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Set of Altar Spires
Goa

Wood with original polychroming

A sculptural set of four slim and elegant polychromed gothic style altar spires.

The Christians of Southern India have a long history and are one of the oldest Christian communities. They trace their origins to St. Thomas, an apostle of Jesus, who arrived in AD 52 and spread the new religion to other parts of the region. Despite the emergence of Roman Catholicism during Portuguese rule, Christianity remains strong in southern India with active churches and significant attendance on Sundays and feast days.

Magnificently adorned with churches and convents, Goa is often considered the Rome of the Orient, with its churches imitating grand European cathedrals featuring lofty halls, intricate wooden altars, and impressive masonry facades in the European baroque or neo-classical style. Hired by the bishops and priests, Indian woodworkers skilfully crafted altar carvings, images, and altarpieces that became the ritual and visual focal points within the interiors of churches. While these pieces were originally copied from and inspired by models imported from Portugal, the woodworkers began to showcase their creativity by blending European and Indian imagery and design conventions. The resulting art, known as Indo-Portuguese, represents a subtle fusion of elements brought from Europe with a rich local tradition. In its early stages, pieces were primarily crafted for both ecclesiastical and secular purposes. Altars, candlesticks, lecterns, and other objects carved with Christian symbolism conveyed the superiority of the new religion on Indian soil in imposing physical terms. These objects also showcased artistic prowess, often adorned with vibrant colours using hard wax and highlighted with gold.

Individual Sizes (cms): 113(H) x 16(W) x 16(D) each
Individual Size (inches): 44.5(H) x 6.5(W) x 6.5(D) each

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Palanquin Pole Finial
Karnataka

Brass alloy

A brass palanquin pole finial taking the sculptural form of a makara head with an elephantine trunk, with bulbous eyes, pointed ears and a gaping mouth. The emotive expression of the makara, with his open mouth is powerful yet unthreatening, underlying its protective function, benign in character though capable of potential ferocity when attacked. It is almost as if he is showing off, displaying his power and status, probably reflecting that of the palanquin’s grand passenger.

Palanquins or sedan chairs were used throughout India, the larger ones to transport people and the smaller ones for religious deities to be taken around the temple complex on festival days. The present example is from the latter category. It was fitted to the wooden forward pole of the palanquin; the rear pole was usually covered with a simple metal cover or cylinder.

Size (cms): 11.5(H with stand) x 13.5(W) x 5(D)
Size (inches): 4.5(H with stand) x 5.5(W) x 2(D)

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Palanquin Pole Finial
Karnataka

Brass alloy

A diminutive palanquin pole finial taking the sculptural form of a makara head with large pointed ears, beady eyes and a gaping mouth. The emotive expression of the makara, with his open mouth is powerful yet unthreatening, underlying its protective function, benign in character though capable of potential ferocity when attacked. It is almost as if he is showing off, displaying his power and status, probably reflecting that of the palanquin’s grand passenger.

Palanquins or sedan chairs were used throughout India, the larger ones to transport people and the smaller ones for religious deities to be taken around the temple complex on festival days. The present example is from the latter category. It was fitted to the wooden forward pole of the palanquin; the rear pole was usually covered with a simple metal cover or cylinder.

Size (cms): 13(H with stand) x 14.5(W) x 6.5(D)
Size (inches): 5(H with stand) x 5.5(W) x 2.5(D)

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Vyali Palanquin Finial
Karnataka

Brass alloy

An ornamental palanquin pole finial in the sculptural form of a vyali with a pointed nose, wavy brows culminating in small protruding ears and ovular eyes. The vyali is open-mouthed, exposing large teeth and a small extended tongue. A collar in the form of a festooned necklace with a central medallion hangs on his scaly torso, in between the vyali’s outstretched paws.

Palanquins or sedan chairs were used throughout India, the larger ones to transport people and the smaller ones for religious deities to be taken around the temple complex on festival days. The present example is from the latter category. It was fitted to the wooden forward pole of the palanquin; the rear pole was usually covered with a simple metal cover or cylinder.

Size (cms): 17(H) x 31(W) x 11(D)

Size (inches): 6.5(H) x 12(W) x 4.5(D)

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Crocodile Puppet
Andhra Pradesh (South India)

Framed Leather Shadow Puppet

In Andhra Pradesh the Tholu Bomalatta tradition of travelling shadow puppet theatre typically enacts the voluminous epics, Ramayana and Mahabharata. Made from goat, cow or buffalo skin, the Andhra Pradesh puppets are sometimes more than five feet high. They are translucent, stained in vegetable dyes and are extremely stylised in facial garment rendering. Viewed as shadows from behind a lamp-lit cloth screen, the puppets are manipulated with the help of bamboo sticks at certain points, usually at the joints on the shoulders, knees, elbows and head. The highly animated performance, along with the drum beat and loud narration of stories is highly effective in mesmerising the spectators transporting them into another world.

