A PAIR OF ANGLO INDIAN "BOMBAY BLACKWOOD" FILIGREE SLIPPER CHAIRS, 1850-1890, the pierced rosewood backs centering a lion beast spewing leaves within a bead chain medallion issuing concentric lotus blooms, ivy wreath, and "S" scroll vines perched with affronted birds, at top a rosette issues a bellflower wreath, while long tailed birds search for hidden berries amongst densely packed leaves, below curved seats fit within a berry and leaf vine gallery, the cushion now upholstered in celadon green velvet with matching pipe trim sits atop a canopy skirt, the whole raised on legs of totem form with celestial star frogs issuing a cage of vines, and below a bird with star beak stands atop the nose of a beast, a front arched skirt echoes the central lion beast medallion, the back carved with like motif, but raised on animal feet in the form of a lion with flaming mouth and fruiting chest above a bird riding a fish, a totem of beasts representing the water, sky, and earth, raised on casters. Height: 32" Width: 20" Depth: 24" Note: This particular style of furniture originated in an area of west India known as the Bombay Presidency, best described as the colonial seat of power for British India, which was established as early as the 17th and 18th centuries. Popularized in the 1850s, "Bombay Blackwood" furniture swept the latter half of the Victorian era as a furniture of distinction, having considerable influence on the posh interior design of the late 19th century. The profusely carved furniture was found in the port of Bombay (now Mumbai), where traditional Parisi shipbuilders began producing furniture for export to the European and American markets, hiring woodcarvers from rural cities like Ahmedabad and Surat in the northerly state of Gujarat. In the northern Gujarati taste combined with European Rococo Revival elements; the form of the chair is overall a balloon back, however, the low seat suggests that it would serve most likely as a slipper chair. Unusually, Alexander Jolliffe, Upholstery Conservator Trainee at the V&A, writes about a photograph at the Victoria & Albert Museum titled, "Hindu gentleman with a prie-dieu chair," suggesting perhaps a different interpretation of the function of the seats. Regional talents combined traditional Indian carving with modern (at the time) English chairs, producing remarkable furniture works of art.