Let’s Take Five

Eesha Patkar highlights the five revered gemstones from Saffronart’s upcoming jewellery auction

Last month was a milestone for Saffronart. We held our most successful sale ever in our 15 year journey as an auction house. We achieved world records for four important Indian artists, both Modern and Contemporary. We made headlines. And we basically raised the bar.

Even as we pat ourselves on the back—just the tiniest bit—we are already preparing for our next auction. This time, we’re adding some sparkle in the dry days of October. Not to mention, a bit of polish.

Coming up is our Online Auction of Fine Jewels and Silver on 28 – 29 October on saffronart.com. From traditional Indian jewellery that draws on centuries of craftsmanship, to peculiar sounding jewels that are as rare, as they are beautiful—we have it all.

For the next few weeks, we will cover some of the highlights of our auction in a series of blog posts. Today, we look at the Big Five: pearls, diamonds, emeralds, sapphires and rubies. They’re part of an important order of nine gemstones—or navaratna—in Indian gemmology, and highly valued.

History is littered with stories, gruesome to romantic, that involve these prized jewels. And our auction features a bunch of them. They’re guaranteed to invite looks of envy. After all, as Harry Winston famously said, “People will stare. Make it worth their while.”


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You can’t cry on a diamond’s shoulder, and diamonds won’t keep you warm at night. But they’re sure fun when the sun shines.” —Elizabeth Taylor

An Important Diamond Necklace

An Important Diamond Necklace (on auction)

DIAMONDS have a long history in India, which was the world’s first and only source for this precious gemstone for more than 2000 years, until the discovery of diamond mines in Brazil in 1729.

The Venetian explorer Marco Polo, who travelled to India in the 13th century, narrates an exotic — and exaggerated — tale about the unapproachable diamond valleys of Golconda inhabited by deadly, venomous snakes and eagles who fed upon them, and the arduous manner in which the diamond seekers got their prize.

Maharajas, Mughal courts and royal families collected vast quantities of loose diamonds both, for their treasuries as well as for jewellery. These diamond crystals were rarely cut, so as to retain their original size and weight, and flaws were only camouflaged with small facets.

Of the many ways a diamond could be cut, the rose-cut—the flat-backed, domed and faceted top, as seen in the three-tiered diamond necklace on auction—was attributed to Indian lapidaries. Mughal jewellers used this technique to make the best use of irregular, flat type of rough diamonds.

Lot_56a

The lot on auction is a modern version of diamond necklaces favoured by royalty. It is significant for its use of unusually large, rose-cut diamonds, inverted, with a nod to the flat-cut diamonds used in traditional Jadau jewellery. The use of spacers with peacock motif as a harness is a subtle nod to traditional Indian design, while maintaining a modern minimalism which allows for a focus on the stone rather than the setting.

Fact: In 1947, King George VI—the last Emperor of India—inherited 239 loose diamond collets, believed to be from India, among other Crown heirlooms. He had a diamond necklace commissioned for his daughter, Princess Elizabeth, using 105 of these stones, set in a style similar to those in the necklace on auction. The resulting piece was named the Queen’s Festoon Necklace. After her ascension to the throne, the Festoon Necklace has adorned Queen Elizabeth II at various state dinners and galas in 1957, 1958 and 1962 and later.


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Pearls are always appropriate.” —Jackie Kennedy Onassis

A Fve Strand Natural Pearl Necklace

A Five Strand Natural Pearl Necklace (on auction)

PEARLS are classic. They have been admired since antiquity, appearing in all kinds of variations in traditional Indian jewellery. In the navaratna order, they’re associated with the moon (the celestial deity Chandra) for their soft radiance and satin sheen.

In the Mughal era, pearls were ubiquitous among the ruling class. Emperor Akbar was frequently depicted wearing multi-strand pearl necklaces. Later portraits and accounts of the Maharajas of post-Mughal India—which depicted them decked head-to-toe in jewellery worth their weight—show an abundant display of pearls in necklaces, turban ornaments and other sartorial accessories. According to historian Oppi Untracht, the natural pearls owned by the Maharaja of Patiala were considered to be among the world’s finest.

