DOCSLIB.ORG

Fine European Ceramics Fine European Semans Foundation Trent Biddle Duke the Mary from Pottery Including

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fine European Ceramics Fine European Semans Foundation Trent Biddle Duke the Mary from Pottery Including New Bond Street, London | 22 July 2020 New Bond Street, Fine European Ceramics Fine European Semans Foundation Trent Biddle Duke the Mary from Pottery Including Fine European Ceramics I New Bond Street, London I 22 July 2020 Fine European Ceramics Including Pottery from the Mary Duke Biddle Trent Semans Foundation New Bond Street, London | Wednesday 22 July 2020 at 2.30pm VIEWING ENQUIRIES CUSTOMER SERVICES IMPORTANT INFORMATION Friday 17 July Nette Megens Monday to Friday 8.30am to 6pm The United States Government 10am to 5pm Head of Department +44 (0) 20 7447 7447 has banned the import of ivory Monday 20 July +44 (0) 20 7468 8348 into the USA. Lots containing ivory are indicated by the 10am to 5pm [email protected] PHYSICAL CONDITION OF symbol printed beside the Tuesday 21 July LOTS IN THIS AUCTION Ф 10am to 5pm Sebastian Kuhn PLEASE NOTE THAT ANY lot number in this catalogue. Wednesday 22 July Department Director REFERENCE IN THIS 10am to 12pm +44 (0) 20 7468 8384 CATALOGUE TO THE PHYSICAL REGISTRATION [email protected] CONDITION OF ANY LOT IS IMPORTANT NOTICE And by appointment FOR GENERAL GUIDANCE Please note that all customers, Sophie von der Goltz ONLY. INTENDING BIDDERS irrespective of any previous SALE NUMBER Specialist MUST SATISFY THEMSELVES activity with Bonhams, are 25884 +44 (0) 20 7468 8349 AS TO THE CONDITION OF required to complete the Bidder [email protected] ANY LOT AS SPECIFIED IN Registration Form in advance of CLAUSE 14 OF THE NOTICE TO the sale. The form can be found CATALOGUE BIDDERS CONTAINED AT THE at the back of every catalogue £25.00 END OF THIS CATALOGUE. and on our website at www. bonhams.com and should be BIDS As a courtesy to intending returned by email or post to the +44 (0) 20 7447 7447 bidders, Bonhams will provide a specialist department or to +44 (0) 20 7447 7401 fax written indication of the physical the bids department at bids@ condition of lots in this sale if a bonhams.com. To bid live online To bid via the internet please request is received up to 24 and / or leave internet bids visit bonhams.com/25884 hours before the auction starts. please go to www.bonhams. This written Indication is issued com/auctions/25884 and click on Please note that bids should subject to Clause 3 of the Notice the Register to bid link at the top be submitted no later than 4pm to Bidders. left of the page. on the day prior to the sale. New bidders must also provide proof of identity when submitting bids. Failure to do this may result in your bid not being processed. Telephone bidding will only be accepted on lots with a low estimate in excess of £1,000. Live online bidding is available for this sale Please email [email protected] with ‘live bidding’ in the subject line 48 hours before the auction to register for this service Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax Sale Information BIDS COLLECTION AND STORAGE 44 (0) 20 7447 7447 AFTER SALE +44 (0) 20 7447 7401 fax All sold lots will remain in To bid via the internet please visit Bonhams New Bond Street www.bonhams.com Collections department free of charge until 5.30pm PAYMENTS Wednesday 5 August 2020 Buyers +44 (0) 20 7447 7447 Lots not collected by then will +44 (0) 20 7447 7401 fax be returned to the department. storage charges may apply Sellers Payment of sale proceeds The following symbol is used +44 (0) 20 7447 7447 to denote that VAT is due on +44 (0) 20 7447 7401 fax the hammer price and buyer’s premium VALUATIONS, TAXATION & HERITAGE † VAT 20% on hammer price +44 (0) 20 7468 8340 and buyer’s premium +44 (0) 20 7468 5860 fax [email protected] * VAT on imported items at a preferential rate of 5% on CATALOGUE SUBSCRIPTIONS hammer price and the To obtain any Bonhams catalogue prevailing rate on buyer’s premium or to take out an annual subscription: Subscriptions Department Y These lots are subject to +44 (0) 1666 502200 CITES regulations, please +44 (0) 1666 505107 fax read the information in the [email protected] back of the catalogue. SHIPPING Payment in Advance For information and estimates (Telephone to ascertain amount due) on domestic and international by: cash, cheque with banker’s shipping as well as export card, credit or debit card. licenses please contact Alban Shipping on +44 (0) 1582 493 099 Payment at time of collection by: [email protected] cash, cheque with banker’s card, credit, or debit card European Ceramics London Sebastian Kuhn Department Director Nette Megens Head of Department Sophie von der Goltz Specialist The Collection of the Mary Duke Biddle Trent Semans Foundation Lot 2 Lot 38 Lot 