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à lâorientale: Collecting, Displaying and Appropriating Islamic Art and Architecture in the 19th and Early 20th Centuries
Series: - Arts and Archaeology of the Islamic World, Volume: 14
The present volume offers a collection of essays that examines the mechanisms and strategies of collecting, displaying and appropriating Islamic art in the nineteenth and early twentieth centuries. Many studies in this book concentrate on lesser known collections of Islamic art, situated in Central and Eastern Europe that until now have received little attention from scholars. Special attention is given to the figure of the Swiss collector Henri Moser Charlottenfels, whose important, still largely unstudied collection of Islamic art is now preserved in the Bernisches Historisches Museum, Switzerland.
Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ãgnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait.
Les contributions de lâouvrage examinent le mécanisme et les stratégies relatifs à la collection, la présentation et lâappropriation des arts de lâIslam au XIXe siècle et début du XXe siècle. Elles mettent lâaccent sur des collections situées en Europe centrale et orientale, lesquelles ont été peu étudiées jusquâà présent. Une attention particulière est dédiée à la figure du collectionneur Suisse Henri Moser Charlottenfels, dont les objets se trouvent aujourdâhui au Bernisches Historisches Museum (Suisse) et qui ont été de même peu étudiés. Les textes émanent de jeunes chercheurs comme de chercheurs confirmés, basés en Europe occidentale et orientale, et au-delà .
Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ãgnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait.
Les contributions de lâouvrage examinent le mécanisme et les stratégies relatifs à la collection, la présentation et lâappropriation des arts de lâIslam au XIXe siècle et début du XXe siècle. Elles mettent lâaccent sur des collections situées en Europe centrale et orientale, lesquelles ont été peu étudiées jusquâà présent. Une attention particulière est dédiée à la figure du collectionneur Suisse Henri Moser Charlottenfels, dont les objets se trouvent aujourdâhui au Bernisches Historisches Museum (Suisse) et qui ont été de même peu étudiés. Les textes émanent de jeunes chercheurs comme de chercheurs confirmés, basés en Europe occidentale et orientale, et au-delà .
Francine Giese is director of Vitrocentre and Vitromusée, Romont, Switzerland. From 2014-2019 she held a SNSF professorship at the Institute of Art History, University of Zürich, where she led the research project Mudejarismo and Moorish Revival in Europe. She has widely published on Ibero-Islamic architecture, exchange and transfer processes and on architectural orientalism.
Mercedes Volait is CNRS Research Professor at InVisu, Paris, and associated fellow to the Research Department of the Victoria & Albert Museum, London. She has published extensively on art and architecture in Modern Egypt, and studies islamic art collecting from Egypt and Syria in the nineteenth century (with Moya Carey).
Ariane Varela Braga is a lecturer at the University of Geneva. She was research assistant on the SNSF project Mudejarismo and Moorish Revival (University of Zürich, 2014-2019). She is the author of monographs, edited volumes and articles on nineteenth-century theories of ornament and decorative arts, colored marbles and artistic migrations.
Mercedes Volait is CNRS Research Professor at InVisu, Paris, and associated fellow to the Research Department of the Victoria & Albert Museum, London. She has published extensively on art and architecture in Modern Egypt, and studies islamic art collecting from Egypt and Syria in the nineteenth century (with Moya Carey).
Ariane Varela Braga is a lecturer at the University of Geneva. She was research assistant on the SNSF project Mudejarismo and Moorish Revival (University of Zürich, 2014-2019). She is the author of monographs, edited volumes and articles on nineteenth-century theories of ornament and decorative arts, colored marbles and artistic migrations.
"Lâoriginalité de cet ouvrage tient au choix des éditrices de mettre en avant des exemples moins connus dâEurope plutôt que de continuer à mettremen évidence les grandes collections et les intérieurs européens largement documentés. Sa réussite tient, notamment, à la manière dont une figure comme Henri Moser revient régulièrement dans les différents chapitres, soulignant, ainsi, son influence et confirmant lâidée générale que les réseaux de collectionneurs sâétendaient au-delà des simples frontières géographiques."
Sarah Lakhal in: BCAI 36 (2022).
Sarah Lakhal in: BCAI 36 (2022).
