The Ambassador's Artist: Luigi Mayer (C.1750-1803) and Sir Robert Ainslie

Total Page:16

File Type:pdf, Size:1020Kb

The Ambassador's Artist: Luigi Mayer (C.1750-1803) and Sir Robert Ainslie The Ambassador’s Artist: Luigi Mayer (c.1750-1803) and Sir Robert Ainslie View of the city of Constantinople, from the point of Chalcedon [Kadiköy] in Asia watercolour Trustees of the British Museum Tombs near Tortosa in Syria watercolour Princeton University Library Monuments near Tortosa etching and aquatint Luigi Mayer Views in Turkey in Europe and Asia, 1801 Title-page etching and aquatint Giovanni Battista Piranesi Vedute di Roma, 1760-78 Title-page etching View of the Eruption of Etna, 18 May 1780, from the West, watercolour Trustees of the British Museum View of the Temple of Segesta, watercolour Trustees of the British Museum View of the port and city of Constantinople, from Leander’s Tower, watercolour Trustees of the British Museum Louis-François Cassas Vue du Theatre de Cacanie en Caramancie, 1808 watercolour Trustees of the Victoria and Albert Museum Luigi Mayer Interior of the Theatre in the Region of Cacamo watercolour Trustees of the Victoria and Albert Museum Sir Robert Ainslie’s Audience with the Grand Vizier, 19 March 1788 watercolour Trustees of the British Museum Sir Robert Ainslie’s Audience with the Grand Vizier, 19 March 1788, external view watercolour Trustees of the British Museum Naval ceremonials outside the Seraglio, 5 April 1788, watercolour Trustees of the British Museum View of the Bosphorus, with the two castles of Europe and Asia, from Candilli [Kandilli] watercolour Trustees of the British Museum View of the Landing Stage at Cibukli [Çubuklu] in Asia watercolour Trustees of the British Museum View of the Great Bent of Belgrade watercolour Trustees of the British Museum View of the village of Kiumurgi-Kioj [Kömürcü Köyü] in the Belgrade Forest watercolour Trustees of the British Museum The Garden of the British Ambassador, at Pera [Beyoğlu] watercolour Ömer M. Koç Collection Pit near the Second Pyramid of Giza, the Pyramids of Saccara in the distance watercolour Princeton University Library Colossal Sarcophagus, in the Port of Caccamo [Kekova] in Caramania watercolour Ömer M. Koç Collection View of the town and castle of Budron [Bodrum] formerly Alicarnassus watercolour Ömer M. Koç Collection View of the Town of Bulak, near Grand Cairo watercolour Private Collection (ex Adam’s, Dublin) Sepulchral Chamber in the Catacombs at Alexandria watercolour Princeton University Library Clara Mayer View of the Entrance to the Port of Constantinople watercolour Trustees of the Victoria and Albert Museum Luigi Mayer Portrait of Clara Mayer, 1799 watercolour Trustees of the Victoria and Albert Museum Clara Mayer View of the Bosphorus, from the village of Terapia [Tarabya] watercolour Suna and İnan Kiraç Foundation Pera Museum, Istanbul Luigi Mayer View of the Bosphorus, from the village of Terapia [Tarabya] watercolour Trustees of the British Museum Sir Robert Ainslie and his suite travelling through the valley of Pisenza in Bulgaria, 1794 watercolour Private Collection (ex Adam’s, Dublin) Women greeting travellers by throwing barley to them, at Ciali Kavak [Çali Kavak, Bulgaria], 1794 ink and wash Trustees of the Victoria and Albert Museum watercolour Private Collection (ex Adam’s, Dublin) View of the village of Pitesti in Valachia, from the banks of the river Argis watercolour Abbott & Holder Ltd London Luigi Mayer F.A.S. 1803 The Artist who executed the celebrated collection of Drawings in the possession of Sir Robert Ainslie engraving Frontispiece and catalogue of portfolio No.II in the Ainslie Collection watercolour Private Collection (ex Adam’s, Dublin) .