3 Mary Duke Biddle Trent Semans in her living room, circa 1970 Mary Duke Biddle Trent Semans (February 21, 1920 – January poor, cultural enrichment opportunities for the blind and deaf, 25, 2012) was an American philanthropist, leader, activist, and and humane medical care. As a powerful member of the patron of the arts. She was the granddaughter of Benjamin N. Board of Trustees of Duke University, she played an integral Duke, great niece of James B. Duke and great granddaughter role in every major decision over half a century, helping guide of Washington Duke, tobacco tycoons who built the American the University’s rise to its current status as a global leader in Tobacco Company. Her great uncle James was the key higher education. She also served as a trustee of The Duke principal in the formation and early operations of what is now Endowment for 55 years, including serving as its first female Duke Energy Corporation, the largest investor-owned utility chairman, guiding the Endowment to increase the impact and in the United States, and, with the urging and guidance of relevance of its grants through changing times, and building on his brother Ben, founded Duke University in Durham, North the philanthropic legacy of her great uncle. Carolina, and established The Duke Endowment, now one of the largest charitable organizations in the United States. Mrs. Semans was also instrumental in establishing a number of pioneering institutions, including the University of North Mrs. Semans accomplished an extraordinary amount in her Carolina School of the Arts, the nation’s first state-supported lifetime. Initially, her focus was political: in the early 1950s, conservatory for the arts, the Nasher Museum of Art at Duke she was elected to the Durham City Council, then rose to University, and the Mary Duke Biddle Gallery for the Blind at the become the city’s mayor pro-tempore, both firsts for women. North Carolina Museum of Art, where sight-impaired visitors Propelled by her strong convictions and democratic ideals, she could experience a museum, feeling masterpieces by artists advocated ardently for social justice, economic opportunity, such as Rodin. For Mrs. Semans, art was essential to life – racial equality, grassroots arts programming, housing for the telling stories, promoting a greater understanding of others, and bridging cultures and lifestyles. Lot 2 Lot 38 (part) Lot 3 The substantial collection of Italian and Spanish maiolica In 1956, Mary donated their entire collection of rare books albarelli offered for sale here was one special product of to Duke University, along with ivory anatomical figures, Mrs. Semans’ first marriage. In 1935, she enrolled at Duke’s medical incunabula, early medical licenses, lecture notes, Women’s College where she met Josiah Charles Trent, a portraits, and an enchanting group of Florence Nightingale young medical student who eventually became the chief of pictures, etchings and memorabilia. This remarkable historical Duke Hospital’s Division of Thoracic Surgery. Mary and Josiah grouping, known as the Trent Collection, continues to be married in 1938, when he was 24 and she just 18 years old. housed at Duke. At the same time, Mary delivered the Their marriage has been described as “one of rare happiness” majority of the jars offered here to the University on long-term and the couple went on to have four daughters. loan, where they were prominently displayed until just recently. It was on their wedding trip to Europe that Mary and Josiah In the early 1980’s Mrs. Semans established her own began the formation of a substantial collection of rare books foundations, the Mary Duke Biddle Trent Semans Foundation, and were likely inspired to pursue other collections. Dr. to make small, creative grants in the Durham community and Trent’s fascination with medical objects and memorabilia beyond, and the Duke-Semans Fine Arts Foundation, which came naturally, but it was during their time in Italy that he was created to hold and loan many of Mrs. Semans’ most found inspiration in the many beautiful pharmacy jars they valuable pieces of art, including the maiolica albarelli. Her observed. The exact dates of acquisition of the jars offered two foundations were merged into a single foundation, the here are uncertain, but from all accounts from Mary’s family, the Mary Duke Biddle Trent Semans Foundation, after her death. collection was started soon after their return from Europe in the The Foundation board has recently made a determination summer of 1938 and concluded at some time before Josiah’s to sell much of its art and build its corpus in order to focus tragic death in 1948. The very earliest memories of Josiah’s on making impactful grants in North Carolina, in honor and and Mary’s four girls include the pharmacy jars, prominently (but memory of Mrs.