Foreword
âAlbert Lutz
Acknowledgements
List of Illustrations
Notes on Contributors
Honoring Henri Moser Charlottenfels
âRoger Nicholas Balsiger
Introduction: Islamic Art and Architecture Exposed
âFrancine Giese, Mercedes Volait, and Ariane Varela Braga
1 Safavid Revival in Persian Miniature Painting: Renewal, Imitation and Source of Inspiration
âAxel Langer
2 « De véritables merveilles dâexécution » : Les vitraux du fumoir arabe
âSarah Keller
3 Lâart islamique et la fabrique de lâHistoire des musulmans de Sicile de Michele Amari
âHélène Guérin
4 Orientalisme versus orientalité : La nouvelle appréciation des arts de lâIslam en Pologne au début du XXe siècle
âAgnieszka Kluczewska-Wójcik
5 Appropriating Damascus Rooms: Vincent Robinson, Caspar Purdon Clarke and Commercial Strategy in Victorian London
âMoya Carey
6 Le remploi de grands décors mamelouks et ottomans dans lâÅuvre construit dâAmbroise Baudry en Ãgypte et en France
âMercedes Volait
7 International Fashion and Personal Taste: Neo-Islamic Style Rooms and Orientalizing Scenographies in Private Museums
âFrancine Giese
8 Carpets and Empire: The 1891 Exhibition at the Handelsmuseum in Vienna
âBarbara Karl
9 Henri Moser as Commissioner General of the Pavilion of Bosnia and Herzegovina at the 1900 Universal Exposition in Paris
âÃgnes Sebestyén
10 Samarcande au nord et à lâouest : Appropriation(s) de lâarchitecture timouride à Saint-Pétersbourg et à Berne
âKatrin Kaufmann
11 Tashkent in St. Petersburg: The Constructed Image of Central Asia in Russiaâs Nineteenth-Century Ethnographic Exhibitions
âInessa Kouteinikova
12 âTroppo amanti degli oggetti orientaliâ? : Ferdinando Panciatichi Ximenes dâAragona, a Collector of Islamic Art in Nineteenth-Century Florence
âAriane Varela Braga
13 The Arab Room of Achille Vertunni: Islamic Art in the Streets of Rome
âValentina Colonna
14 âOur aim is to perform something that remains after we are goneâ: The Oriental Collection Henri Moser Charlottenfels at Bernisches Historisches Museum
âAlban von Stockhausen
15 Yakov Smirnovâs Photo Collection: The Orient in Nineteenth-Century Photography
âMaria Medvedeva
Whoâs Who
Index of Persons
Index of Places
âAlbert Lutz
Acknowledgements
List of Illustrations
Notes on Contributors
Honoring Henri Moser Charlottenfels
âRoger Nicholas Balsiger
Introduction: Islamic Art and Architecture Exposed
âFrancine Giese, Mercedes Volait, and Ariane Varela Braga
Part 1: Islamic Taste in the Nineteenth and Early Twentieth Centuries
1 Safavid Revival in Persian Miniature Painting: Renewal, Imitation and Source of Inspiration
âAxel Langer
2 « De véritables merveilles dâexécution » : Les vitraux du fumoir arabe
âSarah Keller
3 Lâart islamique et la fabrique de lâHistoire des musulmans de Sicile de Michele Amari
âHélène Guérin
4 Orientalisme versus orientalité : La nouvelle appréciation des arts de lâIslam en Pologne au début du XXe siècle
âAgnieszka Kluczewska-Wójcik
Part 2: Appropriation, Reuse and Eclecticism
5 Appropriating Damascus Rooms: Vincent Robinson, Caspar Purdon Clarke and Commercial Strategy in Victorian London
âMoya Carey
6 Le remploi de grands décors mamelouks et ottomans dans lâÅuvre construit dâAmbroise Baudry en Ãgypte et en France
âMercedes Volait
7 International Fashion and Personal Taste: Neo-Islamic Style Rooms and Orientalizing Scenographies in Private Museums
âFrancine Giese
Part 3: Museums and International Exhibitions
8 Carpets and Empire: The 1891 Exhibition at the Handelsmuseum in Vienna
âBarbara Karl
9 Henri Moser as Commissioner General of the Pavilion of Bosnia and Herzegovina at the 1900 Universal Exposition in Paris
âÃgnes Sebestyén
10 Samarcande au nord et à lâouest : Appropriation(s) de lâarchitecture timouride à Saint-Pétersbourg et à Berne
âKatrin Kaufmann
11 Tashkent in St. Petersburg: The Constructed Image of Central Asia in Russiaâs Nineteenth-Century Ethnographic Exhibitions
âInessa Kouteinikova
Part 4: Collectors and Networks
12 âTroppo amanti degli oggetti orientaliâ? : Ferdinando Panciatichi Ximenes dâAragona, a Collector of Islamic Art in Nineteenth-Century Florence
âAriane Varela Braga
13 The Arab Room of Achille Vertunni: Islamic Art in the Streets of Rome
âValentina Colonna
14 âOur aim is to perform something that remains after we are goneâ: The Oriental Collection Henri Moser Charlottenfels at Bernisches Historisches Museum
âAlban von Stockhausen
15 Yakov Smirnovâs Photo Collection: The Orient in Nineteenth-Century Photography
âMaria Medvedeva
Whoâs Who
Index of Persons
Index of Places
All interested in islamic art, art markets, the history of private and museum collections, display strategies, material culture and orientalism.