Size (cms): 81.3(H) x 160(W)
Size (inches): 32(H) x 63(W)

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Tiger Puppet
Karnataka (South India)

Framed Leather Shadow Puppet

The art of puppetry, called Togalugombayeta in Karnataka, involves acting out well known epic episodes using puppets made of flat leather pieces operated by a stick. The perforated leather is illuminated from behind, making this a form of shadow theatre. It is thought that the puppets were invented to avoid having gods and goddesses – who feature prominently in Indian epics like the Ramayana and Mahabharata – depicted by humans.

Size(cms): 57 (H) x 57 (L)
Size(inches): 24.5 (H) x 24.5 (L)

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Yudhishthira Puppet
Andhra Pradesh (South India)

Framed Leather Shadow Puppet

In Andhra Pradesh the Tholu Bomalatta tradition of travelling shadow puppet theatre typically enacts the voluminous epics, Ramayana and Mahabharata. Made from goat, cow or buffalo skin, the Andhra Pradesh puppets are sometimes more than five feet high. They are translucent, stained in vegetable dyes and are extremely stylised in facial garment rendering. Viewed as shadows from behind a lamp-lit cloth screen, the puppets are manipulated with the help of bamboo sticks at certain points, usually at the joints on the shoulders, knees, elbows and head. The highly animated performance, along with the drum beat and loud narration of stories is highly effective in mesmerising the spectators transporting them into another world.

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Vibhuti (Ash) Box
Karnataka (South India)

Wood, polychromed

A rare ash box on wheels with a carved figure of a nandi and a lingam on top. It was used to store Vibhuti. Also referred to as Bhasma (holy ash), Vibhuti is of great significance in Hinduism and especially in Shaivism where it is thought to symbolise the mystic power of Lord Shiva.

Size(cms): 16 (H) x 21.5 (W) x 19 (D)

Size(inches): 6.2 (H) x 8.5 (W) x 7.5 (D)

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Lakshmi
Published at the Ravi Varma Press, Karla, Lonavla

by Raja Ravi Varma

chromolithograph with fabric appliqué

Lakshmi, the goddess of beauty, prosperity, luck and wealth- is shown standing on a lotus emerging from a river, an elephant (gaja) half submerged, stands to her left holding a garland in his trunk. A cascading waterfall in the background. Lakshmi has four arms, the upper two holding lotuses and the lower two in Abhayamudra (a gesture of reassurance, safety) and Varadamudra (gesture of granting of wishes).

Ravi Varma occupies an important place in Indian art history. He developed a painting style that appropriated the illusionary techniques of European oil painting with traditional Indian subject matter. The popularity of Ravi Varma’s paintings gave him the idea to make oleographs that would be available to the general public, instead of only elite patrons. Oleographs, also called chromolithographs, are multi-colour art prints, stemming from the process of lithography.

These immensely popular chromolithographs from the Ravi Varma press quickly set a new iconographical standard for the traditional Indian heroes and deities. Often the figures were embellished with embroidered sequins and other decorative material, creating vibrant pulsating images.

Image Size (cms): 49.5 (H) x 34.5 (W)
Image Size (inches): 19.5 (H) x 13.6 (W)

Framed Size (cms): 62 (H) x 48.5 (W)
Framed Size (inches): 24.5 (H) x 19 (W)

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Large Lakshmi and Saraswati Pair
Published at the Ravi Varma Press, Malavli, Lonavla

by Raja Ravi Varma

chromolithograph with fabric appliqué

Lakshmi, the goddess of beauty, prosperity, luck and wealth- is shown standing on a lotus emerging from a river, an elephant (gaja) half submerged, stands to her left holding a garland in his trunk. A cascading waterfall in the background. Lakshmi has four arms, the upper two holding lotuses and the lower two in Abhayamudra (a gesture of reassurance, safety) and Varadamudra (gesture of granting of wishes).

Saraswati is the goddess of speech and learning, the inventor of Sanskrit, patroness of the arts and the wife of Brahma. Four armed, she is shown seated holding a rosary and a book and playing the veena. A peacock ( her vahana or vehicle) stands to her right.