Load more

Recommended publications
  • Majolica Drug Jars by WILLIAM M
    Majolica Drug Jars By WILLIAM M. MILLIKEN, THE ALBARELLO or drug jar made as a simple object of utility for the storing of drugs has often achieved a value far beyond that which its function suggests. In these days when containers mean so much and perfumes are sold partly because of name, partly because of the way the product is presented; in these days when effective packaging is essential for success, the concern of the Renaissance potter in turning out an object of use which at the same time had beauty will be readily understood. Many of these humble earthenware productions have sur- vived the centuries and now grace the vitrines of museums and the cabinets of the greatest collectors, although in the first instance, they were merely planned as workmanlike performances which would ful- fill adequately and decoratively the simple purpose asked. Majolica, an earthenware glazed with a stanniferous, or tin, glaze was a most practical answer to a need. It was resistant and it was cleanly. The use of this tin glaze originated in the Near East, probably in Persia or Mesopotamia, and from there it travelled in the trail of Islam. When it reached Spain is not known with certainty, but it must have been introduced during the Moorish conquest and in the fourteenth century it was definitely in use in the region around Valencia. Curiously enough, the term, majolica, used as a generic name for a certain type of pottery made in Italy during the Renaissance, came from the old Italian form of the Island of Majorca in the Balearic Isles.
    [Show full text]
  • Illumination Underfoot the Design Origins of Mamluk Carpets by Peter Samsel
    Illumination Underfoot The Design Origins of Mamluk Carpets by Peter Samsel Sophia: The Journal of Traditional Studies 10:2 (2004), pp.135-61. Mamluk carpets, woven in Cairo during the period of Mamluk rule, are widely considered to be the most exquisitely beautiful carpets ever created; they are also perhaps the most enigmatic and mysterious. Characterized by an intricate play of geometrical forms, woven from a limited but shimmering palette of colors, they are utterly unique in design and near perfect in execution.1 The question of the origin of their design and occasion of their manufacture has been a source of considerable, if inconclusive, speculation among carpet scholars;2 in what follows, we explore the outstanding issues surrounding these carpets, as well as possible sources of inspiration for their design aesthetic. Character and Materials The lustrous wool used in Mamluk carpets is of remarkably high quality, and is distinct from that of other known Egyptian textiles, whether earlier Coptic textiles or garments woven of wool from the Fayyum.3 The manner in which the wool is spun, however – “S” spun, rather than “Z” spun – is unique to Egypt and certain parts of North Africa.4,5 The carpets are knotted using the asymmetrical Persian knot, rather than the symmetrical Turkish knot or the Spanish single warp knot.6,7,8 The technical consistency and quality of weaving is exceptionally high, more so perhaps than any carpet group prior to mechanized carpet production. In particular, the knot counts in the warp and weft directions maintain a 1:1 proportion with a high degree of regularity, enabling the formation of polygonal shapes that are the most characteristic basis of Mamluk carpet design.9 The red dye used in Mamluk carpets is also unusual: lac, an insect dye most likely imported from India, is employed, rather than the madder dye used in most other carpet groups.10,11 Despite the high degree of technical sophistication, most Mamluks are woven from just three colors: crimson, medium blue and emerald green.