Most natural beds of pearl-bearing oysters ran dry due to over-harvesting in the 18th and 19th centuries. Today, natural pearls are extremely rare and expensive. By the early 20th century, cultured pearls—grown under tightly controlled conditions through a technique perfected in Japan—came into mass production, and were widely used in the jewellery trade.

The five-strand magnificent pearl necklace on auction bears a setting seen quite commonly in traditional Indian jewellery—pierced and strung as beads. Pearl stringing was an art, requiring experience and judgment, and a great way to determine the value of a necklace by its arrangement.

Lot_37a

The lot on auction is a striking example of the sharp graduation style of pearls, where the focus is on the size and lustre of the central pearls. The design is further enhanced because all five strands end with larger sized pearls which connect to the clasp, as opposed to the more conventional way of stringing pearls according to size. This style of sharp graduation was popular among royal families all over India.

Fact: In medieval Europe, only royalty and high nobility were allowed pearls. Queen Elizabeth I, although abhorrent of them initially, came to love pearls so much in her later life that she had them sewn on to her wigs and dresses.


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Girls can wear pearls, but it takes a woman to wear serious emeralds.” —Hettie Judah

EMERALDS have a powerful place in the world of gemstones as the most famous members of the Beryl family. Ancient myths credit this brilliant green stone with magical properties, from the ability to predict the future, to detecting falsehoods. Emeralds were even worn as protective talismans and were believed to cure fatal diseases.

In Hindu texts, the emerald was one of the navaratna stones, representing the planet Mercury. In Persian culture they symbolised goodness and purity. But it was in medieval Europe—where jewels held symbolic importance in political circles—that this gemstone was perhaps considered the most sacrosanct. According to Hettie Judah, “Sumptuary laws of Byzantium, and many from medieval Europe, forbade the wearing of gemstones such as emeralds by those outside the circles of the court; money alone could not purchase the right to wear jewels.”

The earliest known emerald mines were in Egypt, dating as far back as 330 BC, and functioned well into the 1700s. The Egyptian queen Cleopatra was known for her love of emeralds, often using it in her royal wardrobe. In the 1500s, the Spanish conquistadors discovered emerald mines in Colombia, which produced infinitely finer emeralds in terms of colour, clarity and size.

The quality of an emerald is largely assessed on the basis of its colour. For the longest time, Colombian emeralds have led the market, as they are “blessed with near-perfect colour chemistry”, according to Jonathan Self, author of Emerald: Twenty-one Centuries of Jewelled Opulence and Power.

A Colombian Emerald and Diamond Pendant (on auction)

A Colombian Emerald and Diamond Pendant (on auction)

Microscopic inclusions in a Colombian emerald can cause the light penetrating the stone to scatter, giving rise to a rich “green fire” that is widely recognised by experts and desired by collectors, who consider Colombian emeralds as undisputedly the best. The pendant on auction contains a step-cut emerald from Colombia, weighing 24.11 carats.

Fact: India became acquainted with emeralds through Portuguese traders, who brought it through the ports in Goa and Deccan. One of the largest emeralds, dating back to 1695, is believed to have come from the reign of Emperor Aurangzeb, the last of the Mughal rulers. The Mogul Emerald, as it is known, weighs 217.80 carats and is about 10 cm high, with one side inscribed with Islamic prayers and the other with flower ornaments. In 2001, it sold in auction for a cool $2.2 million.


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A kiss on the hand may feel very, very good, but a diamond and sapphire bracelet lasts forever.” ―Anita Loos

A Burmese Sapphire and Diamond Ring (on auction)

A Burmese Sapphire and Diamond Ring (on auction)

A bracelet it’s not, but the Burmese Sapphire and Diamond Ring lot on auction not only feels good, and is one to last for eternity. The blue sapphire—(yes, sapphire comes in a range of colours, besides blue)—belongs to a translucent, dark-blue variety of the mineral species corundum.

From 1880 to 1920, Kashmiri sapphires had attracted a lot of attention, found after a landslide hit the region at an altitude of 16,000 feet. The pure, intense blue with the subtle undertone of violet—mined heavily for over eight years—is still considered the holy grail of the sapphire groups. This prized sapphire is rare and coveted now, given that the region was completed depleted of its sapphire sources.

