Auld Sylvia (10 results)

27 by 20.5cm., 349pp., numerous black and white illustrations. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice. This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmuds double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman White Sheep dynasty, whose capital then was at Tabriz. This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called azzimina, but to prove that they could do better.

Hardcover. Condition: New. Dust Jacket Condition: New. 1st Edition. 349 pages : illustrations ; 27 cm. 'The name of Mahmud the Kurd has been found on ten small, domestic objects of brass; he was probably an itinerant master craftsman working in the second half of the 15th century. All objects are exquisitely worked and can be seen as a microcosm of the exchanges and excursions of the period. This is an enquiry into for whom he was working and where which throws fascinating light not only on the objects themselves but also on the widespread links between renaissance Europe and Islam.'.

350pp with 210 monochrome illustrations. Cloth 26.8x20.7cms. ISBN: 1901435113. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmud's double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman 'White Sheep' dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called 'azzimina, but to prove that they could do better. Text in English.

Rilegato. Condition: molto buono. Dust Jacket Condition: molto buono. prima edizione. Hardcover. Condizione: New. Condizione sovraccoperta: New. 1st Edition. 27 by 20.5cm., 349pp., numerous black and white illustrations. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice. This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmuds double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman White Sheep dynasty, whose capital then was at Tabriz. This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called azzimina, but to prove that they could do better.

Hardcover. Condition: Near Fine. No Jacket. 1st Edition. Two volumes in slip case, small 4to. Volume 1, i-xxii, 655 pp, Volume 2, i-vi , pages 657 - 1188. 64 colour plates, extensively illustrated throughout with black and white photographs, figures and diagrams, folding panoramic plate loose as issued in volume 2. Red boards in slip case, an excellent set. A monumental work, unfortunately the loose folding map and plan contained in a separate folder is absent. A very heavy item for which extra charges will be required to send an overseas order.

Hardcover. Condition: Good. 1st Edition. ex-library. XXII, 655 pages & VI pages, 657-1168 pages: numerous illustrations, + 2 folded plans in a card sleeve : 31 cm.

Hardcover. Condition: New. 1st Edition. 30.5 by 23cm., xxii, 1168pp. numerous black and white illustrations. 2 volumes and 2 folding maps in a sleeve. Red slip-case.

Hardcover. Condition: New. Part I: xxii, 655 pp., double column per page, profusely illustrated in b/w photographs. Part II: vi, 657-1168 pp., numerous b/w photographs, plans, glossary, biblio., index, 1 large loose folding plan (1 out of 2 - Lacking folding map), architectural survey by Yusuf Natsheh, hard back binding, title gilt on spine & in Arabic calligraphy on upper cover, both volumes fitted in a slip case, small tear to edge of slipcase, otherwise set in mint condition.#28640.

Hardcover. Condition: New. 1st Edition. XXII, 655 pages & VI pages, 657-1168 pages: numerous illustrations, + 2 folded plans in a card sleeve : 31 cm. Housed in a red leather slipcase.

30 by 22 cm., 517pp., 32 pages of colour photographs, many drawings and black and white plates. Slip case. This work looks at the history of Jerusalem during the critical Ayyubid period, one of a new beginning for Islamic Jerusalem after almost a century of Crusader domination. In a series of chapters by internationally recognised scholars and specialists this volume places the monuments and art of this critical period in their regional and historical context.