This month’s featured artifacts are a remarkable teapot and creamer, masterfully crafted in the form of the Grey Francolin a bird indigenous to the arid regions of the Indian subcontinent. These pieces exemplify the ingenuity and artistry of Oomersi Mawji, the preeminent Indian silversmith of the 19th century. The teapot and creamer are meticulously sculpted to resemble the grey francolin in dynamic poses. The teapot depicts the bird with a snake entwined around its body, serving as the handle—a design that not only showcases Mawji’s fascination with dramatic animal interactions but also embodies themes of life and death. Each feather and scale are individually rendered, highlighting the silversmith’s unparalleled attention to detail. The creamer complements this narrative, featuring similar intricate detailing and thematic elements.
Oomersi Mawji’s workshop in Bhuj, Kutch, was renowned for its unique style of silverwork, characterized by dense, scrolling foliate patterns often interspersed with depictions of animals, birds, and human figures. This intricate ornamentation draws inspiration from local Kamaagar art, a tradition of elaborate wall painting prevalent in Kutch palaces and public buildings. The silversmithing process involved raising the silver to the desired shape, filling it with a resinous substance to absorb the impact of chasing and repoussé techniques, and then meticulously detailing the surface before final polishing. This method allowed for the creation of highly detailed and textured designs that are hallmarks of Kutch silver.
Oomersi Mawji, active from around 1860 to 1890, served as the court silversmith to the Maharao of Kutch. His creations were highly sought after, both in India and internationally, with pieces showcased at major exhibitions and retailed by prestigious establishments such as Liberty & Co. in London. The “O.M. Bhuj” hallmark found on these pieces signifies their authenticity and origin.