Exploring the Cultural Crossbreed in Colonial India

From the beginning of the 17th century, India witnessed a western presence on its soil. The first exchange happened with the establishment of the East India company for trading followed by a subsequent colonial rule under the British Crown that lasted for 190 years.

During this period, a large number of English people, either employed with EIC or working for the Imperial crown, settled and spent long periods in India. This resulted in a cultural influx that left an indelible mark on the arts and crafts of the country. One of the most shining hallmarks of this synthesis of the east and west is the Anglo-Indian style of furniture. Emerging from creative collaboration of foreign styles and traditional furniture practice, Anglo-Indian furniture was a creation of a unique design language. Inspired by different English styles from the Victorian, Georgian and Edwardian eras, Anglo Indian furniture was marked by skilled carpentry as well as by delicate patterning and ornamentation skillfully placed in the confines of the wooden structures, it perfectly blended the refined European taste with rich Indian craftsmanship.

In the 19th century, Europe was undergoing the Aestheticism movement which was founded on the principle that art existed exclusively for beauty. This sensibility also influenced the colonial furniture style and gave rise to the addition of decadent carving and rich embroidery in furniture. Executed with superlative quality timber such as rosewood and teak wood, the pieces were carved with highly detailed foliate designs. One of the most famous Anglo- Indian style furniture is the chair with a low seat and four curved legs of the ‘prie-dieu’ style. Created with Malabar teak, Sheesham wood and rosewood, it consisted of an intricately carved frame with decorative elements such as fruits, vines, foliage, birds, and serpentine creatures. Apart from detailed extravagant pieces, lightweight Anglo- Indian furniture with portability and versatility also became popular. Designed for comfort and opulence at the same time, Anglo-Indian furniture was a common sight in affluent households of colonial India.

During the colonial period, the Indian Maharajas were world-famous for the display of opulence in their royal courts and palaces. The idea of India as a land of fabulously wealthy individuals who were able to buy all kinds of luxury goods was firmly fixed in the British popular imagination.

This led to several British companies manufacturing precious objects expanding their trade in the country. One of these was Birmingham based F & C Osler, considered the foremost manufacturers and purveyors of monumental cut-glass objects.

Founded in 1807 by Thomas Osler and his two sons – Follett Osler and Clarkson Osler, the company became synonymous with creating the finest and the purest quality crystal chandeliers, massive glass structures including tables and thrones, fountains and furniture.

Its popularity witnessed a meteoric rise after its eight-metre tall fountain executed with four tons of crystal was installed at The Great Exhibition of 1851 in London and left the viewers in awe. The heyday of the company was between the mid 19th century to the early 20th century. With a rigorous apprentice regime, F&C Osler employed master artisans who deftly created each crystal masterpiece.

By the middle of the 19th century, the company was firmly established in India with orders for grandiose glass objects commissioned by Indian princes. At first, F & C Osler operated from Calcutta and was patronised by the rulers of the Bengal Presidency. However, they were looking to acquire patrons from all over India.

“Now with such a vast population containing such wealthy individuals we cannot help thinking there must be an abundance of trade for anyone who will look thoroughly and systematically into it,” says a letter dated December 1844 from Follet Osler to the firm’s Indian representative Arthur Heale. The letter is in the archives of Birmingham Central Library.

Soon, F & C Osler started to expand across the country including Kashmir and Punjab in the North, Gwalior in central India, and Hyderabad, Mysore, and Travancore in the south. This expansion also gave impetus to the innovation of unique designs inspired by the traditional Indian styles and the company started to supply custom-made orders for the royalties which included several never before made monumental glass objects. A monumental fountain made for the Maharaja of ‘Puttialla,’ was featured in the Art Journal of London in 1874. Displayed in a London showroom before being shipped to India, the crystal mountain created a massive sensation among the English people.

With a mastery of complex glass sculpting and shaping, the firm also set new benchmarks for 'Brilliant Cut Glass.' The brilliant technique involved covering the glass surface with intersecting cuts to create innumerable, often-fragmentary shapes making up larger patterns. Basic motifs used were stars, hobnail or polygonal diamonds, strawberry diamonds and fan scallops. While antique crystal objects made by F & C Osler are rare to find, every piece reinforces their stature as the ‘King of Glass.’

AstaGuru’s upcoming ‘Opulent Collectibles’ auction will present an exquisite collection of antique Anglo-Indian furniture as well as dazzling crystal antiques by F & C Osler. Slated for the 27th-28th of January 2022, the auction celebrates a melange of global craftsmanship with ceramics, furniture, crystal chandeliers, fine silver, Persian carpets, vintage clocks, and other decorative items.