@museumwnf/portraits-data 1.0.3 → 1.0.4

package/translations/items.en.json

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-{"007d6f6b-4f84-5cd4-97d4-b1637e409355":{"name":"Emigrant family","description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. This photo belongs to a Turkish family who migrated from Crete to Turkey in 1925.","type":"Photograph","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1925","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"00c8cda2-d033-5a89-89e5-4f6a4483e3da":{"name":"The Hijaz Railway construction workers","description":"The Hijaz Railway was a narrow-gauge railway (1,050mm/3ft, 5 11⁄32 in track gauge) that ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. It got no further than Medina, 400 kilometres (250mi) short of Mecca, due to the interruption of the construction works caused by the outbreak of World War I.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – begining of the 20th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"01425452-ab97-5882-bfb1-7f4f896ba157":{"name":"Omar Pasha (1806–1871)","description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"1859","location":"Vienna","copy_editor":"Daniel de la Vega"},"01a64f5c-ceca-5e43-b3af-115b31492d64":{"name":"Portrait of Abraham Salamon De Camondo","description":"The Camondo Family is a family of Spanish-Portuguese Jewish origin. Abraham Salomon Camondo, who was born in İstanbul in 1781, acted as the Ottoman government's banker before the establishment of the Ottoman Bank. He founded a bank called \"*Isaac et Compagnie Camondo*\" with his brother Isaac in 1815. The bank grew in a short time period into a reputable international financial institution. Camondo prospered greatly and became the prime banker to the Ottoman Empire until the founding of the Imperial Ottoman Bank in 1863. The bank had a close relationship with the business community and banks of London, Paris and the Vienna Stock Exchange. The bank had also funded defence needs of Ottoman Empire during the Crimean War.","type":"Photograph","holder":"The Quincentennial Foundation Museum, Zulfaris Synagogue Museum","dates":"19th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"01a88113-685d-5186-bbb9-828a46816c90":{"name":"Portrait decoration","short_description":"This medallion featuring a portrait of the Shah is the highest Persian decoration; it was only presented to allied sovereigns and sometimes to other members of ruling dynasties. When the Shah visited Vienna for the World Fair in AD 1873 he presented it to the then 15-year-old Crown Prince Rudolf.","type":"Portrait decoration","holder":"Kunsthistorisches Museum","dates":"Hegira 13th century / AD 19th century","location":"Vienna","dimensions":"99.5mm x 62.3mm","method_for_provenance":"Documented in the inventory of museum records","provenance":"Iran","obtention":"Diplomatic gift","bibliography":"Haag, Sabine (ed), *Starke Köpfe, Porträt(s) des Kunsthistorischen Museums*, Wien: Kunsthistorisches Museum, 2010: Nr. 106.","author":"M. Alram","copy_editor":"Liz Cooper","keywords":["Habsburg","Nasir ad-Din","Nasir ad-Din Shah","numismatics","Persia","Persian-Austrian relations","Portrait","Portrait decoration","Qajar art","Qajar medals","universal exhibitions","World fairs"],"materials":["decorated by a wreath of leaves and a ray star with inserted diamonds","Goldframed medallion framed by gemstones"]},"02c575a0-6154-582b-a588-2ae094079d0d":{"name":"*Calligrapher Rıfat Efendi*","description":"Feyhaman Duran was particularly interested in portrait painting and went to Paris in 1910 through the patronage of the Egyptian Prince Abbas Halim Pasha to further his studies in this genre. He greatly profited from the teaching of Paul Richet, professor of anatomy in the School of Fine Arts in Paris. He also attended the Julian Academy where he learned a great deal from Jean-Paul and Albert Laurens. In 1913-14 he worked in the Cormon studio in the School of Fine Arts. Although devoting most of his time to portrait painting, Feyhaman Duran also did paintings of flowers and nudes, but he was definitely most interested in the portrayal of people, and he had very little time for non-figurative painting.","type":"Painting","holder":"Sabancı University, Sakıp Sabancı Museum","dates":"Beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"036f240e-d388-502f-b085-dcd2a8068418":{"name":"Rashid Pasha Mustafa Mehmet (1802–1858)","description":"Portrait of Rashid Pasha. He was born in 1800 in Istanbul and joined the Ministry of Foreign Affairs at the age of 20. He served as Ottoman Ambassador in Paris and London. In 1837 he became Minister of Foreign Affairs of the Ottoman Empire. In 1838 he lost his position, but still negotiated as a Turkish diplomat in London, Paris and Berlin. In 1846 he became Grand Vizier and initiated a number of reforms.