Collection Highlights from the Dr. Bhau Daji Lad Mumbai City Museum

This 3 dimensional map of the original seven islands of Mumbai is titled Heptanesia, Greek for seven islands, which is the earliest documented name for the city recorded in the writings of Ptolemy.

The Kamalnayan Bajaj Mumbai Gallery showcases Mumbai’s origins as a group of islands separated by swamps, marshland and mangroves, covered with coconut groves, and its development into a vibrant and elegant 19th century city.

This model of a dredger named ‘Kuphus’ was presented to the Museum by the Bombay Port Trust Authorities in 1914. Dredgers were large mechanisms used to gather sediments from sea bed which was later used for miscellaneous activities. In Mumbai (Bombay), dredgers were mainly employed for reclamation works and thus extensive stretches of land were made available for transportation, housing and businesses.

This map titled ‘The Island of Bombay’ shows the land mass added to the islands through various reclamation projects carried out by the government between the years 1816 -1890.

The survey was commenced under Capt. Thomas Dickinson, one of the East India Company’s Engineers in 1812.

The Kolis, a community of fishermen, are the original inhabitants of Mumbai. This model shows a Koli woman drying fish, likely the Bombay Duck, a common sight near the seashores in Mumbai even today.

The Museum’s collection of clay models and dioramas document the people, lifestyles, occupations and cultures of Mumbai from the late 19th to the early 20th century. These models, made at the Museum in the early 1900’s, represent different occupations of that period. They also provide the visitors with an insight into the economics of the city of Mumbai. Many of these occupations are still practiced in the city even today.

A relief map of Worli estates development shows the topography of Worli area before the establishment of mills in the area.

A relief map of Worli estates after development shows the topography of the Worli area after the establishment of the mills. Clearly visible are the mills and residential quarters of the workers. The dense residential buildings reflect the influx of migrants who came to Mumbai to work in the mills of Mumbai (Bombay).

This statue of Mumba Devi was commissioned by the Museum in 2008. Mumba Devi is venerated as the the patron goddess of Mumbai and of the Kolis, the city's original inhabitants. In fact, the name of the city is derived from Mumba Aai or mother goddess, as she is known.

The 6th century Elephanta elephant, one of the city’s most important artefacts, which had been damaged by the British in an attempt to take it to London, stood forlorn and barely visible behind unruly vegetation. This elephant presented the greatest challenge as it could not be moved. It was given a special plinth with railings by scooping out part of the garden to enable the many visitors to the Museum and the zoo to view it clearly.

Edward Hildebrandt (1818 - 1869) was a German painter of repute who travelled on a world tour from 1860-1862, which included visits to the Middle East, India, Asia and the U.S. He worked mainly in watercolours.

A folio of his paintings from his world voyage was published as chromolithographs in 1864 in Berlin. The original watercolours from the voyage were exhibited in London in 1866 and at an exhibition at the Crystal Palace in 1868.

This lithograph shows an elite residential quarter of Mumbai (Bombay), as suggested by the broad street, wooden verandahs and elaborate facades of the houses.

This shield from Multan, with silver and gold wire inlay in a complex and intricate pattern, exemplifies the Museum's Koftagiri (Damascene) collection.

The art of damascening originated in the ornamentation of weaponry in ancient Damascus and travelled to India via Iran and Afghanistan.

In the art of Bidri, pure silver in inlaid against a black background made of zinc and copper to create delicate decorative patterns on items of domestic use for wealthy patrons. The term 'Bidri' is derived from Bidar (Karnataka), the earliest centre of this art form in India.

In the art of Bidri, pure silver is inlaid against a black background made of zinc and copper to create delicate decorative patterns on items of domestic use for wealthy patrons.

The intricate carving on this soapstone dish plate from Agra, blends Islamic geometric design with European foliage patterns. The softness of soapstone permits delicate treatment in design and workmanship.

The silver fruit bowl from Chennai (Madras) is repoussed in the Swami style with images of various mythological figures in canopied niches.

This elaborately carved Lamp stand made of Bison horn from the Ratnagiri School of Art is a combination of European form and Indian decorative embellishment like the cobra.

Ratnagiri and Sawantwadi in Maharashtra were important centres for the production of ornamental horn objects.

