumud Sikand on the history of the Art Deco movement

“Art Deco’s ultimate aim was to end the old conflict between art and industry, the old snobbish distinction between artist and artisan, partly by making artists adept at crafts, but still more by adapting design to the requirements of mass production” – Bevis Hillier

Few people who have any knowledge of or interest in fashion or the decorative arts, are unaware of the term – ART DECO; a retrospective term coined by the English art historian Bevis Hillier in 1968, which prior to this was called Style Moderne. The movement denotes a sharper, classier, modernity reflected and defined through a variety of mediums – architecture, the decorative arts, graphics, jewelry, sculpture and fashion that existed from 1909 – 39.  It was not a singular style but a culmination of a number of design ideas and influences that came together and reached its zenith in the interwar period.

    Chrysler building, Manhattan, New York

But how was it and is it defined?

Most of us can probably identify an example of the style of the period.  Architectural icons such as the Chrysler building in New York, The New India Assurance Building in Mumbai, The Metro Cinema Hall in Kolkata, the De la Warr pavilion in Britain and the quintessential “flapper” dresses and cloche hats popular in America and Europe are all excellent examples of Art Deco style.  The roots of Art Deco however lie in the late nineteenth century movement of Art Nouveau, a decadent, stylized art form to which avant-garde groups of artists and designers reacted. The move towards cleaner, classical lines and less decorative craft designs was the preference. ”Art Deco is characterized by a linear, hard edge or angular composition, often with a vertical emphasis and highlighted with stylized decoration” (Blumenson 77). Style Moderne/Art Deco married luxury and function in a versatile design and its widespread applications proved its appeal was based on more than simple visual allure.  Other art movements like Cubism, Expressionism and Fauvism influenced the style. The Russian Ballet, ancient Egypt and American Indian art were also some of the other influences.

The pivotal moment for the style was the Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris in 1925, a high profile event, to present the evolution of design. In many ways from this exposition emerged, the whole notion of a complete design ethos, not just for the elite as in previous generations but for most of the middle classes. Indeed as the epoch drew to its close at the outbreak of the Second World War, most people had access to Art Deco design whether it was in ready-to-wear fashion, rail or ocean travel or cinema design. Graphics and fine arts however were the two disciplines that not only seemed to encapsulate the Art Deco style but were also the medium for promoting its aesthetic. There is no finer expression of the language of Art Deco in fine art than the paintings of Tamara de Lempicka. Her work expressed many of the design qualities of the era, such as striking hard lines and bold color. She illustrates the new woman of the Art Deco era, independent, emancipated and confident. Worth, Patou and Poiret fashion designers of the time were instrumental in promoting the new look of the shorter length skirts and slim fitting clothes without the stiff corset or pre war bustier. The new freedom of travel by car, plane or ocean liner demanded clothes that would fit the modern lifestyle. The Russian artist and fashion designer Erte, whose delicate and fantastical illustrations for stage costumes and sets did much to promote the Art Deco look in fashion and recapture the intensity and passion of the Ballet Russes.

 

Portrait of Madame Boucard, 1931
Tamara de Lempicka
Image credit: http://www.museumsyndicate.com

Henri de Toulouse-Lautrec’s (1864-1901), sensational poster depictions of cabaret at the Moulin Rouge in Paris was also the beginnings of the graphic art movement of this period. Linotype and Monotype typefaces corresponded with the emergence of the Art Deco style and graphic posters became the established new way for advertisement.

Emile-Jacques Ruhlmann’s veneered furniture was considered by many to be the highlight of the Exposition 1925. He used rare and decorative woods and veneers to create furniture with bold straight lines and high gloss finished.  A totally different design approach than had been seen before.  The leather goods company Gaston-Louis Vuitton, the silversmith and goldsmith Christofle and the glassmaker Renee Lalique were all exhibitors at the Exposition 1925 and distinctive contributors to the Art Deco style.

With the stock market crash of 1929, the Great Depression began to spread throughout the globe. Although it would be a few more years before the average family began to feel the effect of the economic downturn, the optimism of the 20’s was beginning to be replaced with somberness. By the mid 1930’s the world had been badly bruised by the Depression and Art Deco was being derided as gaudy and presenting a false image of luxury. With the threat of another world war looming, Art Deco was looked upon more vehemently, and with the outbreak of WWII in 1939, Art Deco was dead.