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"03762b34-622e-5cca-85b2-11ca849dd5d2":{"name":"The Hijaz Railway delegations","description":"The Hijaz Railway ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. The main purpose of the railway was to establish a connection between the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj annual pilgrimage. Another important reason was to improve the economic and political integration of the distant Arabian provinces into the Ottoman state, and to facilitate the transportation of military forces.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"059dc6e6-50b6-57db-9d8b-cf35da18b989":{"name":"Pitcher","description":"A massive pitcher made of blue cast glass with handle. The entire object is covered with decoration made according to designs of Czech artist Vladislav Titelbah (1847-1925). The image of a Serbian medieval ruler from the Nemanjić dynasty, Stefan the First Crowned, is centred under the pitcher's pour spout. Ornamentation designed by Vladislav Titelbah, a Czech born artist encircles the open rim and base.  \nVladislav Titelbah's opus contains over 9,000 watercolours, drawings, sketches and graphics inspired by Serbian folklore, national and mythology themes. He depicted rural interiors, persons, and scenes. During the 19th century, at the time of Serbian national awakening, his work had an important role. Today, his works are classified as first-class sources for the interpretation of Serbian visual culture and art of the 19th and the beginning of the 20th century.","type":"Glass","holder":"Museum of Applied Art","dates":"1900s","location":"Belgrade","dimensions":"Height: 35cm, Diameter (rim): 9.9cm, Diameter (base): 13.3cm","method_for_datation":"By stylistic analysis and research of historical material and documentation","method_for_provenance":"By stylistic analysis","provenance":"Austro-Hungarian Empire, Hrastnik","obtention":"Purchased in 1982","bibliography":"Djurić, J., *Staklo u Srbiji XIX veka* (Glass in Serbia in the 19th Century), exhibition catalogue, Belgrade: Muzej primenjene umetnosti (Museum of Applied Art), 1985: 65, 90.  \nJovanović Češka, T., *Srbija u srcu Čeha, Vladislav Titelbah (1847-1925) i njegovo vreme. Iz zbirki Istorijskog muzeja Srbije* (Serbia in the Heart of a Czech, Vladislav Titelbah (1847-1925) and his time. From the Museum's collections), exhibition catalogue, Belgrade: Istorijski muzej Srbije (Historical Museum of Serbia), 2015.","workshop":"Glass Manufacture Hrastnik; Decoration made by workshop of Uroš Čavić Velika Kikinda","author":"Biljana Crvenković","copy_editor":"Valerie Pulsifer","keywords":["Cast coloured","Painted decoration"],"materials":["Cast coloured glass with painted decoration"]},"06623ef3-6331-5463-b5c0-79f3249d4f5d":{"name":"Painting of Ahmed Pacha Bey","description":"This oil on canvas portrait by the Swiss artist Charles Gleyre (1806–1874) depicts Ahmed Pacha Bey, the ruling prince of Tunisia at the time (1837–1855). He is dressed in official uniform, with red trousers with a gold strip and a black overcoat with gold epaulets, and is wearing the *muchir*'s insignia round his neck, and the Ordre du Sang, the Nichan al-Dam, and the Grand Croix de la Légion d'Honneur medals on the left of his chest. His torso his divided in two by a shimmering red sash of honour, his black and gold sword hangs off his belt on the left-hand side, and he is wearing a red chechia on his head. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"19th century","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"08086d2e-5ac6-53f2-810f-71dc4434785f":{"name":"Portrait of the young dervish Nur 'Ali Shah (ca. 1748-1798)","short_description":"Half a century after his death, the dervish Nur ʿAli Shah (Hegira ca. 1161-1212 / AD ca. 1748-1798) enjoyed great popularity in Persia. Countless carpets from Kerman as well as various miniatures and oil portraits bear witness to this. It seems that this popularity was closely connected with the revival of Sufi traditions in the 19th century. All the portraits known so far can be traced back to two portraits painted by Ismaʿil Jalayer (d. Hegira 1284-1289 / AD 1868-1873) around 1865.  \n  \nThe leaf originally belonged to an album made for Dr. Joseph Désiré Tholozon (Hegira 1235-1315 / AD 1820-1897) who was Nasir al-Din Shahʼs (r. Hegira 1264-1313 / AD 1848-1896) personal physician. He might have received the album from the shah in 1889 when he retired. This folio bears the number 50 and must have been the last leaf of his album, which itself was taken apart and probably sold in the early 20th century. Individual leaves formerly belonged to the collection of Jean Pozzi and are now in the Musée dʼArt et dʼHistoire in Geneva (Switzerland).","type":"Portrait","holder":"Museum Rietberg","initial_owner":"Joseph Désiré Tholozan (1820-1897); 1920s: Salomon Family, Paris; 1990s-ca. 1994: private collection, Paris; ca. 1995-2013: private collection, Belgium","dates":"Hegira 1297-1306 / ca. AD 1880-1889 (miniature and border)","location":"Zurich","dimensions":"Overall dimensions 31 x 18.8cm","place_of_production":"Probably Tehran (miniature and border)","method_for_datation":"By comparison with similar dated works.","method_for_provenance":"By comparison with objects that once belonged to Joseph Désiré Tholozan that are now in the Musée dʼart et dʼhistoire in Geneva, Switzerland. Information of previous owners was provided by the gallery, where the object was bought in 2013.","provenance":"Iran","obtention":"Acquisition with funds of Regula Brunner-Vontobel","bibliography":"Langer, Axel, “Stories from the Edge: The reconstruction of Islamic painting and calligraphy albums with the help of borders”, in Esther Tisa Francini, with the collaboration of Sarah Csernay (eds), *Pathways of Art: How Objects Get to the Museum* , exh. cat., Zurich: Scheidegger & Spiess, 2022: 297-310.","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Opaque watercolour and gold on paper"]},"0b6eceea-2f90-5eb6-9483-03f0734b34dc":{"name":"Misrata [Libya]. In the Home of Gabrielli, Agent of the Society of Maritime Services [Società dei servizi marittimi]","alternate_name":"*Misràta. In casa di Gabrielli, agente della Società dei servizi marittimi*","description":"In 19th and early 20th century Africa, the nature of the relations between European men and African women varied dramatically according to the different power relations between the partners. In colonial situations, the legal subordination of the colonised people put African women in particularly weak positions vis-à-vis European men, generally resulting in very exploitative relationships. In countries that were not under European rule, more balanced relationships could develop.  \nThis picture shows a mixed family in Libya before the onset of Italian colonialism. The setting of the picture suggests that the Libyan woman enjoyed respect and status within the family: the woman and her children are sitting on chairs, surrounded by persons who appear to be domestic servants, and the Italian man is standing behind her, looking at their children.","type":"Photograph","holder":"Italian Geographical Society (SGI)","dates":"1911","location":"Rome","author":"Patrizia Pampana","copy_editor":"Anne Dowell"},"0cd36a65-5e7b-5bb2-8525-edcaea12dea2":{"name":"Omar al-Mukhtar (1861–1931), leader of anticolonial resistance in Libya","description":"In 1923, the head of the Senussi Muslim order Mohamed Idris charged Omar al-Mukhtār (1861-1931) with the task of leading Libyan anti-colonial resistance. Omar al-Mukhtār was leader of the Libyan anti-Italian guerrillas, until he was captured and executed by the Italians in 1931.  \nIn 1911-12, Italy successfully waged war against Turkey for the colonial conquest of Libya. However, during WWI Italy lost control of most of the Libyan territory. After the war, it took Italy about ten years to re-establish its hold on Libyan inland areas.  \nThanks to his military genius, to the wide popular support he enjoyed and the financial help provided by the Senussia, Omar al-Mukhtār was able to keep the Italians in check for years, even when the army of the invaders was ten times larger than the guerrilla forces. The Italians were able to capture him only after deporting part of the population of the Cyrenaica mountains (Gebel Akhda) in concentration camps on the coast.","type":"Photograph","holder":"Italian War History Museum","dates":"Unknown (1920s?)","location":"Rovereto","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"0cdaaac9-facc-525a-b1f1-756e4b6df842":{"name":"Silvio Benigno Crespi and his family in the courtyard of Villa Pia (Villa Crespi), Orta San Giulio (Novara)","description":"Silvio Benigno Crespi was one of the children of Cristoforo Benigno Crespi, the industrialist who built a Moorish-style villa (known as villa Pia or villa Crespi) built on the lake d’Orta.  \nThis picture was taken in the courtyard of Villa Crespi. It shows Silvio Benigno Crespi (standing, on the right); sitting on the extreme left is his wife Teresa Ghiglieri; at the centre their first-born child Benigno and their other six children.  \nThe picture gives a hint of the lifestyle of this stock of cultivated, enlightened and successful industrialists.","type":"Photograph","holder":"Private collection","dates":"1920s/1930s","author":"Ignazio Galella","copy_editor":"Anne Dowell"},"0d5820f1-3545-5a87-813f-427001d4dd48":{"name":"*Eliza Bedeković* née *Novak*","description":"Baroness Bedeković (d. about 1850) married Franjo Bedeković Komorski (1755–1827), a prominent figure in Croatian political life, at the end of the 18th century or the beginning of the 19th century. Elected to the Lower House of the Hungarian-Croatian parliament in Buda in 1790, by 1808 Bedeković was Administrator of Križevci County and, from 1809 to 1825, Grand Sheriff of Bekeš County. From 1825 to his death, he was Grand Sheriff of Križevci County. During his many terms in office, he was a noted Croatian patriot.  \nThis portrait, probably painted in Vienna at the end of the 18th century, is probably by Johann Baptist Lampi the Elder. Lampi had returned to Vienna from St. Petersburg in around 1797, the year this portrait was finished. Lampi's portraits of this period show meticulous attention to detail in the fine materials and jewellery – details of which abound in this portrait of Baroness Bedeković.","short_description":"This outstanding portrait of Baroness Bedeković – wife of Franjo Bedeković – is probably the work of Johann Baptist Lampi the Elder. Lampi’s portraits of this period show meticulous attention to detail in the fine materials and jewellery – details of which abound in this portrait.","type":"Painting (portrait)","holder":"Croatian History Museum","dates":"Around 1795–1797","location":"Zagreb, North-West Croatia","dimensions":"H: 68 cm; w: 55 cm","place_of_production":"Vienna (?)","method_for_datation":"The date and possible authorship of this painting were established by study of historical information on the Bedekovićs, stylistic analysis and comparison of other known works by J. B. Lampi the Elder.","obtention":"Bought for the Museum in 1900 from a private owner in Zagreb.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća* (Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 62–63;  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 287.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["Bedeković family","fashion","Portrait","women"],"materials":["Oil on canvas"]},"0e467a26-3229-554d-8707-115f086aa0be":{"name":"Portrait of Claudius Rich","description":"Rich was the East India Company’s first Resident in Baghdad. He was a talented linguist. In his spare time he explored ancient sites, producing the first proper plans of Babylon and Nineveh. He hosted important travellers to Iraq, searching for sites of Biblical relevance. In 1821 he died during a cholera outbreak in Shiraz. His collection formed the nucleus of the British Museum’s collection.","type":"Painting","holder":"The British Museum","dates":"1825","location":"London","provenance":"United Kingdom"},"0e6e6bac-3e5d-5bc0-b143-7f8c186c37a6":{"name":"A Portrait of a European, after Jacques de Gheyn's print 'Terra'","short_description":"This miniature painting depicted an image of a European soldier made by Mughal artist around 17th century. The original image is based on a European print by Dutch printmaker Jacques de Gheyn (1565–1629). This painting which is made with gouache on paper technique showing a European with fair skin colour in European style of clothes holding a long object, probably a weapon such as a spear or gun. At the margin of the painting inscribed the word ‘awwal’, possibly indicating the grade of the painting and at the back with Mughal seals impressions. The fondness to European prints was common in Mughal court. Emperors such as Akbar and later Jahangir were among the collectors of European prints.","type":"Miniature painting","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 995-1010 / c. AD 1595-1610","location":"Kuala Lumpur","dimensions":"21.9 x 16.7cm","provenance":"Indian subcontinent","bibliography":"Chapman, Caroline, Gibson, Melanie, Manginis, George, McSweeney, Anna, Phillips, Charles & Iain Zaczek, *The Complete Illustrated Guide to Islamic Art and Architecture*, London: Lorenz Books, 2010: 212-213.  \nDe Guise, Lucien, *Jewels without Crowns: Mughal Gems in Miniatures*, Kuala Lumpur: IAMM Publications, 2010.  \nGallop, Annabel Teh, Porter, Venetia, *Lasting Impressions: Seals from the Islamic World*, Kuala Lumpur: IAMM Publications, 2012.","materials":["Gouache on paper"]},"10e20816-215a-59c8-b59d-b15f4c933e82":{"name":"Mahmud II Sultan of Turkey (1784–1839)","description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"117f9344-faa8-5cdb-8423-bab797cf66a2":{"name":"*Portrait of Paul V Borghese*","description":"The piece is signed on the left “MARCELLI PROVENZALIS CENTEN. OPUS” and has the inscription “PAVLVS. V. BURGHESIVS. ROMANVS. P. O. M. ANN. MDCXXI. PONT. XVI.” on the bottom. The mosaic was commissioned from the artist by Cardinal Scipione Borghese, nephew of the Pope. The meticulous fine-detail in the work, such as the fur trim on the *camauro* (a cap traditionally worn by the Pope) and the *mozzetta* (a short elbow length cape worn by Catholic clergy), is impressive. The expressive rendering combines the nature of the individual and the solemn pose in keeping with the position of successor to Peter in perfect equilibrium. The papal coat of arms of the Casa Borghese, recognisable by the eagle and the dragon, appears in the top right.  \nThe work is mentioned as extraordinary in the biography of Marcello Provenzale, and he was included amongst the greatest artists of his time by Giovanni Baglione in 1642. For his rare ability to produce mosaics with tiny tiles, usually done on cartoons prepared by important painters, Provenzale was deemed by his contemporaries to be greater than the masters of the classical age. During the pontificate of Paul V, he received numerous commissions for the Vatican Basilica, where he completed the mosaic for the Clementina Chapel using a design by Cristoforo Roncalli, also known as Pomarancio, and the ones in the cupola. He made extensive contributions to the restoration of the famous 14th-century Giotto mosaic the *Navicella*. He was one of the preferred artists of Scipione Borghese, who commissioned numerous works from him, many of which are kept today in the museum, and he lived as a *protégé* at the residence of the princely Roman family.","short_description":"Portrait of the reigning Pope executed by a trusted artist of Cardinal Scipione Borghese, who lived in the cardinal’s palace as his protégé. The strong realism and the highly unusual and difficult technique, of which Provenzale was very proud, represent typically Baroque characteristics.","type":"Mosaic","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Scipione Borghese","dates":"1621","location":"Rome, Latium","dimensions":"h: 65 cm; w: 54 cm","method_for_datation":"Inscription","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I dipinti*, I, Rome, 1955, n.107, p. 62.  \nStaccioli, S., in *Opere in mosaico, intarsi e pietra paesina*, exhibition catalogue, Rome, 1971, n.3, pp. 12–13.  \nGonzález Palacios, A., “Provenzale e Moretti: indagine su due mosaici”, in *Antichità viva*, 4, 1976, pp. 26–33.  \nFratarcangeli, M., in *Barock Kunst und Kultur im Vatikan im Rom der Päpste. 1572–1676*, exhibition catalogue (Bonn, Berlin), 2005, n.124, p. 239.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["coat of arms","glass","marble","mosaic","patronage","Portrait","Realism","tesserae","tile"],"materials":["Glass and marble tiles"]},"11ee08c6-3f50-5b88-b216-58be546fc86a":{"name":"*Antonis Benakis at the Sporting Club in Alexandria*","description":"A black and white photos from a photo album showing snapshots of a polo game at Alexandria Sporting Club and naming Antoni Benakis as the leading rider. Phototographer unknown.","type":"Photograph","holder":"Benaki Museum","dates":"1888–1920","location":"Athens","author":"Maria Dimitriadou"},"1313c11f-d35a-5fba-85ac-6b580ca2b754":{"name":"Headdress ornament","short_description":"A headdress ornament with the portrait of Fath Ali Shah (1797-1834) in painted enamel. It is shaped as a half-shaped moon combined by the rising sun that was the emblem of the Persian order of honour founded by the Shah in 1807. The bejewelled imperial crown refers to later oil paintings of him, since in the early years of his reign he is usually portrayed in the traditional royal turban topped by an aigrette.","type":"Jewellery","holder":"Benaki Museum","dates":"Hegira 1211-1249 / AD 1797-1834","location":"Athens","dimensions":"Height 7 cm","provenance":"Iran","keywords":["costume","Fath Ali Shah","gold","Headdress