Private Collectors of Islamic Art in Late Nineteenth-Century London

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19th Century Iran
A01=Isabelle Gadoin
Age Group_Uncategorized
Age Group_Uncategorized
Arab Art
art history
Attendant Rivalry
Author_Isabelle Gadoin
automatic-update
British
Burlington Fine Arts Club
carpets
Category1=Non-Fiction
Category=AC
Category=AGA
Category=GLZ
Category=GM
Category=HBAH
Category=HBJD
Category=HBJF1
Category=JB
Category=JF
Category=NHAH
Category=NHD
Category=NHG
Central Asia
ceramics
collectors
colonial
colonial collecting practices
COP=United Kingdom
decorative arts scholarship
Delivery_Pre-order
empire
England
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
George Salting
historiography
Holland Park
Holland Park Road
Iran
Islam
Islamic Art
Islamic art history
Islamic Ceramics
Italian Maiolica
Kelmscott House
Kelmscott Manor
Language_English
material culture
Melbury Road
metalwork
museum studies
Nasir Al Din Shah
nineteenth-century museum studies
objects
oriental
orientalism
Orientalism studies
PA=Temporarily unavailable
Persia
Persian Art
Price_€100 and above
PS=Active
Red Field
Rhodian Ware
Sir William Drake
softlaunch
South Kensington Museum
South Lodge
textiles
Van De Put
Vice Versa
Victorian material culture
Western Collectors
Western perceptions of Islamic objects
Wollaston
woodwork
Young Man

Product details

  • ISBN 9780367766023
  • Weight: 540g
  • Dimensions: 174 x 246mm
  • Publication Date: 10 Sep 2021
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
  • Language: English
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This book examines British collectors of so-called Persian art (a broad umbrella term then covering a large portion of Islamic art) in the late 19th century, including ceramics, metalwork, carpets, textiles and woodwork.

Based on a foundational event, the very first exhibition of “Persian and Arab Art” held by a London Gentlemen’s Club in 1885, this book follows one generation of men, retracing the subtle shades of difference among “amateurs,” “connoisseurs,” “experts” and “collectors,” and exploring all the mechanisms of the construction of a collective fascination for the Orient. Isabelle Gadoin uncovers some of the first “scientific” analyses of Islamic objects and of the first private notebooks or exhibition catalogues, to provide an in-depth study of the way Westerners talked about Islamic objects and began to define what would become Islamic art history. All the while, Gadoin unravels the skein of Western prejudice, Romantic fancy, sincere admiration and ruthless appropriation, in art collecting, to write a new chapter of Orientalist history.

The book will be of interest to scholars working in art history, history of collecting, colonialism and postcolonialism, and Orientalism.

Isabelle Gadoin is Professor of British Art and Literature at the University of Poitiers.

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