In the last few years, fine Burmese sapphires from the Baw Mar area of Mogok have gained recognition in the market. After the Kashmiri sapphire, the Burmese colour is regarded as highly valuable—ranging from a rich, full royal blue to a deep cornflower blue. The ring on auction has at its centre an oval-shaped natural Burmese sapphire cabochon of vivid blue colour, with no indications of heat treatment.

In Sri Lanka, once known as Ceylon, mining for gemstones began since antiquity, and the oldest sapphires are found there. Sri Lankan sapphires are recognised for their luminosity—colours range from light to mid-blue.

Today, most blue sapphires come from Australia or from Thailand.

While a lot of Indians treat the sapphire with superstition and wear it with great caution—due its association with the unpopular Saturn (Shani) planet in Hindu mythology—many other cultures enjoy its cool, spirituality-invoking colour. The visual allusion to blue skies and the infinite universe is an easy one to make. Those who adopt gem therapy believe the sapphire brings about tranquillity and better concentration, and can cure rheumatic aches, ulcers and eye problems.

lot_3a

Fact: The world’s most famous sapphire and diamond ring is as engagement ring worn by Kate Middleton, wife of Prince William, Duke of Cambridge. It was once worn by Princess Diana during her engagement to Prince Charles, Prince William’s father, and has a great resemblance to the ring on auction.


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Rubies do not age. The fire that was locked in their hearts millions of years ago still burns, even after the emperors and empires that fought for them have crumbled to dust and ashes.” —Fire and Blood: Rubies in Myth, Magic, and History

An Impressive Pair of Ruby and Diamond Ear Pendants

An Impressive Pair of Ruby and Diamond Ear Pendants (on auction)

Rubies have been called the Ratnaraj, or “The Emperor of Gems,” in Sanskrit. In Hindu mythology, the Ratna Pariksha describes the demon Vala, who was dismembered for a sacrifice. Each of his body parts turned into a brilliant gemstone as it fell to earth, the ruby being one of them. Rubies were believed to treat heart and blood diseases, and to bless the wearer with longevity and excellent health. A Burmese legend mentions that warriors embedding rubies in their flesh to remain invincible in battle. Whether it was the allure of its brilliant red or its reputation as an amulet, many sought their claim to this lyrical gem.

The ruby has a rich genealogy. Rubies are related to sapphires and belong to the corundum family. They earn their fiery red colour from the presence of chromium. Rubies vary in colour, and are assigned value accordingly. Until recently, Burmese rubies dominated the colour valuation with their pigeon-blood red colour.

The discovery of ruby mines in Montepuez, Mozambique, however, has had many turn their attention to Mozambique as a significant source of fire-red rubies. Mozambique rubies are distinct for their rich, deep, red colour, which is highly coveted today. The price of Mozambique rubies is still a steal for the quality of colour and value they provide.

The cushion shaped rubies in the ear pendants and bracelet on auction are Mozambican in origin.

A Ruby and Diamond Bracelet

A Ruby and Diamond Bracelet (on auction)

Fact: The ruby ear pendants on auction were worn by Mila Kunis, the brand ambassador for Gemfields—a gemstone mining company headquartered in the United Kingdom—at an event by Burberry, held at the Griffith Observatory in Los Angeles, earlier this year.


The Usual Jewellery/Silver Suspects

Eavesdropping. Prying on intimate matters. Insubordination to prevailing trends. Wooing money and hearts. And it goes on. Having maintained a low profile for decades, these pieces have suddenly emerged from their lairs and are now under trial on auction  at Saffronart. Rashmi rounds up nine of the important ones from the upcoming Online Auction of Fine Jewels and Silver

1. This Stunning Edwardian Brooch: For Rebelling and Subversion

Estimate: Rs 55,00,000 – 75,00,000

Lot 27: An Important Diamond Brooch

Lot 27: An Important Diamond Brooch

There’s no denying that the central diamond draws you to itself with brutal, hypnotic force.  And look at all those delicately designed full-cut diamonds pandering to its ego. With an air of old-world pride, the brooch reveals it’s nearly a hundred years old. “A true iconoclast,” it beams, referring to King Edward VII who, breaking free from his mother Queen Victoria’s influence, set a new path for fashion from 1901 onwards. Sure, its brethren are just like it—elegant, feminine, intricate—but this one is special, especially since it’s been in the care of an important Parsi family here in Mumbai.