ornament","Iran"],"materials":["gems","Gold","painted enamel","pearls"]},"14edc45d-6bf0-507b-a305-757f6f034ef5":{"name":"Portrait of Emperor Shah Jahan","short_description":"The bearded emperor Shah Jahan, with a nimbus around his head, stands facing proper left, holding a flower in his raised left hand, his right clasping the hilt of his sheathed sword, which is pointed toward the ground. He wears a *jama* (a kind of frock with skirt). A *kamarband* (sash with ends pendant) girdles the waist, and a *dupatta* (scarf) falls over the left shoulder, the end dropping to the waist line. A dagger (*kataar*) is stuck in his sash on his waist. On his feet are heelless slippers. *Pajamas* are worn under the *jama*. The emperor also wears a jeweled *pagari* (turban) with the *sarpes* (plume), encircled by a dark halo. The *sarpes* appears to be jeweled. He wears the following jewelry: a *mala* (necklace); a *bhuja* band (armlet); and a *kangana* (bracelet). A tannish-gold thin border with dark-tan floral drawings surrounds the painting. The page background is decorated in a floral motif with feral feline heads in shades of tan and gold.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Hegira c. 1059 / AD c. 1650","location":"Saint Louis","dimensions":"Image: Length: 21cm x Width: 12.4cm; Sheet: Length: 34cm x Width: 21.8cm","method_for_datation":"This miniature painting depicts Emperor Shah Jahan (1592–1666). This border originally belonged to the Persian dictionary Farhang-i-Jahangiri (1608), which was later cut up and its borders added to many Mughal miniatures, such as this one.","method_for_provenance":"This miniature painting depicts Emperor Shah Jahan (1592–1666) in formal court attire. This painting is one of only four full-length standing portraits of Shah Jahan known.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","keywords":["Asia","drawing","emperor","gold","India","Indian","ink","opaque watercolor","Paper","Portrait","Shah Jahan","watercolor","watercolour"],"materials":["gold on paper","Ink","opaque watercolor"]},"16145c6c-e484-5568-ab55-c93317ec5964":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","description":"Portrait of Carol I, King of Romania (1839–1914) in uniform with Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega"},"161d25a6-f2f3-5bd7-9bce-84afb082e31e":{"name":"The Hijaz Railway Delegations","description":"The Hijaz Railway ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. The main purpose of the railway was to establish a connection between the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj annual pilgrimage. Another important reason was to improve the economic and political integration of the distant Arabian provinces into the Ottoman state, and to facilitate the transportation of military forces.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"17b041f8-8464-54a0-bfab-c18e51639102":{"name":"A rare photo showing important guests at the inauguration of Luxor–Aswan Railway Line","description":"A group of guests at the inauguration of the Luxor–Aswan Railway Line upon disembarking at the Station of Aswan. One of the rare photos for the inauguration of the Luxor–Aswan railway line, with `Adli Yakan Pasha; Muhammad Najib al-Gharabli Pasha; Husayn Rushdi Pasha; Tharwat Pasha; Fathallah Barakat Pasha; Morkos Hanna Pasha; al-Dagwi Bek, director of Aswan; and Mahmud Shakir Bek, deputy undersecretary of the Ministry of Transportation in attendance, in 1926.","type":"Photograph","holder":"Bibliotheca Alexandrina","dates":"1927","location":"Alexandria","copy_editor":"Daniel de la Vega"},"183b1889-44b1-5781-a76f-71957bab4067":{"name":"Muhammad ‘Ali Pasha (1769–1849)","description":"Portrait of Muhammad 'Ali Pasha. Although born in Greece, he was the founder of modern Egypt. From Albanian origin, he came to Egypt as an Ottoman officer and began the modernisation of the Egyptian state.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"183b5543-14a1-5a82-b3dd-50b7597cdf96":{"name":"*Father Martin Stredonius with a View of Brno from the East*","description":"The scene glorifies the Jesuit priest and teacher Martin Středa (known as Stredonius, practicing in Gliwica in 1587; moving to Brno in 1649). Set in 1645, when the Swedish besieged the city of Brno during the Thirty Years' War, the painting depicts Středa's miraculous ascension to heaven at the very moment the attackers withdrew. The final and largest cannon ball aimed at Brno is said to have landed at Father Středa's feet where it remained, motionless. A besieger holding a cannon ball is shown in the bottom left-hand corner, while the focal point of the picture is the priest accepting holy wisdom through the Virgin Mary, expressed by a reflection of divine light. Středa is wearing a medallion with a portrait of the emperor, which accentuates his role as a defender not only of Brno but also of the whole Habsburg empire. In the top right-hand corner appear Jan Kapistrán (Capistranus) and another church father. Capistranus preached in Brno in 1451 and was also believed to possess supernatural powers. The *veduta* of Brno shows the fortified character of the city, with Špilberk castle.  \nGeneral Ludvík Raduit de Souches, commander of the Brno defense during the Swedish siege complies: “It appears that the bravery of the city defense was strengthened by fervent prayers and continuous fasting on the part of Father Středa, through which he transmuted power from heaven to defend and ensure the safety of the besieged. The enemy eventually saw that, having mobilised all their military efforts and set all kinds of traps, the spirit of the city was strong and unbreakable, and that it involved supernatural protection …”  Stredonius is said to have had the power of being in two places at once and of levitating during meditation. He wrote a biography of the martyred priest Jan Sarkander, a document that played a major part in the dissemination of the latter's cult and eventual canonisation as patron saint of Moravia and counterpart to St. John of Nepomuk.  \nThe cult of Martin Středa was promoted through prints of a similar composition. (Brno City Archive).","short_description":"The scene glorifies the Jesuit priest Martin Středa. It is set in 1645, when the Swedish besieged the city of Brno during the Thirty Years' War, depicting Středa's miraculous ascension to heaven at the very moment that the attackers withdrew. The *veduta* shows the fortified character of the city of Brno.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Order of Jesuits, Brno","dates":"c.1678?","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 232 cm; w: 137.5 cm","place_of_production":"Olomouc","method_for_datation":"The picture is thought to have been commissioned by the Brno Jesuit Václav Škodovský. The authorship, originally ascribed to M. Willman, was determined by Dr. Vlasta Kratinová, curator of the Moravian Gallery collections. Lublinský produced several paintings for Brno clients at the time, such as *The* *Allegory of Justice* (Old Brno Abbey) and *The Guardian Angel* for Count Dietrichstein (Church of St. Thomas).","provenance":"Private collection, Brno","obtention":"The picture was donated to the Brno Picture Gallery – which came into existence as part of the Francis Museum, Brno – by Provincial Councillor Franz Georg Eberle in 1821, shortly after its establishment. The painting also featured in the museum’s first exhibition held in the Episcopal courtyard.","bibliography":"Jan Tenora, *Život sluhy Božího P. Martina Středy z Tovaryšstva Ježíšova*, Brno, 1898.  \nMilan Togner, *Antonín Martin Lublinský*, Olomouc, 2004, p. 228, cat. 6. 1. 20.  \nPetra Zelenková, „Protegam Urbe istam (Budu štítem tomuto městu)“. Panna Marie a páter Martin Středa jako ochránci Brna na dvou augsburských mědirytinách ze 17. století, in: Lubomír Konečný – Jiří Kroupa – Michaela Šeferisová-Loudová, *Orbis Artium. K jubileu Lubomíra Slavíčka*, Brno 2009,  \ns. 341–352.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Jesuits","Madonna","Thirty Years' War","veduta"],"materials":["Oil on canvas"]},"184eef10-6e1e-5cd3-9d3c-79a146221593":{"name":"Amelia del Valle y Serrano","description":"The Marquis of Cerralbo (politician, historian, and collector of art and antiques) and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This albumen portrait of Amelia del Valle y Serrano is delicate and quiet, with outstanding deep chocolate colour which reveals the quality of the photographic technique and the good condition of the object.