The 1960’s revival was short lived and the term Art Deco is now once again associated with the original, brilliantly vibrant style which spread from northern Europe to the rest of the world.

Kumud Sikand is an artist and an avid art collector. She received a bachelor’s degree from Moore College of Fine Art, Philadelphia and a diploma in art history from University of Hong Kong. Her works have been exhibited in Indonesia, Hong Kong and Philadelphia. She is a guest contributor on our blog.

View the Saffronart Art Deco Auction Catalogue here.

My Introduction to Art Deco

October 11, 2012

Medha Kapur of Saffronart responds to some of the lots coming up in our Art Deco Auction

Mumbai: It seems these days that all sorts of old styles are coming back into fashion! The design style known as Art Deco began in Paris in the 1920s, and has made several comebacks since. These days Art Deco fashion, jewelry, and even furniture are all the subject of new trends. Working at Saffronart, I have met some very creative individuals and major fans of the Art Deco period.

Deco is a strong, beautiful style. Its typical attributes include geometric shapes, bold curves, strong lines, aerodynamic forms, and sunbursts galore. A distinct departure from previous design styles, Deco evoked elegance and modernity. It was also influenced by the increased ability to travel, inspired not only by modernism, but by the cultures of faraway places such as Egypt, China and Japan.

Saffronart is holding its inaugural Art Deco auction on October 31-November 1, 2012. The idea is to showcase the Art-Deco style, which defined South Bombay in the 1920s and 30s, and is now synonymous with its unique heritage. This auction will also help raise awareness and funds for Mumbai’s bid to nominate its Art-Deco and Victorian precincts as a UNESCO World Heritage Site. Saffronart and its consignors have committed to donating 5% of the proceeds from the sale of select lots to this cause.

The auction will feature original furniture, timepieces, accessories and jewelry. I was completely floored by one of the furniture pieces in the sale, a rare lady’s vanity. What grabbed my attention was the story behind it! The piece is likely to have belonged to a distinguished Indian lady, and was probably used as a travelling dresser during long cruise-liner voyages to Europe, extended stays at summer homes in the hills, and in luxury tents during the ‘shikar’ or hunting season. Sounds quite majestic!

lady’s vanity case

lady’s vanity case

Another evocative and glamorous piece in this auction is a custom-designed bracelet watch in 18 K gold with diamond accents. This watch was made for the Princess of Jodhpur, and included as a part of the Indian traditional dowry system when she got married to the Yuvraj of Baroda. The splendid provenance of this fine wristwatch makes it a coveted acquisition, as the royal house of Baroda is synonymous with style and refinement.

Wristwatch from the estate of the late Maharani Padmavati Devi Gaekwar of Baroda.

Universal Geneve wristwatch from the estate of the late Maharani Padmavati Devi Gaekwar of Baroda.

Despite having a very specific look and feel, Art Deco objects seem to have a modernism about them that makes their appeal quite timeless. There are certain styles that will never go out of fashion, and I believe Art Deco is one them!

An Introduction to Carpets

August 30, 2012

Carpet connoisseur, Dhruv Chandra shares his insights on old and antique carpets

New Delhi: Old and antique carpets are more than just floor coverings, and like all other works of art, have represented the aspirations, lifestyles, attitudes and limitations of their times. What makes these carpets valuable and works of art are their rarity, originality of design, quality of raw materials used, natural dyeing techniques and the skill and mastery of the weavers.

The key word I would ascribe to old and antique carpets is ‘quality’. Weavers used the best raw material they could afford. You will find that most antique carpets have been made with the finest clothing grade wool and sometimes even Pashmina or Cashmere, that would be used in clothing today (which is not what is used in contemporary carpets).

The dyes used in the olden days were generally all natural or vegetable dyes. Natural dyes are extracted from plants, rocks, minerals and sometimes even insects such as Cochineal or Laque emanating a resplendent Magenta pinkish-red hue. The other advantage with natural dyes is that they do not generally fade and can last a lifetime. The problem with new carpets is that they are generally manufactured using chemical dyes and have a tendency to fade with exposure to sunlight.

Tribal Afshar- South West Iran
Circa 1930s
Vegetable/natural dye
Approx. 7ft x 4ft 10in ( 213.4 x 147.3 cms)
Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012
For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6482

The primary thing to understand with old carpets is that they were completely made by hand and created as a ‘labor of love’, not manufactured with the intention to resell them. So they used the best skilled weavers who took a lot of pride in their work to create bespoke carpets.