  1. This Period Coin Necklace: For Its Double Identity

Estimate: Rs 10,50,000 – 12,50,000

Lot 3: A Period ‘Kasu Malai’ or Coin Necklace

Lot 3: A Period ‘Kasu Malai’ or Coin Necklace

Seated smugly under the interrogation light, it shrugs and tinkles—it’s adapted over the centuries and picked up our ways. It’s being vague about why it’s called what it is: a Kasu Malai. I assume it’s the Tamil words for ‘coin’ and ‘necklace’. “It could be, but it also could be something else,” it hints rather cryptically. “I’ve been told I’m named after a certain Sanar Kasu.” When asked who this person was, “Some tavern keeper from the Chola days who hoarded too much gold and landed in trouble for it.” How serious was it? “Got the death sentence. Apparently his last wish was that he wanted all pure gold coins to be named after him—the narcissist.”

It doesn’t end there. The malai‘s (literal) two-facedness reveals a script and a seated Balakrishna decked with cabochon rubies, making it a potent candidate.

Edit: Similar coins, showing a seated Balakrishna and a Devanagari inscription on the reverse, date back to the time of king Krishna Devaraya from the 16th century, and were known as gadyanas.

  1. This Set of Pacheli Bangles and Diamond Choker: For Monopolising a Rare Enamel

Estimates: Rs. 6,00,000 – 8,00,000 for each lot

Lots 20 and 21: A Pair of ‘Polki’ Diamond and Enamelled Pacheli Bangles and A Period ‘Polki’ Choker

Lots 20 and 21: A Pair of ‘Polki’ Diamond and Enamelled Pacheli Bangles and A Period ‘Polki’ Diamond Choker

Lot 20: A Pair of ‘Polki’ Diamond and Enamelled Pacheli Bangles

Lot 20: A Pair of ‘Polki’ Diamond and Enamelled Pacheli Bangles

Lot 21: Reverse

Lot 21: Close up of the reverse of A Period ‘Polki’ Diamond Choker

We’ve got a lot to thank the Persians for, and somewhere in that long list is the technique of enamelling. Among all the luscious shades on view is the famed Gulabi minakari or pink enamelling from Varanasi. A layer of pink paint is applied over an opaque white background, and what you most commonly see is flower buds. Just like you do over here. Pink enamelling has almost dwindled out of use now. So your chances of stumbling upon jewellery with Varanasi mina are very, very slim. These bangles and choker are part of the privileged few that get to show off their gorgeous pink enamelling. And also for the next reason….

  1. This Set of Bangles, Necklaces, Ring and Earrings: For Being Privy to Family/Political Secrets

Estimates:
Lot 20 – Rs. 6,00,000 – 8,00,000
Lot 21 – Rs. 6,00,000 – 8,00,000
Lot 22 – Rs 10,00,000 – 12,00,000
Lot 23 – Rs 1,00,000 – 1,50,000
Lot 24 – Rs 5,00,000 – 7,00,000
Lot 25 – Rs 4,00,000 – 6,00,000

Lot 22: An Impressive Pair Of Period Gemset Bracelets

Lot 22: An Impressive Pair Of Period Gemset Bracelets

Lot 23: A Period 'Thewa' Ring

Lot 23: A Period ‘Thewa’ Ring

Lot 24: A Period 'Polki' Diamond Necklace

Lot 24: A Period ‘Polki’ Diamond Necklace

Lot 25: A Pair Of Diamond 'Polki' Ear Pendants

Lot 25: A Pair Of Diamond ‘Polki’ Ear Pendants

They come from the family of one of Ahmedabad’s most influential businessmen…*drumroll*…Seth Mangaldas Girdhardas. Back in the day (sometime in the early 20th century), he oversaw a cluster of mills, was a staunch supporter of Gandhi, and founded a school for deaf and dumb children. Having been with a descendant of the Sheth, they certainly have a lot of stories to share…which they obviously won’t.