    [Show full text]
  • The Rinceau Design, the Minor Arts and the St. Louis Psalter
    The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1
    [Show full text]
  • Indiana Theatre ' HABS No. IN-101 ;13^ West" Washington Street '
    Indiana Theatre ' HABS No. IN-101 ;13^ West" Washington Street '. " . • "Indianapolis '.•••-■ ■Marion .County ■" Indiana- J- i PHOTOGRAPHS -WRITTEN HISTORICAL AHD DESCRIPTIVE DATA • Historic American Buildings Survey Heritage Conservation and Recreation Service Department of the Interior Washington, D.C. 202*10 HAB5,lND.H<MNk/2<? m HISTORIC AMERICAN BUILDINGS SURVEY HABS No. IN-101 INDIANA THEATRE Location: 134 West Washington Street, Indianapolis, Marion County, Indiana. Present Owner: Lincoln Square Associates. Present Use: Closed for renovation to repertory theatre. Statement of Significance: The Indiana Theatre is an outstanding example of the Spanish-style architecture in vogue in America during the 1920s. It is particularly noteworthy for its terra-cotta facade and its auditorium details, both in the Churrigueresque manner, and its top-floor "atmospheric" ballroom designed to imitate a Spanish town plaza. Leading jazz dance bands played there frequently. PART I. HISTORIC INFORMATION A. Physical History Date of erection: The theatre opened on June 18, 1927> the m ballroom on September 2, 1927. The original seating capacity was reported as 3,500, the cost as $995,000. Original and subsequent owners: The theatre occupies portions of lots 7, 8, and 9, Square 54, the Donation Lands, City of Indianapolis, Marion County, State of Indiana. Prior to the erection of the theatre a portion of the land was owned jointly by Gustave A. Schnull, Bertha S. Fauvre, Francis M. Fauvre, Edna S. Glossbrenner and Daniel I. Glossbrenner, a remainder being owned by Josephine M. Scharf. The land was leased by the above parties for 99 years, beginning April 3» 1926 (recorded June 28, misc.
    [Show full text]
  • Hispano-Moresque Pottery
    H I S P AN O -M O R E S "U E P OTTE RY IN THE COL L E CTION OF THE H I S PAN I C SO CI ETY OF AM ERI CA B Y EDWIN ATLEE BARBE R , PH . D . D i re c to r o f th e P e nns y lv a ni a Mus e u m a nd S c h o ol o f Ind u s tri a l A rt P h ila d e lp h i a , P a . < “ S 4 / I, 1/ T H E H I S PA N I C S O C I E T Y O F A M E R I CA I T S6 H STREET , WEST OF B ROADWAY N EW YO RK, 19 15 Co r h t 1 15 b p y ig , 9 , y T H E H I S P AN I C S OCI E T Y OF AM E R I CA HI SPAN O -M O RES"UE POTTERY HI SPAN O-M OR ES"U E P OTTERY I NTRODUCT ORY NOT E S M ETALLI C LUSTERS AND STANNI FEROUS ENAM E L HE o f to origin metallic luster , as applied the - l surface Of tin ename ed earthenware , is a prob lem which has occupied the attention o f ceramic stu to dents for many years . Various theories as the source ff O f this art have been advanced by di erent writers , some Of which have proved fallacious , while others have failed to be convincing .