Ravi Varma occupies an important place in Indian art history. He developed a painting style that appropriated the illusionary techniques of European oil painting with traditional Indian subject matter. The popularity of Ravi Varma’s paintings gave him the idea to make oleographs that would be available to the general public, instead of only elite patrons. Oleographs, also called chromolithographs, are multi-colour art prints, stemming from the process of lithography.

These immensely popular chromolithographs from the Ravi Varma press quickly set a new iconographical standard for the traditional Indian heroes and deities. Often the figures were embellished with embroidered sequins and other decorative material, creating vibrant pulsating images.

Image Size (cms): 69 (H) x 49 (W)
Image Size (inches): 27 (H) x 19.3 (W)

Framed Size (cms): 82.5 (H) x 62.3 (W)
Framed Size (inches): 32.5 (H) x 24.5 (W)

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Shantanu and Matsyagandha
Published at the Ravi Varma Press, Malavli, Lonavla

by Raja Ravi Varma

chromolithograph with fabric appliqué

King Shantanu’s encounter with Satyavati, also known as Matsyagandha, marks a pivotal episode in the Mahabharata, skilfully captured by Raja Ravi Varma on oil, later published as an oleograph. While hunting along the Ganga’s banks, Shantanu is drawn by the intoxicating scent of musk and discovers its source in Satyavati, a fisherwoman raised by a fisherman who found her as an infant inside a fish. Enchanted by her beauty, Shantanu desires to marry her, but Satyavati agrees only on the condition that her future children inherit the throne, denying Shantanu’s son Devavrata (later Bhishma) his rightful claim. Initially hesitant, Shantanu consents after Devavrata vows lifelong celibacy to uphold his father’s happiness. The union results in two sons, Chitrangada and Vichitravirya, setting the stage for the Mahabharata’s complex lineage and conflicts. Varma’s artwork portrays this moment of enchantment, with Shantanu in regal attire, captivated by Satyavati’s charm, as she stands poised with an oar, embodying her fisherwoman origins and fateful allure.

Ravi Varma occupies an important place in Indian art history. He developed a painting style that appropriated the illusionary techniques of European oil painting with traditional Indian subject matter. The popularity of Ravi Varma’s paintings gave him the idea to make oleographs that would be available to the general public, instead of only elite patrons. Oleographs, also called chromolithographs, are multi-colour art prints, stemming from the process of lithography.

These immensely popular chromolithographs from the Ravi Varma press quickly set a new iconographical standard for the traditional Indian heroes and deities. Often the figures were embellished with embroidered sequins and other decorative material, creating vibrant pulsating images.

Image Size (cms): 49.5 (H) x 34.5 (W)
Image Size (inches): 19.5 (H) x 13.6 (W)

Framed Size (cms): 62 (H) x 48.5 (W)
Framed Size (inches): 24.5 (H) x 19 (W)

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Shiva, Parvati, Ganesha on Nandi
Published at the Ravi Varma Press, Malavli, Lonavla

by Raja Ravi Varma

chromolithograph with fabric appliqué

Shiva, Parvati & Ganesha are seated on a lion throne with Shiva’s caparisoned vahana Nandin seated under them. Shiva is known as the “destroyer and the transformer.” His wife Parvati, is the Hindu goddess of fertility, love and devotion; as well as of divine strength and power. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom.

Ravi Varma occupies an important place in Indian art history. He developed a painting style that appropriated the illusionary techniques of European oil painting with traditional Indian subject matter. The popularity of Ravi Varma’s paintings gave him the idea to make oleographs that would be available to the general public, instead of only elite patrons. Oleographs, also called chromolithographs, are multi-colour art prints, stemming from the process of lithography.

These immensely popular chromolithographs from the Ravi Varma press quickly set a new iconographical standard for the traditional Indian heroes and deities. Often the figures were embellished with embroidered sequins and other decorative material, creating vibrant pulsating images.

Image Size (cms): 49.5 (H) x 34.5 (W)
Image Size (inches): 19.5 (H) x 13.6 (W)

Framed Size (cms): 62 (H) x 48.5 (W)
Framed Size (inches): 24.5 (H) x 19 (W)

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Sri Bala Subrahmanya
Published at the Ravi Varma Press, Malavli, Lonavla

chromolithograph with fabric appliqué

Subrahmanyam (also known as Kartikeya, Murugan or Skanda) stands next to his conveyance, a majestic peacock with its spotted train of feathers on full display. Subrahmanyam, naked but for his sumptuous jewellery stands with one arm raised in Abaya mudra (fear not gesture) while the other is firmly planted on his hip. A golden cobra rests behind his feet. Subhramanyam is generally thought of as the son of Shiva and Parvati.

