À l’orientale: Collecting, Displaying and Appropriating Islamic Art and Architecture in the 19th and Early 20th Centuries

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The present volume offers a collection of essays that examine 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 dedicated to the figure of the Swiss collector Henri Moser Charlottenfels, whose important, still largely unstudied collection of islamic art is now being preserved at 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, Ágnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait.

Les contributions de l’ouvrage examinent le mécanisme et les stratégies relatifs à la collection, la présentation et l’appropriation des arts de l’Islam au XIXe siècle et début du XXe siècle. Elles mettent l’accent sur des collections situées en Europe centrale et orientale, lesquelles ont été peu étudiées jusqu’à présent. Une attention particulière est dédiée à la figure du collectionneur Suisse Henri Moser Charlottenfels, dont les objets se trouvent aujourd’hui 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.

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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.

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’œuvre 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
All interested in islamic art, art markets, the history of private and museum collections, display strategies, material culture and orientalism.