  1. This Burmese Silver Box: For Being Unabashedly Opulent in Depicting Mythology

Estimate: Rs 1,75,000 – 2,75,000

Lot 57: A Period Silver Box

Lot 57: A Period Silver Box

You’re wondering why scenes of the Ramayan swarm its cartouches. The Burmese depict their Ramayan scenes with about the same amount of flamboyance we do, but with a Thai twist to them. You spot the headdresses and see what I’m talking about. Not too long ago (1760, to be precise), Alaungpaya, a Burmese king, invaded Siam—or Thailand, as we know it—and brought back families of silversmiths to work for him. This seeped into the designs you see on the box.

….And the list of suspects goes on. Want to see them in person? Drop by our gallery between 11:00 am and 7:00 pm till October 14 (except Sunday).

FLORAL MOTIFS IN SOUTH INDIAN JEWELRY

Kanika Pruthi of Saffronart highlights some of the prevalent plant and flower motifs in South Indian jewelry

NEW YORK: In Indic religions and philosophy reference to plants, fruits and flowers abound signifying the relationship man shares with nature. Since antiquity myths and iconography pertaining to flora and fauna has been a central part of Indian belief systems and their actual use and their reference in present day rituals and faith based practices proves their continued significance in Indian society. Plants and flowers are often time associated with deities, presented as offerings in rituals and symbolically represented in daily life through various means.
South Indian jewelry present a ripe example of the continued reference to plants and flowers in Indian faith systems and the development of intricate motifs laden with meaning, still in use in present day India. Our current exhibition “Jewels from South India” display an array of motifs associated with plants and flowers.
A Jasmine Bud Necklace

A Jasmine Bud Necklace

The jasmine bud necklace, known as mullai arumby malaii, adapts the tender buds of the fragrant flower in its design. The result is a piece of jewelry that conjures images of delicate and prestine creations of nature, the carnal scent of the auspicious flowers with erotic connotations enhancing the beauty of the wearer. There are many myths that chronicle the mystique of this tender flower.
Manga malai necklace

Manga malai necklace

Another common motif in South Indian design is the Manga Malai– the necklace of mangoes. Similar to the persian booti or paisley design, mango tree has long held mythic associations in Indian society. The mango tree is believed to be a wish-fulfilling tree and a symbol of fertility and long life. Mango leaves which are believed to hold protective powers are still used in actual rituals in India, also commonly found strung across the entrance of an house. Stylized motifs of mango have been adapted in South Indian jewelry, lending not only a meaning but decorative elements to the jewelry pattern.
The rudraksha bead is often times adapted in design of beads or used as it is in South Indian jewelry. It is believed to be sacred to Shiva and is commonly worn by both men and women with Shivite affiliations all over India. They are believed to hold the creative energy of Shiva, bestowing the wearer with similar powers. Symbolically the seed is believed to represent Shiva’s eye (Rudra=Shiva & Aksha=Eyes). Myths abound that reference the rudraksha.  One of them tells of how Shiva went into the state of penance for 1000 years in order to destroy evil in the world and when when he finally opened his eyes a drop of his tear on the ground resulted in the germination of the tree bearing the rudraksha fruit. The seeds are considered highly auspicious and are adapted in designs in multiple ways.
Dumroo

Dumroo

A gemset Jhumki or earrings

A gemset Jhumki or earrings

A gemset necklace

A gemset necklace

A closer look at jewels from our collections show the many ways floral motifs are adapted in design- their presence abounds. From three petaled blossoming flowers, to floral vines adapted in design, the significance of rendering plants and flowers in jewelry can be traced back to centuries and continues to the present day- a melange of traditional beliefs and modern practices.

Four Animals You’d Spot In South Indian Jewellery

Most already know that animal motifs aren’t included in jewellery simply to beautify. So what do these animals mean? Rashmi looks at how religion and symbolism extend to South Indian finery to form a part of daily life.