    [Show full text]
  • History of Architecture: Chapters I-XIX
    vii TABLE OF CONTENTS. PAGE PRELIMINARY MATERIAL (separate file) LIST OF ILLUSTRATIONS (Figures 1–157) xi CHAPTER I. PRIMITIVE AND PREHISTORIC ARCHITECTURE 1 CHAPTER II. EGYPTIAN ARCHITECTURE 6 CHAPTER III. EGYPTIAN ARCHITECTURE, Continued 16 CHAPTER IV. CHALDÆAN AND ASSYRIAN ARCHITECTURE 28 CHAPTER V. PERSIAN, LYCIAN, AND JEWISH ARCHITECTURE 35 CHAPTER VI. GREEK ARCHITECTURE 43 viii CHAPTER VII. GREEK ARCHITECTURE, Continued 60 CHAPTER VIII. ROMAN ARCHITECTURE 74 CHAPTER IX. ROMAN ARCHITECTURE, Continued 88 CHAPTER X. EARLY CHRISTIAN ARCHITECTURE 110 CHAPTER XI. BYZANTINE ARCHITECTURE 120 CHAPTER XII. SASSANIAN AND MOHAMMEDAN ARCHITECTURE—ARABIAN, MORESQUE, 135 PERSIAN, INDIAN, AND TURKISH CHAPTER XIII. EARLY MEDIÆVAL ARCHITECTURE IN ITALY AND FRANCE 155 CHAPTER XIV. EARLY MEDIÆVAL ARCHITECTURE IN GERMANY, GREAT BRITAIN, AND SPAIN 172 CHAPTER XV. GOTHIC ARCHITECTURE 182 CHAPTER XVI. GOTHIC ARCHITECTURE IN FRANCE 196 ix CHAPTER XVII. GOTHIC ARCHITECTURE IN GREAT BRITAIN 218 CHAPTER XVIII. GOTHIC ARCHITECTURE IN GERMANY, THE NETHERLANDS, AND SPAIN 237 CHAPTER XIX. GOTHIC ARCHITECTURE IN ITALY 254 RENAISSANCE AND LATER ARCHITECTURE CHAPTERS XX–XXVIII, WITH FIGURES 158–229 (separate file) APPENDIX (separate file) GLOSSARY (separate file) INDEXES (separate file) xi LIST OF ILLUSTRATIONS. A few illustrations include links to larger versions. Figure 24 has been reformatted for this e-text; it was printed vertically, with the Plan below the Section. Figure 138 is shown as printed. THE authorship of the original drawings is indicated by the initials affixed: A. = drawings by the author; B. = H. W. Buemming; Bn. = H. D. Bultman; Ch. = Château, L’Architecture en France; G. = drawings adapted from Gwilt’s Encyclopædia of Architecture; L. = Lübke’s Geschichte der Architektur; W.
    [Show full text]
  • Graded-In Textiles
    Graded-In Textiles For a list of each of our partner commpany’s patterns with Boss • Indicate GRADED-IN TEXTILE on your order and Boss Design Design Grades visit www.bossdesign.com. To order memo will order the fabric and produce the specified furniture. samples visit the websites or call the numbers listed below. • Boss Design reserves the right to adjust grades to accommodate price changes received from our suppliers. • Refer to our website www.bossdesign.com for complete pattern memo samples: www.arc-com.com or 800-223-5466 lists with corresponding Boss Design grades. Fabrics priced above our grade levels and those with exceptionally large repeats are indicated with “CALL”. Please contact Customer Service for pricing. • Orders are subject to availability of the fabric from the supplier . • Furniture specified using multi-fabric applications or contrasting welts be up charged. memo samples: www.architex-ljh.com or 800-621-0827 may • Textiles offered in the Graded-in Textiles program are non- standard materials and are considered Customer’s Own Materials (COM). Because COMs are selected by and used at the request of a user, they are not warranted. It is the responsibility of the purchaser to determine the suitability of a fabric for its end use. memos: www.paulbraytondesigns.com or 800-882-4720 • In the absence of specific application instructions, Boss Design will apply the fabric as it is sampled by the source and as it is displayed on their website. memo samples: www.camirafabrics.com or 616 288 0655 • MEMO SAMPLES MUST BE ORDERED DIRECTLY FROM THE FABRIC SUPPLIER.