Oleographs, also called chromolithographs, are multi-colour art prints, stemming from the process of lithography. These immensely popular oleographs from the Ravi Varma press quickly set a new iconographical standard for the traditional Indian heroes and deities. Often the figures were embellished with embroidered sequins and other decorative material, creating vibrant pulsating images. After Ravi Varma was forced to sell the press along with the reproduction rights in 1901, the press began producing work by other contemporaries of Ravi Varma including C.G. Ramanujam, producing equally vibrant work with new themes and subjects. The influence of the oleographs from this press is still felt strongly in modern Indian popular art forms such as calendar art.

Image Size (cms): 49.5 (H) x 34.5 (W)
Image Size (inches): 19.5 (H) x 13.6 (W)

Framed Size (cms): 62 (H) x 48.5 (W)
Framed Size (inches): 24.5 (H) x 19 (W)

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Subrahmanya on peacock
Published at the Ravi Varma Press, Malavli, Lonavla

chromolithograph with fabric appliqué

Subrahmanyam (also known as Kartikeya, Murugan or Skanda) stands next to his conveyance, a majestic peacock with its spotted train of feathers on full display. Subrahmanyam, naked but for his sumptuous jewellery stands with one arm raised in Abaya mudra (fear not gesture) while the other is firmly planted on his hip. A golden cobra rests behind his feet. Subhramanyam is generally thought of as the son of Shiva and Parvati.

Ravi Varma occupies an important place in Indian art history. He developed a painting style that appropriated the illusionary techniques of European oil painting with traditional Indian subject matter. The popularity of Ravi Varma’s paintings gave him the idea to make oleographs that would be available to the general public, instead of only elite patrons. Oleographs, also called chromolithographs, are multi-colour art prints, stemming from the process of lithography.

These immensely popular chromolithographs from the Ravi Varma press quickly set a new iconographical standard for the traditional Indian heroes and deities. Often the figures were embellished with embroidered sequins and other decorative material, creating vibrant pulsating images.

Image Size (cms): 49.5 (H) x 34.5 (W)
Image Size (inches): 19.5 (H) x 13.6 (W)

Framed Size (cms): 62 (H) x 48.5 (W)
Framed Size (inches): 24.5 (H) x 19 (W)

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Vishnu on Garuda
Published at the Ravi Varma Press, Malavli, Lonavla

by Raja Ravi Varma

chromolithograph

Vishnu is is seen here riding on his vahana (vehicle), the mythical bird Garuda with his consorts Sridevi and Bhudevi on either side. The blue skinned Vishnu carries two of his usual attributes, the disc (cakra) and conch (sankha) in his hands. His consorts both bejewelled wear saris and hold chauris (fly whisks) in their outstretched arms. Garuda is depicted mid-flight carrying the trio and holding a golden cobra firmly within its talons.

Ravi Varma occupies an important place in Indian art history. He developed a painting style that appropriated the illusionary techniques of European oil painting with traditional Indian subject matter. The popularity of Ravi Varma’s paintings gave him the idea to make oleographs that would be available to the general public, instead of only elite patrons. Oleographs, also called chromolithographs, are multi-colour art prints, stemming from the process of lithography.

These immensely popular chromolithographs from the Ravi Varma press quickly set a new iconographical standard for the traditional Indian heroes and deities. Often the figures were embellished with embroidered sequins and other decorative material, creating vibrant pulsating images.

Image Size (cms): 49.5 (H) x 34.5 (W)
Image Size (inches): 19.5 (H) x 13.6 (W)

Framed Size (cms): 62 (H) x 48.5 (W)
Framed Size (inches): 24.5 (H) x 19 (W)

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Vyali Chariot Panel
Tamil Nadu (South India)

Wood

A finely carved chariot panel depicting a fully caparisoned standing Vyali. The rearing lion is open mouthed exposing large teeth, bulging eyes and a prominent ‘sunburst’ mane. The muscular body and the torso is adorned with carved tassels. ‘Yali’ or ‘Vyala’ denotes a mythical lion faced animal that appears on carved friezes on temple walls. They are fierce, leonine beasts with curvaceous bodies and enlarged heads surrounded by flame-like manes. They rear up on hind legs, the forelegs held out with clenched claws as if to pounce. Sometimes they are shown standing on human heads presumably of the demons that they have vanquished. In southern Indian sculpture from the 16th century onwards figures of rearing, almost three dimensional vyalis bearing heads either of horned lions or elephants and feline bodies guard the entrances of temples and line the approaches leading to sanctuaries.

Size (cms): 41.5 (H) x 20 (W) x 10 (D)
Size (inches): 16.3 (H) x 7.9 (W) x 4 (D)

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