Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890最新文献

Early Shows and Sales of Islamic Antiques in Paris 伊斯兰古玩在巴黎的早期展览和销售

Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890 Pub Date : 2021-05-05 DOI: 10.1163/9789004449886_003

M. Volait

{"title":"Early Shows and Sales of Islamic Antiques in Paris","authors":"M. Volait","doi":"10.1163/9789004449886_003","DOIUrl":"https://doi.org/10.1163/9789004449886_003","url":null,"abstract":"This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license. Early displays of Islamic arts and crafts in nineteenth-century Europe are commonly associated with a set of shows that were held between 1885 and 1910 in London (Exhibition of Arab and Persian Art, 1885), Paris (Les Arts musulmans, 1893 and 1903), Stockholm (F. R. Martins Sammlungen aus dem Orient within the General Art and Industry exhibition, 1897), Algiers (Exposition d’art musulman, 1905) and Munich (Meisterwerke Muhammedanischer Kunst, 1910).1 These did not represent however the first or sole opportunities for direct exposure to artworks from the Eastern Mediterranean and North Africa that were offered to European audiences during the age of empire, industry and spectacle. Every single Universal Exposition since 1851 presented objects from the region,2 whether they were the product of current craftsmanship or “curiosities” from the past – the common term then used for non-Western artworks.3 From the very beginning, shows devoted to applied arts, routinely described as industrial, ornamental or decorative in the sources, also hosted Islamic artefacts among their exhibits; alternative viewing was thus provided to those who had not travelled East. More","PeriodicalId":114953,"journal":{"name":"Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128112349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Expanding Trades in Late Ottoman Cairo and Damascus 奥斯曼帝国晚期开罗和大马士革的贸易扩张

Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890 Pub Date : 2021-05-05 DOI: 10.1163/9789004449886_004

M. Volait

引用次数: 1

Connecting Historiographies, Challenging Assumptions 连接史学，挑战假设

Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890 Pub Date : 2021-05-05 DOI: 10.1163/9789004449886_002

M. Volait

{"title":"Connecting Historiographies, Challenging Assumptions","authors":"M. Volait","doi":"10.1163/9789004449886_002","DOIUrl":"https://doi.org/10.1163/9789004449886_002","url":null,"abstract":"This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license. It was by sheer accident that I came across the topic at the origin and core of the present book. As an architectural historian interested in the working of modernity in pre-Nasserist Egypt, in the early 1990s I was fortuitously given access to an unprecedented resource on the making of Khedivial Cairo: the private papers of French architect Ambroise Baudry (1838–1906), who had been active in the city from 1871 to 1886. For the first time ever, the architectural fashioning of modern Cairo could be viewed and experienced through primary sources, instead of secondary, and mostly indirect, ones. Baudry’s carefully kept archive, then in his descendants’ hands, consisted of an extensive collection of correspondence (about 800 letters to family, friends, mentors and clients); an accounts’ ledger detailing commissions, costs, collaborators and contractors on an almost year-by-year basis; and sets of photographs and architectural drawings, a number of which were acquired in 2000 by the Musée d’Orsay in Paris.1 The archive also contained documentation on his art collections: Baudry was an early enthusiast and proud owner of valuable Islamic objects from Egypt and Syria, among other high “curiosities,” the then current shorthand term for non-Western artworks. A selection of his Iznik tiles and Mamluk woodwork is now housed in the Musée du Louvre in Paris; while the Metropolitan Museum of Art in New York holds carved and inlaid woodwork from his collection too. Most remaining pieces were dispersed in 1999 and 2000.2 The papers revealed a fine artist who gave birth to one of the most original and alluring form of Mamluk-inspired architecture conceived during","PeriodicalId":114953,"journal":{"name":"Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133908834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Fashioning Immersive Displays in Egypt and Beyond 在埃及和其他地方塑造身临其境的展示

Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890 Pub Date : 1900-01-01 DOI: 10.1163/9789004449886_006

Albert Goupil

{"title":"Fashioning Immersive Displays in Egypt and Beyond","authors":"Albert Goupil","doi":"10.1163/9789004449886_006","DOIUrl":"https://doi.org/10.1163/9789004449886_006","url":null,"abstract":"This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license. Among the collectors who lent works of Islamic Art to the 1865 and 1869 retrospective shows of the Union centrale des beaux-arts appliqués à l’industrie in Paris, two groups can tentatively be differentiated in terms of display. On the one hand, were art lovers who typically kept their pieces in glass cases and cabinets, such as the Marquess of Hertford, or alternatively were to install “treasure chambers” (in German, Schatzkammer), as the Rothschilds famously did. Alphonse de Rothschild, who exhibited “Arab” enamelled glass in 1865, had his precious specimens, together with rock crystal, carved ivories and medieval enamels, locked in a mezzanine room at his hôtel particulier [private mansion] on 2 Saint-Florentin Street in Paris. The smoking room created in 1889 by Ferdinand de Rothschild at Waddesdon Manor for his valuable Renaissance Museum, visually epitomises how objects, such as the famous Palmer Cup (a thirteenth-century enamelled glass beaker from Egypt or Syria mounted on a French silver-gilt foot) and a Mamluk mosque lamp, were presented: they were lined up and protected under glass.1 (Fig. 87) On the other hand were artists, architects and would-be designers who engaged in arranging immersive displays for their curios and pieces of salvage. Some of the atmospheric rooms they created were rather casually conceived. In the studio of Mariano Fortuny y Marsal in Rome, the bricà-brac coexisted side by side with valuable collectibles and some of them performed mundane","PeriodicalId":114953,"journal":{"name":"Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130512118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Diverging Routes 不同的路线

Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890 Pub Date : 1900-01-01 DOI: 10.1163/9789004449886_008

引用次数: 0