If one were to buy a carpet let’s say a 100 years ago, one would not have gone to a carpet shop. One would have called a renowned carpet weaver and had the luxury to select a design from his hand drawn maps or khartouns which are also  called ‘nakshas’. Then one would have selected the colors and purchased the raw materials such as wool, Pashmina, or silk, and dyes etc. for the weaver. It would be like commissioning a painting today.

Kashgar Carpet- Central Asia
Circa 1920s
Madder – Indigo Blue natural / vegetable dye
Approx. 8ft 4in x 4ft 6in (254 x 137.2 cms)
Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012
For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6480

For modern interiors that embody cleaner lines, minimalistic accents and the efficaciousness of geometric patterns, carpets like Afshar, Shiraz, Quashgai, Samarkand, Kashgaar Khotans, Tibetan prayer rugs, Kazaks and Hamadaans are an ideal option.

Khotan Carpet, Pomegranate Design- East Turkestan
Circa 1930s
Approx. 7ft x 4ft 7in (213.4 x 139.7 cms)
Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012
For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6483

The Samarkand Khotan carpets from Uzbekistan embody influences from the Northwest Frontier Province, Turkmenistan, Persia and China, reflecting the multi-cultural iconographies of ancient Samarkand. One such iconographic motif prominently displayed is the pomegranate fruit. Traditionally, the pomegranate symbolizes abundance, fertility, lusciousness, generosity and union. Used in many cultures as a symbol of marriage, fertility and love, the pomegranate with its leathery outer skin and its pink juicy, sweet interior is a symbol of encompassing bliss, reminiscent of passion and luxury. According to the Quran, pomegranates grew in the ‘gardens of paradise’. The Prophet is said to have encouraged his followers to eat pomegranates to ward off envy and hatred. In Christianity, the pomegranate is a symbol of the resurrection and the hope of eternal life. Primarily it was also used as a symbol of aspiration, for us to tap into the luxurious side of life – recognizing the richness, abundance and wonder that surround us at every turn. They also used the seeds to make red dye and skins of the fruit to make yellow dye.

In keeping with this inspiration, these carpets have a rich vibrancy in their color palette: spectacular pink, orange and lavender hues combined with a unique aesthetic sensibility. Invariably, the designs of a Samarkand-Khotan are multicultural, one of a kind, displaying a rich array of medallions, Grecian pillars, stylized vases, Lotus blossoms, cloud-bands and sometimes even fantastical dragons. The lines are neither too ornate nor geometrical, just perfectly balanced. All these factors make Samarkands hugely versatile acquisitions, that fit into traditional as well as modern interiors.

Like any work of art, choosing a carpet is a very personal thing. It’s not just about making a judicious investment but buying something that you will live with for decades to come. The carpet has to please you, not your decorator, or your relative or friend who accompanies you in the purchase. The carpet you choose should be the one you love, it should ‘sing to your senses’ and ‘talk to you’. I would recommend really doing your research before you make your purchase. Carpet catalogues, seminars, museums and auctions are a great way to train your eye and hone your taste.

Carpet collecting is still at a very nascent stage in India. There are a growing number of Indian collectors who have been bitten by the ‘Carpet Bug’ and  are beginning to understand the fine nuances  of buying a good Oriental Carpet and about carpets as an asset for investment.

Shiraz Kilim- South West Iran
Circa 1930s
Approx 8ft 5in x 5ft 1in (256.5 x 154.9 cms)
Image Courtesy: Saffronart 24-Hour Auction: Carpets & Rugs, March 14-15, 2012
For more details: http://www.saffronart.com/customauctions/PostWork.aspx?l=6498

With our economy doing substantially better than the world markets, and enormous wealth being created here, there is  a huge  demand for a trusted source of fine and rare carpets, Kilims and textiles. The pie of old carpets is limited, and people who possess such pieces do not wish to part with them that easily. If they do, then they want a premium price for their ‘treasures’. In my view, it is because of this shortfall in supply that it is obvious that the price of collectable antique rugs will go in one direction only.

Dhruv Chandra is a second generation Collector and Curator of old and antique carpets, Kilims and textiles and owns The Carpet Cellar which also houses India’s largest private collection of antique rugs. As part of his drive to revive the declining trade in carpets, he offers talks and seminars at The Carpet Cellar in New Delhi. He is working on opening a first of its kind Carpet Museum in India.