Unusual Indian Silver ‘Bug’ Spill Vase by Oomersi Mawji

This finely rendered and possibly unique spill vase is typical of the work of India’s most celebrated colonial silversmith Oomersi Mawji – the silversmithing is exceptional and the conception  is unique and whimsical. The vase is double-walled, with the outer layer being pierced and decorated with flowers and leaf motifs that are typical of Kutch silverwork. A snake is shown winding its way up the vase ready to pounce on an insect that rests on the rim of the vase. Possibly, the underlying silver wall is gilded.

Spill vases usually were kept on the mantelpiece over a fireplace and were filled with spills made from tightly rolled paper or wooden splinters that were used to transfer fire from the fireplace to lamps, candles, smoking pipes or cigars.

The interior of the base is stamped (faintly) with a cameo punch with the initials ‘O.M.’ and then with ‘BHUJ’ (the town in which Oomersi had his workshop). Wilkinson (1999) points out that items with this crisp punch tend to be the earlier items most likely associated with the hand of Oomersi himself, and belong to the period circa 1860-1890.

Oomersi Mawji was the pre-eminent Indian silversmith of his time. Together with his sons, he established a workshop in Kutch around 1860, where the local Muslim rulers who had the title ‘Maharao’ were an important source of patronage. Today, pieces by Oomersi Mawji are keenly sought by collectors and museums worldwide.

Kutch silvermakers such as Oomersi Mawji developed a unique style of motifs with which they decorated most of the silver items they produced. Islamic-inspired scrolling flowers and foliage is the most frequently encountered motif, but small animal, bird and human motifs also were employed. The inspiration for these intricate motifs combined with fine and complex floral and foliage patterns almost certainly derives from the local tradition of intricate wall painting employed in Kutch palaces and public buildings. Known as Kamaagar art, the style evolved among the Kamaagar community of Muslims who lived in Kamaagar Falia in Bhuj (Tyabji, 2006, p. 90). Initially, the community was known for making decorated shields, but by the early to mid 19th century, the Kamagaars had established themselves as wall painters, painting intricate, even fussy, scenes of village life, animals, hunting scenes and the like accompanied by scrolling vegetal and floral borders.

The vase here is in excellent condition. We are not aware of another quite like this example; possibly it is unique.