Kutch in Gujarat was famous for its graceful and intricate and floral designs in tight swirls executed in shallow repousse, as seen on this kettle.

The spout of the kettle, in shape of an elephant’s trunk, and the small silver elephant on the lid also indicate the popularity of such Indian motifs in the West.

Decorated in a Chinar leaf pattern with foliage and birds in gold on a deep red background, this bowl is one of the highlights of the Museum’s exquisite papier-mache collection from Kashmir. The Chinar leaf is a five-pointed leaf from a tree of the same name that is ubiquitous in the Kashmiri landscape and is a popular ornamental motifs in traditional crafts of Kashmir. Chinar trees were also planted in the celebrated Mughal gardens of Kashmir.

Papier-mache is the technique of creating objects using paper pieces or paper pulp moulded in the desired shape and bound with an adhesive. This delicate decorative art was introduced to Kashmir from Samarkand in Central Asia, in the 15th century A.D. In the Kashmir style of papier-mache, the paper is never completely beaten into pulp; it is softened with water and then pasted in a mould layer by layer to achieve the desired thickness. Kashmiri papier mache is characteristic of the art of naqashi or the painting of various floral, geometrical and figurative designs and patterns on the various items, covered with lacquer.

Ganjifa or Indian playing cards had figurative designs painted onto lacquered surfaces. Popular themes included the Dashavataras, the Ramayana, Mughal courtiers and later European suites were included. Sawantwadi (Maharashtra), Bishnupur (West Bengal) and Nirmal (Andhra Pradesh) were popular centres of this craft.

Images of Hindu deities, such as this example from the Sir J.J. School of Art, were popular themes represented on sandalwood objects. The preoccupation with Renaissance language in Indian art at this time is exemplified in the contrapposto figure of Parvati, the fall of her garment and her facial features.

South India and Maharashtra were important centres for sandalwood carving in India.

Dattatreya is an avatar of the Hindu trinity of Brahma Vishnu and Shiva. This brass image of Dattatreya illustrates the naturalistic form which developed in response to the European influence on Indian art.

This lampstand is an example of the decorative articles that were exported to Europe through the Asian subcontinent as land and sea trade expanded in the late 19th century. This dragon from Nepal has wings, an expressive ferocious face, a highly decorated tail and a candle stand, which it holds on its right foreleg.

The term 'Bidri' is derived from Bidar (Karnataka), the earliest centre of this art tradition in India. It was introduced from Persia in the 14th century where it was used to embellish weapons.

This foot warmer depicting the naturalized floral decoration typical of Bidri-ware from Bidar is the pride of the Museum’s Bidri collection. Hot water would be poured into the base and the steam rising through the perforated lid would keep warm the feet of wealthy patrons.

The Museum possesses one of the finest collections of 19th century lacware from Sind. The creation of coloured lac for application on wooden articles is a long and laborious process. Complicated techniques were used to produce a variety of designs such as Abri (Cloud work), Atisi (Fire work) and Nakshi (Pattern work).

The androgynous form of Ardhanareshwar is symbolic of the unity of the male and female aspects of the divine. This idol, cast in bronze, depicts the skill of Indian sculptors. Bronze is an alloy of copper, tin and zinc and is preferred by sculptors due to its durability.

Technical Schools were established in the Presidency towns of Bombay, Calcutta and Madras as well as at other important places such as Jaipur and Lucknow to improve public standards for good design. In the early days, these schools taught everything from dance and music to carpentry and pottery, as well as other "technical" skills such as drawing and painting.

This diorama from the mid-20th century depicts a technical school. It shows a school building with classrooms, a Museum Room, a Tool-House and Workshop. Students are portrayed learning weaving, carpentry, rope making, cultivation, ornamental gardening, music, dance and various crafts.

This aquatint titled 'Saumpareeah or Snake Catcher' by Sir Charles D'Oyly was published in a book consisting of twenty aquatints in 1813, titled ‘The European in India’. The purpose of the book was to introduce the reader to the lifestyle of a Company servant with a language that was instructive as well as amusing. This drawing reflects the popular imagery of India and gives the reader an insight into the life of a Company officer in pre-imperial India. This image shows a snake catcher or a ‘Saumpareeah’ who is playing an instrument and exhibiting snakes before the Europeans.