Recommended publications
  • Portable Archaeology”: Pashas from the Dalmatian Hinterland As Cultural Mediators
    Chapter 10 Connectivity, Mobility, and Mediterranean “Portable Archaeology”: Pashas from the Dalmatian Hinterland as Cultural Mediators Gülru Necipoğlu Considering the mobility of persons and stones is one way to reflect upon how movable or portable seemingly stationary archaeological sites might be. Dalmatia, here viewed as a center of gravity between East and West, was cen- tral for the global vision of Ottoman imperial ambitions, which peaked during the 16th century. Constituting a fluid “border zone” caught between the fluctu- ating boundaries of three early modern empires—Ottoman, Venetian, and Austrian Habsburg—the Dalmatian coast of today’s Croatia and its hinterland occupied a vital position in the geopolitical imagination of the sultans. The Ottoman aspiration to reunite the fragmented former territories of the Roman Empire once again brought the eastern Adriatic littoral within the orbit of a tri-continental empire, comprising the interconnected arena of the Balkans, Crimea, Anatolia, Iraq, Syria, Egypt, and North Africa. It is important to pay particular attention to how sites can “travel” through texts, drawings, prints, objects, travelogues, and oral descriptions. To that list should be added “traveling” stones (spolia) and the subjective medium of memory, with its transformative powers, as vehicles for the transmission of architectural knowledge and visual culture. I refer to the memories of travelers, merchants, architects, and ambassadors who crossed borders, as well as to Ottoman pashas originating from Dalmatia and its hinterland, with their extraordinary mobility within the promotion system of a vast eastern Mediterranean empire. To these pashas, circulating from one provincial post to another was a prerequisite for eventually rising to the highest ranks of vizier and grand vizier at the Imperial Council in the capital Istanbul, also called Ḳosṭanṭiniyye (Constantinople).
    [Show full text]
  • By: Faculty of Tourism and Hotels, Fayoum University
    International Journal of Heritage, Tourism and Hospitality Vol. (11), No. (1/2), March, 2017 By: Faculty of Tourism and Hotels, Fayoum University Lantern in Houses and Religious Establishments through the Paintings of Orientalists in the 12th- 13th AH/ 18th- 19th AD Randa Mohamed Hazem Technological College - Ministry of Higher Education Abstract Drawings of Orientalists presented exact details of different peoples’ lives, as well as their lifestyle and their worship. These artistic paintings aimed to highlight the architecture art of Islamic civilization, as Orientalists witnessed during their visits; and here lies the importance of these paintings in history. Some of the Orientalists’ paintings, depicting religious establishments and homes from inside, were decorated with different lighting tools, the most important of them were the lanterns, or as it was called in Morocco chandelier. The paper is aiming to present the different types of lanterns in Islamic art, in addition to the most important Orientalists artists, who presented the Islamic enlightenment in their paintings. Research target: The main target of the research is to highlight the aesthetics of the Lantern by studying the plates of the Orientalists in (the 12th- 13th centuries AD/ 18th- 19th centuries) from the historical perspective, as well as to compare between the various plates to clarify the artistic and decorative values. Research methodology: To achieve the objectives of the research, both the descriptive and historical methods are used to study lanterns in the Orientalists’ paintings, and to compare them with those stored in the different museum. Key words Orientalists, lanterns, Antonio Costa, Luigi Mayer, Pascal Coast, David Roberts.
    [Show full text]
  • Looking East, Looking West the Ottoman World Observed by European Travellers
    LOOKING EAST, LOOKING WEST THE OTTOMAN WORLD OBSERVED BY EUROPEAN TRAVELLERS Shapero RARE BOOKS We hope that you will enjoy this glimpse of the treasure trove that is Shapero Rare Books. Established in 1979, we are an internationally renowned dealer in rare books and works on paper. Amongst our team are specialists in travel books, illustrated natural history, first editions as well as Russian literature and Judaica. In 2014 we launched Shapero Modern, a gallery for modern and contemporary prints. Whether you are seeking knowledge, building a collection, decorating your home or searching for that special gift, speak to our experts who have almost one hundred and fifty years’ experience between them. We also have considerable expertise in both buying and brokering the sale of important collections. Browse in store or online and you might be surprised at what you discover. Shapero Rare Books 32 Saint George Street London W1S 2EA Tel: +44 207 493 0876 [email protected] shapero.com A member of the Scholium Group LOOKING EAST, LOOKING WEST THE OTTOMAN WORLD OBSERVED BY EUROPEAN TRAVELLERS LOOKING EAST, LOOKING WEST THE OTTOMAN WORLD OBSERVED BY EUROPEAN TRAVELLERS 32 Saint George Street London W1S 2EA Tel: +44 207 493 0876 [email protected] shapero.com CONTENTS INTRODUCTION Items 1- 16 When I first went to work with Bernard in 1991, the head cataloguer was Christine Manuscripts, watercolours and prints Thomson, an enthusiastic student of all things Ottoman. One of Bernard’s keenest customers was Sefik Atabey, a charming man and a passionate collector. Thus I found myself immersed in the Ottoman World.