    [Show full text]
  • Approaches to Understanding Oriental Carpets Carol Bier, the Textile Museum
    Graduate Theological Union From the SelectedWorks of Carol Bier February, 1996 Approaches to Understanding Oriental Carpets Carol Bier, The Textile Museum Available at: https://works.bepress.com/carol_bier/49/ 1 IU1 THE TEXTILE MUSEUM Approaches to Understanding Oriental Carpets CAROL BIER Curator, Eastern Hemisphere Collections The Textile Museum Studio photography by Franko Khoury MAJOR RUG-PRODUCING REGIONS OF THE WORLD Rugs from these regions share stylistic and technical features that enable us to identify major regional groupings as shown. Major Regional Groupings BSpanish (l5th century) ..Egypto-Syrian (l5th century) ItttmTurkish _Indian Persian Central Asian :mumm Chinese ~Caucasian 22 Major rug-producing regions of the world. Map drawn by Ed Zielinski ORIENTAL CARPETS reached a peak in production language, one simply weaves a carpet. in the late nineteenth century, when a boom in market Wool i.s the material of choice for carpets woven demand in Europe and America encouraged increased among pastoral peoples. Deriving from the fleece of a *24 production in Turkey, Iran and the Caucasus.* Areas sheep, it is a readily available and renewable resource. east of the Mediterranean Sea at that time were Besides fleece, sheep are raised and tended in order to referred to as. the Orient (in contrast to the Occident, produce dairy products, meat, lard and hide. The body which referred to Europe). To study the origins of these hair of the sheep yields the fleece. I t is clipped annually carpets and their ancestral heritage is to embark on a or semi-annually; the wool is prepared in several steps journey to Central Asia and the Middle East, to regions that include washing, grading, carding, spinning and of low rainfall and many sheep, to inhospitable lands dyeing.
    [Show full text]
  • The Grotesque in Art and Literature; Tr
    WOLFGANG KAYSER Grotesque IN ART AND LITERATURE Translated by Ulrich Weis stein INDIANA UNIVERSITY PRESS Bloomington This book was originally published under the title Das Groteske: seine Gestaltung in Malerei und Dichtung © 1957 by Gerhard Stalling Verlag, Oldenburg (Oldb) und Ham¬ burg DEDICATED TO MAX RYCHNER WITH SINCERE APPRECIATION Copyright © 1963 by Indiana University Press All rights reserved Manufactured in the United States of America Library of Congress catalog card number: 63-9719 Trans lators Note Wolfgang Kayser’s untimely death deprived me of the possibility of consulting him while the translation was in progress. Although on the whole his German is clear and unexceptional, minor difficul¬ ties arose in connection with such pseudo-philosophical phrases as Offenheit fur ein Waltend.es; and occasionally I thought it best to add the original German word or phrase in parentheses. A special problem was posed by the inconsistency in the use of komisch on the part of the writers quoted by Kayser, whereas the rendering of the nouns Humor and Komik gave no trouble. The translations of literary and critical passages incorporated in the text are my own unless otherwise indicated. I am grateful to Holt, Rinehart and Winston, Inc., for their permission to use an 5 TRANSLATOR’S NOTE excerpt from Bernard Guilbert Guemey’s translation of Gogol’s Dead Souls. The English equivalents of German titles, where ap¬ plicable, are those found in B. Q. Morgan’s invaluable Critical Bib¬ liography of German Literature in English Translation, 1481- 1935 (Stanford, 1938). I should also like to thank Alfred A. Knopf, Inc., for allowing me to quote from H.
