A LARGE INDIAN SILVER REPOUSSÉ BOWL Lucknow, North India, late 19th century Of compressed circular form on plain base, the fine repoussé decoration with village and hunting scenes, a unicorn and mythical figures with feline heads and human bodies, a vegetal tendril and leafy stylised palmettes running above and below the main decorative band, the base incised with an elephant within a floral roundel, 23.9cm diam. The style and decorative technique of lots 287 and 288 are strikingly similar to contemporary Burmese silver thabeik bowls, so in vogue at the end of the 19th century. However, the subject matter, the lack of a particular plot, the continuous decorative frieze and the boldness of the figures all seem to suggest an Indian origin, most specifically Lucknow. For a detailed list of similarities and differences between Burma and Lucknow silversmith production, please see Wynyard R. T. Wilkinson, Indian Silver 1858 - 1947: Silver from the Indian sub-continent and Burma made by local craftsmen in Western forms, London, 1999, pp. 127 - 143. Lastly, the 'Elephant and Tree' mark on the base of this bowl seems to be consistent with Lucknow maker's marks type. The 'Elephant and Tree' mark is usually found on pieces of consistently high quality of workmanship (p. 142).
A LARGE INDIAN SILVER REPOUSSÉ BOWL Lucknow, North India, late 19th century Of compressed circular form on plain base, the fine repoussé decoration with village and hunting scenes, a unicorn and mythical figures with feline heads and human bodies, a vegetal tendril and leafy stylised palmettes running above and below the main decorative band, the base incised with an elephant within a floral roundel, 23.9cm diam. The style and decorative technique of lots 287 and 288 are strikingly similar to contemporary Burmese silver thabeik bowls, so in vogue at the end of the 19th century. However, the subject matter, the lack of a particular plot, the continuous decorative frieze and the boldness of the figures all seem to suggest an Indian origin, most specifically Lucknow. For a detailed list of similarities and differences between Burma and Lucknow silversmith production, please see Wynyard R. T. Wilkinson, Indian Silver 1858 - 1947: Silver from the Indian sub-continent and Burma made by local craftsmen in Western forms, London, 1999, pp. 127 - 143. Lastly, the 'Elephant and Tree' mark on the base of this bowl seems to be consistent with Lucknow maker's marks type. The 'Elephant and Tree' mark is usually found on pieces of consistently high quality of workmanship (p. 142).
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