    [Show full text]
  • On Early Antiquarians in Asia Minor to the Start of the 19Th Century
    Received: October 20, 2018 | Accepted: January 13, 2019 GEPHYRA 17, 2019, 115-167 On early antiquarians in Asia Minor to the start of the 19th century Terrance Michael Patrick DUGGAN Both the range of this subject and its time span are truly vast.1 This paper addresses a few of the issues concerning the activities of European antiquarians and the ancient Greek and Roman inscriptions of Asia Minor over the course of four hundred years from 1400 to 1800, touching upon five matters. Firstly, the collection and removal of antiquities including inscriptions by Europeans. Secondly, the varied functions of the visible ancient inscriptions for the Ottoman state and its inhabitants, both talismanic and therapeutic, and of the “non-literal reading” of an ancient inscription, distinct from the European antiquarian interest in the literal text of inscrip- tions, in establishing record of, and collections of the inscribed historical texts surviving from antiquity. Thirdly, the question of how safe a home was Europe for antiquities, including in- scriptions and manuscripts that were brought from Asia Minor, and how much of scholarly importance that had survived was then lost in transit at sea and in Europe in wars and disasters? Fourthly, the problems with the transcriptions made by hand, the content of the record made and its accuracy. Was the inscription regarded simply as a text, prioritised as a text, or, was the text transcribed in its context including the epigraphic surface, its shape and relief carving, if any, its physical location if in situ, was it understood as forming a whole, and was it recorded as such? Were the letter forms, the number of lines, the different size of letters and words in an inscription, misspellings, etc., accurately noted or not? And, finally, the problems generated through the printed publication from the 16th c.
    [Show full text]
  • Récits De Voyages Dans L'orient Européen
    Récits de voyages dans l’Orient européen, De la Valachie, de la Moldavie et de la Transylvanie à la Roumanie (1780-1921) en allemand, anglais, français, italien, accompagné d’un Choix concernant la Bulgarie et de Sources complémentaires : récits de séjour, mémoires et souvenirs, lettres, études historiques, géographiques, politiques, sociales, guides Essai de bibliographie descriptive, par Daniel Lançon, mars 2020, UMR Litt&arts, Université Grenoble Alpes Note introductive Cette bibliographie rassemble des récits personnels, témoignages d’une expérience viatique ou de séjour : voyages d’agrément (touristiques) ; voyages d’étude géologiques, géographiques, religieux, politiques, anthropologiques, ethnologiques … (commandés par des institutions publiques ou privées)1 ; voyages de correspondants de guerre (1806-12 ; 1828 ; 1854-56 ; 1877-78) ; souvenirs et mémoires de voyageurs/voyageuses et de résidents ou résidentes (épouses ou filles de diplomates) ; récits de séjour d’enseignants, de journalistes, de diplomates, de précepteurs/secrétaires des Princes régnants ; lettres de voyage. Ont été ajoutées les références de dessins et gravures publiés par des artistes en voyage2. La longue durée retenue s’ouvre par l’entrée dans l’ère des premières modernités sociales et politiques, accompagnées de l’augmentation importante des récits de séjour dans les années 17803, et se clôt au moment de la naissance des États-nations roumains et bulgares, la première guerre mondiale et la disparition des provinces de « Turquie d’Europe » de l’Empire ottoman, entre 1913 et 1919. 1 Voyages savants (Wissenschaftliche Reise) ou de recherche (Forschungsreise). Ils figurent en plus petits caractères, en retrait. 2 Peu de récits émanent d’écrivains de vocation, devenus célèbres ou non (Loti, Andersen, About…).
    [Show full text]
  • The Ottoman Empire and Europe: Cultural Encounters
    THE OTTOMAN EMPIRE AND EUROPE: CULTURAL ENCOUNTERS IMPORTANT NOTICE: Author: Prof. Dr. Gunsel Renda Chief Editor: Prof. Dr. Mohamed El-Gomati All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Production: Savas Konur accessing these web pages, you agree that you may only download the content for your own personal non-commercial Release Date: December 2006 use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Publication ID: 622 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Limited. Copyright: © FSTC Limited, 2006 Material may not be copied, reproduced, republished, downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it.