 

Animal motifs have been consistently popular down South. I’m not just pulling this truism out of thin air, though. The timing is perfect. The folks at Saffronart Delhi are holding an exhibition, “Jewels from South Indiatill April 30. For those who know their South Indian jewellery, you’re already familiar with the numerous stylised animals and gods you find on necklaces, earrings, rings, bracelets etc. Today, I’ll be looking at four animals, beginning with…

1. The Peacock

South Indian pendants effortlessly imbibe the motif of the peacock, and it’s not just because of the bird’s beauty and elegance. Talking about why the peacock is so important in Indian culture is almost trite—there’s no dearth of representations and allusions to the bird. In South Indian (especially Tamil) mythology, it is the vahana (vehicle) of Murugan/Kartikeya, the God of war, victory, love and wisdom. Readers familiar with the works of Raja Ravi Verma will recall his paintings of Kartikeya seated on a peacock with his two consorts, Valli and Deivayanai, and of Goddess Saraswati seated, while a peacock looks on. Known to spread its plumage at the start of spring, the peacock also gains metaphorical importance: it symbolises the blossoming of love.

2. The Parrot

In Hindu mythology, the parrot is associated with Lord Kama, the god of love. The bird is found as a motif in South Indian temples. Parrots symbolise fertility and desire—definitely worthy of imbibing in jewellery designs.

3. The Fish

The fish gains significance from the tale of Lord Vishnu’s very first avatar: the matsya. As a giant fish, Lord Vishnu saves Manu, believed to be the creator of mankind in Hinduism, by navigating his ship through a great deluge. After the deluge is over, Manu begins life afresh and propagates the race of humans. The fish is thus seen as an emblem of rebirth. The medieval temple of Koneswaram in Trincomalee, Tamil Nadu, which was destroyed in the 17th century, housed a shrine dedicated to Matsya.

A gowrishankaram pendant flanked by two fish motifs Source: http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=39818&pt=2&eid=3703

A Gowrishankaram Pendant flanked by Two Fish Motifs
Source: http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=39818&pt=2&eid=3703

4. The Elephant

Those who know their Hindu iconography know that the elephant is one of the most revered of animals. Lord Ganapati, the bringer of prosperity, immediately comes to mind. So does Airavat, the vahana of Indra, God of Heaven. Renowned historian and fine art consultant Dr. Usha R. Bala Krishnan, and writer Meera Sushil Kumar note that animals like the elephant are “…quintessential elements of jewellery design particularly in south India….[They are] regarded as an epiphany of God” (Dance of the Peacock: Jewellery Traditions of India, p244). The elephant is linked to royalty, abundance, richness and fertility.

 

These animal motifs are important as religion and symbolic references to romance are often intertwined.  With other motifs, the function is more specific. Fruit and flower motifs are symbolic of romance. Motifs of Gods take on a purely religious function.

More to follow soon, so keep dropping by.

It’s Still Bright In Here

Rashmi Rajgopal summarises the eight-day Neelam Kothari jewellery event as the eve draws to a close.

Fin:  For those of you who dropped by the blog a few days ago, you’re in the know—today was the last day of Neelam Kothari Soni’s jewellery event at the Saffronart Delhi gallery. If you’re cursing yourself for having missed out on a perfectly opportune occasion to stock up your jewellery cases, you have good reason to continue whining.

The jewellery included in our collection featured rare stones, including unheated Burmese rubies–the most valuable and the rarest of their kind; Colombian emeralds, diamonds of VVS clarity–very, very slight inclusions–a classification that makes these little beauties highly sought-after. Rarity alone isn’t attractive enough. These pieces were hand-picked for being meticulously designed…and ensuring that you garner attention for looking elegant and not like you’ve accidentally been transported three centuries ahead of your time.

But fret not! The success of this event means one thing is for sure—we’ll continue with our efforts to lure you to our galleries. Wedding season is the most obvious excuse, yes, but you don’t really need a reason to purchase beautifully crafted finery. Especially when it’s meant to stay with you and succeeding generations.

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