13th Jul, 2022 13:00
A PORTABLE DRINKING SET WITH GILT GLASS DECANTERS AND SPIRIT GLASSES MADE FOR THE INDIAN MARKET
England, mid to late 19th century
Comprising six gilt clear glass bottles of typical rectangular shape, known as 'gin bottles', with sloping shoulders and drop-shaped gilt stoppers, the gilt decoration around the shoulders consisting of foliate and floral motifs, some decanters presenting old inventory labels reading liqueur, martells, and one bottle with T. Goode & Co. London label, each 22.5cm high; two gilt clear glass spirit glasses, with beaded and triangular decorative bands around the rim, 9cm high; and a small octagonal saucer with scrolling foliage around the rim and a stylised rosette in the centre, 14.5cm x 9.5cm; all fitted into a customised rosewood box with red velvet-lined interior and domed hinged lid, two carrying handles to sides the case, the case 27cm x 26cm x 21.5 cm.
Rectangular bottles of this type proved to be very popular in India, heavily influencing the local 18th and 19th-century glass production. Carboni explains that their shape derives from Dutch and German molded vessels, called case bottles or gin bottles, which would have been primarily produced in the second half of the 17th century and come in sets of 6 or 8, such as ours, with their respective glasses. These sets were at first produced in Europe and later brought to India and sold in the local market. In the 17th and 18th centuries, Western glass became very sought after and it wasn't long before Indian craftsmen started acquiring the skills to imitate the imported glass vessels. The first Indian glass factory was opened in Bhuj in the mid-18th century. The method of construction of bottles like ours, blown in a two-part mold with visible seams at the corners, is clearly postindustrial European. The main difference between glass bottles produced in Europe and in India is that Indian bottles were never accompanied by glasses, as they were mostly used as scent and perfumed water containers rather than spirit bottles (S. Carboni and D. Whitehouse, Glass of the Sultans, New York, 2001, pp. 276 and 286 - 287).
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