    [Show full text]
  • Exploration of Arabesque As an Element of Decoration in Islamic Heritage Buildings: the Case of Indian and Persian Architecture
    Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Exploration of Arabesque as an Element of Decoration in Islamic Heritage Buildings: The Case of Indian and Persian Architecture Mohammad Arif Kamal Architecture Section Aligarh Muslim University, Aligarh, India Saima Gulzar School of Architecture and Planning University of Management and Technology, Lahore, Pakistan Sadia Farooq Dept. of Family and Consumer Sciences University of Home Economics, Lahore, Pakistan Abstract - The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term ‘Arabesque’, its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings. Keywords – Arabesque, Islamic Architecture, Decoration, Heritage, India, Iran I. INTRODUCTION The term ‘Arabesque’ is an obsolete European form of rebesk (or rebesco), not an Arabic word dating perhaps from the 15th or 16th century when Renaissance artists used Islamic Designs for book ornament and decorative bookbinding [1].
    [Show full text]
  • Ebook Download Islamic Geometric Patterns Ebook, Epub
    ISLAMIC GEOMETRIC PATTERNS PDF, EPUB, EBOOK Eric Broug | 120 pages | 13 May 2011 | Thames & Hudson Ltd | 9780500287217 | English | London, United Kingdom Islamic Geometric Patterns PDF Book You May Also Like. Construction of girih pattern in Darb-e Imam spandrel yellow line. Charbagh Mughal Ottoman Paradise Persian. The circle symbolizes unity and diversity in nature, and many Islamic patterns are drawn starting with a circle. Main article: Shabaka window. Pair of Minbar Doors. MC Escher: the graphic work. But auxetic materials expand at right angles to the pull. The strapwork cuts across the construction tessellation. Scientific American 1 Classification of a pattern involves repeating the unit-design by isometry formulas translation, mirroring, rotation and glide reflections to generate a pattern that can be classified as 7-freize patterns or the wallpaper patterns. Tarquin Publications. Islamic geometric patterns. For IEEE to continue sending you helpful information on our products and services, please consent to our updated Privacy Policy. They form a three-fold hierarchy in which geometry is seen as foundational. The researcher traced the existing systems associated with the classification of Islamic geometric patterns i. The Arts of Ornamental Geometry. Because weaving uses vertical and horizontal threads, curves are difficult to generate, and patterns are accordingly formed mainly with straight edges. Iran Persia , — A. Muqarnas are elaborately carved ceilings to semi-domes , often used in mosques. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. Eva Baer [f] notes that while this design was essentially simple, it was elaborated by metalworkers into intricate patterns interlaced with arabesques, sometimes organised around further basic Islamic patterns, such as the hexagonal pattern of six overlapping circles.
    [Show full text]
  • Introduction to the Ornamental Repertoire
    _jl IL CHAPTER VI INTRODUCTION TO THE ORNAMENTAL REPERTOIRE INTERLACE AND GEOMETRIC ORNAMENT the slab from Holy Tr inity, Bradfurd-on-Avon where it iscombined, not withvine-scrolls asat Britford, but with In the course of his pioneering work on the early interlinked trumpet spirals and key patterns (llis.407-9), Christian monuments of this region,most specific allyof and this could equally have reflected the fashions of Wiltshire (Allen 1894, and see Chapter IV), Romilly Insular manuscripts or metalwork. Allen tried to apply the terminology and types he had From the fragments which remain, the Bath, Bradford t constructed elsewhere in order to analyse the inventive, and Keynsham cross-heads (Ills. 173-4,400, 289), wih playful variations on a theme displayed in the geometric their elegant pattern E terminals,are of comparable type interlace of Northumbria and Picdand. In the event he and date, and at Bradford are combined with animal­ could only identify a few types of'geometric interlace' headed interlace. Other cross-heads such as Cattistock based on a grid, and the same problem is fo und in or Shaftesbury Holy Trinity (Ills. 46, 101) have too litde applying Gwenda Adcock's classifications as set out in surviving fo r the pattern to be identified. the GeneralIn troductionto the Corpus series (Cramp 1984, A fe w cross-shafts which have plant-scrolls as well as xxviii-xlvi; id. 1991). There is a very limited repertoire interlace, including East Stour and Gillingham, Dorset of geometric types of interlace in the south-west, in (Ills. 57-60, 66-7), and Kelston, Somerset (llis.
    [Show full text]