    [Show full text]
  • Precursors to the Prince: the Grand Tour in the Ottoman Empire
    Podcast transcript Precursors to the Prince: The Grand Tour in the Ottoman Empire The Queen's Gallery, Buckingham Palace Wednesday, 3 December 2014 Dr Philip Mansel Welcome to a podcast from Royal Collection Trust, where we’ll be tracing Britain’s links with the Ottoman Empire. During the 18th and 19th century the Ottoman Empire was an ally and travel there relatively safe. British tourists often extended their Grand Tour far into the east. These included people as diverse as the poet Lord Byron and the politician Benjamin Disraeli, as well as the Prince of Wales, later King Edward VII. But what were their aims and motivations in travelling so far? Coming up, historian and author, Dr Philip Mansel, gives a lecture entitled ‘Precursors to the Prince: the Grand Tour in the Ottoman Empire’ to an audience at the Queen’s Gallery, Buckingham Palace. This is an enhanced podcast so make sure you look at the images when they appear on the screen of your device. [applause] [00:52] Dr Philip Mansel: Thank you very much. I’m going to run through quite a lot of pictures to begin with and then concentrate on the period, the early 19th century leading up to the Prince’s tour in 1862. And let’s forget about today and any preconceived ideas we have, because the Ottoman Empire was very much part of Europe and indeed part of the Grand Tour, much more and from much earlier than I think we imagine. The Grand Tour was normally a period of two to three years’ travel, generally for education for wealthy young men in their twenties and normally it’s considered to focus on Italy, but in fact many travellers always sailed on from Venice, Naples or Malta to Greece, to Constantinople and beyond, as the Prince of Wales did in 1862.
    [Show full text]
  • The Islamic World
    THE ISLAMIC WORLD THE ISLAMIC WORLD Rare Books, Manuscripts, Drawings, Photographs & Maps THE ISLAMIC WORLD Rare books, Manuscripts, Drawings, Photographs & Maps Rare Books, Manuscripts, Drawings, Photographs & Maps Abu Dhabi - Spring 2018 THE ISLAMIC WORLD Rare Books, Manuscripts, Drawings, Photographs & Maps Abu Dhabi - Spring 2018 Dear Friends, Clients and Book Lovers It is our pleasure to present you with this catalogue containing 191 fully described items, the majority of which are illustrated. “The Islamic World Rare Books, Manuscripts, Photographs and Maps” is printed specially for the Abu Dhabi International Book Fair & KITAB, which is being staged at Abu Dhabi International Exhibition Centre (ADNEC), Khaleej Al Arabi Street (Also known as Coast Road or 30th Street), from 25 April – 1 May 2018. Please visit us in Hall 12, Booth number: G35 from 10am – 10pm. All the items in the catalogue are a selection from Folios Limited stock. For enquiries or orders, please send us an e-mail to: [email protected] or contact us as below: Tel: 00 44 207 5812706 Fax: 00 44 207 5812563 E-mail address: [email protected] Website: www.foliosltd.com Our postal address is: Folios Limited 193/195 Brompton Road London SW3 1LZ U. K. Please note that all items in this catalogue are complete and in good condition unless otherwise stated. Any item not agreeing with the description may be returned within one week of receipt. Prices are net and in POUNDS STERLING. Postage and insurance are not included. Preferred method of payment: in advance, wire transfer or bank cheque. Arrangements can be made for Master Card and Visa Card.
    [Show full text]
  • 2Nd Century Hilltop Mausoleum and Coastal Naviga- Tional Marker at Andriake, Lycia, That Disappeared in the Early 19Th C
    GEPHYRA 16, 2018, 91-142 The Andriake Marbles: record of “a small ruined temple of very white marble” -a Roman 1st – 2nd century hilltop mausoleum and coastal naviga- tional marker at Andriake, Lycia, that disappeared in the early 19th c. T. Michael P. DUGGAN A caprice or capriccio is a drawing or painting that has been composed from a variety of different elements recorded separately that have been combined by the artist to form an imagined composi- tion, often depicting an idea of a time or of the passage of time, and the idea of a place, relating to patrimony and history, to the consequences of the passage of time and to destiny, rather than ta- king a more or less exact copy of a particular place from a particular position. The latter work would in the 18th c. have been termed a view or veduta, rather than a caprice or capriccio. Those 18th and 19th c. artists, such as G. A. Canaletto, G. P. Panini, C. R. Cockerell, and H. J. Johnson, who drew and painted capriccio also drew and painted accurate views. The insertion of transients, peop- le, ships and boats, birds and animals drawn elsewhere into the depiction of a view or veduta does not change the work into a capriccio but, for example the painting entitled, A Capriccio Of Roman Ruins And Monuments, Including The Arch Of Titus, The Farnese Flora, The Temples Of Saturn, Vespasian And Fortuna Virilis, painted by the Italian Giovanni Paolo Panini (1691-1765), combines a selection of ancient buildings that are in fact in various parts of Rome, impossible to see in a sing- le view, into a single composition; as likewise, the insertion by William Marlow, of the depiction of Sir Christopher Wren’s St.
    [Show full text]