The house where the poet “Adnyatvasi” lived was not more than two hundred meters away from the house where Mumbiram was born and raised near the Mandai market in Pune. During every Divali season, the poet made an exhibition of his private collection of ornate brass lamps that were used during the height of the glorious Peshwa period of Pune. Some years, there was also a miniature replica of a hill fort (Killa), made famous by Shivaji Maharaj. There was a small entrance fee that a child could easily afford. In the years that followed, the poet was forgotten, but the man with the collection of brass lamps became renowned as the founder of the “Raja Dinkar Kelkar Museum”, which boasted a collection of over 15 000 household art objects, musical instruments, costumes etc., besides brass lamps.
Mumbiram shared many personal traits with Shri Kelkar. Shri Kelkar was inspired to acquire art objects that few others even considered to be collectible art objects. He was an amateur, but was more determined and steadfast than any professional collector. He had to go through times of financial hardships that he brought on himself on account of his passion for art collection. Once Kelkarji shared an anecdote with Mumbiram. His mother-in-law wore many gold ornaments on her person. Kelkarji offered to get those ornaments polished from a goldsmith. The old lady was nearly totally blind, but she trusted her son-in-law and parted with all her gold ornaments. Her son-in-law was in great need of cash to clinch an attractive deal to buy some rare cache of art objects. So he cashed in the gold of the real ornaments and replaced them with fake brass ornaments, and nobody was the wiser.
When Mumbiram was back from America he made his atelier in the same old house where he was born and raised. It was inevitable that the inspired art collector and the inspired artist should meet. Dr. Kelkar was immensely impressed with the spirit that Mumbiram exuded. It was almost certain that Dr. Kelkar was aware of artist Godbole, who ruled the art scene of Pune as the secretary of the Bombay art society in the 1930´s and 40´s. It was equally certain that he knew of Mumbiram´s father, advocate Ramdas Paranjpe, who had been the mayor of the town and the chairman of the Bharatiya Kala Prasarini Sabha of Pune. Neither Dr. Kelkar nor Mumbiram ever mentioned these connections. Yet Dr. Kelkar had mused over the possibility that somebody like Mumbiram would take over the reins of his museum after him. It was around this time, in the 1980´s, that a larger-than-life-size wooden image of the buxom goddess Meenakshi arrived from southern India to be part of the collection of the Raja Kelkar Museum. Everyone was excited over this new eye-catching arrival. By now, Dr. Mumbiram and Dr. Kelkar had become good friends. Dr. Kelkar asked Mumbiram if he would undertake to touch up the painted figure of Meenakshi that was losing its original paint at many places. Mumbiram hesitated, because he was not sure if antique paintings or sculptures should be interfered in any way for fear of altering their historical antiquity. Dr. Kelkar assured Mumbiram that there was hardly any object in his collection that he had acquired for its precise historical significance. He was interested in acquiring everyday objects that were part of folk culture.