The present volume offers an overview of collecting and displaying Islamic art during the long nineteenth century. A section of the volume focuses on the figure of the Swiss collector Henri Moser Charlottenfels. Special attention is given to little-known collections in Eastern Europe and beyond. L'ouvrage fournit un panorama du collectionnisme d'art islamique au cours du long XIXe siècle, en mettant l'accent sur la figure d'Henri Moser Charlottenfels et des collections méconnues situées en Europe central, et au-delà.
The present volume offers an overview of collecting and displaying Islamic art during the long nineteenth century. A section of the volume focuses on the figure of the Swiss collector Henri Moser Charlottenfels. Special attention is given to little-known collections in Eastern Europe and beyond.
L'ouvrage fournit un panorama du collectionnisme d'art islamique au cours du long XIXe siècle, en mettant l'accent sur la figure d'Henri Moser Charlottenfels et des collections méconnues situées en Europe central, 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.
Inhaltsangabe
Foreword Albert Lutz Acknowledgements List of Illustrations Notes on Contributors Honoring Henri Moser Charlottenfels Roger Nicholas Balsiger Introduction: Islamic Art and Architecture Exposed Francine 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 Axel Langer 2 « De véritables merveilles d'exécution » : Les vitraux du fumoir arabe Sarah Keller 3 L'art islamique et la fabrique de l'Histoire des musulmans de Sicile de Michele Amari Hélène Guérin 4 Orientalisme versus orientalité : La nouvelle appréciation des arts de l'Islam en Pologne au début du XXe siècle Agnieszka Kluczewska-Wójcik
Part 2: Appropriation, Reuse and Eclecticism
5 Appropriating Damascus Rooms: Vincent Robinson, Caspar Purdon Clarke and Commercial Strategy in Victorian London Moya Carey 6 Le remploi de grands décors mamelouks et ottomans dans l'oeuvre construit d'Ambroise Baudry en Égypte et en France Mercedes Volait 7 International Fashion and Personal Taste: Neo-Islamic Style Rooms and Orientalizing Scenographies in Private Museums Francine Giese
Part 3: Museums and International Exhibitions
8 Carpets and Empire: The 1891 Exhibition at the Handelsmuseum in Vienna Barbara Karl 9 Henri Moser as Commissioner General of the Pavilion of Bosnia and Herzegovina at the 1900 Universal Exposition in Paris Ágnes Sebestyén 10 Samarcande au nord et à l'ouest : Appropriation(s) de l'architecture timouride à Saint-Pétersbourg et à Berne Katrin Kaufmann 11 Tashkent in St. Petersburg: The Constructed Image of Central Asia in Russia's Nineteenth-Century Ethnographic Exhibitions Inessa Kouteinikova
Part 4: Collectors and Networks 12 "Troppo amanti degli oggetti orientali"? : Ferdinando Panciatichi Ximenes d'Aragona, a Collector of Islamic Art in Nineteenth-Century Florence Ariane Varela Braga 13 The Arab Room of Achille Vertunni: Islamic Art in the Streets of Rome Valentina Colonna 14 "Our aim is to perform something that remains after we are gone": The Oriental Collection Henri Moser Charlottenfels at Bernisches Historisches Museum Alban von Stockhausen 15 Yakov Smirnov's Photo Collection: The Orient in Nineteenth-Century Photography Maria Medvedeva
Foreword Albert Lutz Acknowledgements List of Illustrations Notes on Contributors Honoring Henri Moser Charlottenfels Roger Nicholas Balsiger Introduction: Islamic Art and Architecture Exposed Francine 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 Axel Langer 2 « De véritables merveilles d'exécution » : Les vitraux du fumoir arabe Sarah Keller 3 L'art islamique et la fabrique de l'Histoire des musulmans de Sicile de Michele Amari Hélène Guérin 4 Orientalisme versus orientalité : La nouvelle appréciation des arts de l'Islam en Pologne au début du XXe siècle Agnieszka Kluczewska-Wójcik
Part 2: Appropriation, Reuse and Eclecticism
5 Appropriating Damascus Rooms: Vincent Robinson, Caspar Purdon Clarke and Commercial Strategy in Victorian London Moya Carey 6 Le remploi de grands décors mamelouks et ottomans dans l'oeuvre construit d'Ambroise Baudry en Égypte et en France Mercedes Volait 7 International Fashion and Personal Taste: Neo-Islamic Style Rooms and Orientalizing Scenographies in Private Museums Francine Giese
Part 3: Museums and International Exhibitions
8 Carpets and Empire: The 1891 Exhibition at the Handelsmuseum in Vienna Barbara Karl 9 Henri Moser as Commissioner General of the Pavilion of Bosnia and Herzegovina at the 1900 Universal Exposition in Paris Ágnes Sebestyén 10 Samarcande au nord et à l'ouest : Appropriation(s) de l'architecture timouride à Saint-Pétersbourg et à Berne Katrin Kaufmann 11 Tashkent in St. Petersburg: The Constructed Image of Central Asia in Russia's Nineteenth-Century Ethnographic Exhibitions Inessa Kouteinikova
Part 4: Collectors and Networks 12 "Troppo amanti degli oggetti orientali"? : Ferdinando Panciatichi Ximenes d'Aragona, a Collector of Islamic Art in Nineteenth-Century Florence Ariane Varela Braga 13 The Arab Room of Achille Vertunni: Islamic Art in the Streets of Rome Valentina Colonna 14 "Our aim is to perform something that remains after we are gone": The Oriental Collection Henri Moser Charlottenfels at Bernisches Historisches Museum Alban von Stockhausen 15 Yakov Smirnov's Photo Collection: The Orient in Nineteenth-Century Photography Maria Medvedeva
Who's Who Index of Persons Index of Places
Rezensionen
"L'originalité de cet ouvrage tient au choix des éditrices de mettre en avant des exemples moins connus d'Europe 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 l'idée générale que les réseaux de collectionneurs s'étendaient au-delà des simples frontières géographiques."
Sarah Lakhal in: BCAI 36 (2022).
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