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"185ba5fa-c953-5b73-a895-436fd368117e":{"name":"Ottoman Clothing Album","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"190def5c-0fc3-5e3c-8e0e-0783372b1471":{"name":"Portrait of the Crown Prince Abbas Mirza (AH 1203–1248 / AD 1789–1833)","short_description":"This painting was originally conceived as architectural decoration, as it was intended to fill niches or partitions in royal palaces. It depicts two main themes; life size portraiture of Abbas Mirza and a battle scene. The portraits were characterised by their high level of details and bright palette (primarily pink, royal blue, turquoise and translucent green). Among the interesting feature of this painting is the background scene which shows a long line of troops standing against a forest background. The troops are depicted wearing European style costume; this reveals the importance of the modernization of the army of Abbas Mirza, which is a common theme in many Abbas Mirza’s portraits. However, one particular interest here is the single soldier looking directly at us, who is larger in size than the soldiers and thus of a more important status. It is believed that this soldier is a self-portrait of the artist who is believed to be Muhammad Hassan (Hegira 1233 / AD 1818).","type":"Oil painting","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1233-35 / c. AD 1818-20","location":"Kuala Lumpur","dimensions":"211.5 x 109cm","provenance":"Iran","bibliography":"Islamic Arts Museum Malaysia, *Symbols of Power and Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015: 35 – 37.  \nBasil William Robinson, “Qajar Painted Enamels”, in R. Pinder-Wilson (ed.), *Paintings from Islamic Lands*, Oxford: Oriental Studies IV., 1969: 187-204.","materials":["Oil on canvas with wooden frame"]},"198dcaff-0328-5a80-a4ea-d7ac0774b16b":{"name":"*The Ancestral Gallery of the Eltz Family*","description":"The Eltz family were of ancient German nobility. They came originally from the town of Eltz in Moselland, their family lineage uninterrupted from the first decade of the 13th century. A branch of the counts of Eltz acquired estates in Slavonia in 1736, when Philipp Karl, archbishop and elected prince of Mainz, bought the Vukovar estate. Throughout the following decades, the family brought from Germany to Croatia family portraits and the *Ancestral Gallery*, consisting of 10 large paintings. The composition is the same for them all – four to six figures representing two generations of the family (father, mother, the eldest son and his wife) shown with the Eltz family's coats of arms combined with that of their wives. The lower areas of the paintings have long texts about the lives of those depicted. The elder generations of the family are sometimes dressed quite fantastically, while depictions of the later generations seen in the final painting in the Gallery (shown here) present a detailed study of the fashion of the period  \nThe *Gallery*, commissioned and painted during the second half of the 18th century, is probably the work of Georg Joseph Melber, a painter based in Mainz. In 1752, Melber painted portraits of Anselm Kasimir Eltz and his wife Maria Johanna (in the Gallery of Fine Arts in Osijek). These portraits are distinctly similar to the paintings of the Ancestral Gallery.","short_description":"The Eltz family belonged to ancient German nobility. A branch of the counts of Eltz acquired estates in Slavonia in the 18th century bringing from Germany to Croatia the *Ancestral Gallery*. *The Gallery*, comprising 10 paintings, dates to the last quarter of the 18th century.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"The Eltz family, Vukovar, Croatia","dates":"Second half of the 18th century","location":"Zagreb, North-West Croatia","dimensions":"H: 76 cm; w: 118 cm","place_of_production":"Mainz (?)","method_for_datation":"The date and possible authorship of the painting was established by studying the inscriptions, and comparing the painting with other known works of Georg Joseph Melber.","provenance":"The Eltz family, Germany","obtention":"Received from the Commission for the Collection and Preservation of Cultural Monuments and Antiquities in 1952.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 85–90.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 248.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["Ancestral gallery","coat of arms","Eltz family","fashion","Heraldry","Portrait"],"materials":["Oil on canvas"]},"19adb7d5-92bf-5c8a-8b63-f8d677d0e713":{"name":"Danilo I, Prince of Montenegro (1871–1939)","description":"Danilo I, Prince of Montenegro (1871–1939) was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1890","location":"Vienna","copy_editor":"Daniel de la Vega"},"1a28e275-5d29-5396-afed-1d35fe8bd656":{"name":"*Portrait of Sultan Ibrahim Adil Shah II of Bijapur*","short_description":"This impressive three-quarter-profile portrait of Ibrahim Adil Shah at about 19 years of age is a unique masterpiece in every way. Portraiture was only in its infancy in Mughal India at this point, and such a monumental depiction from the Deccan must undoubtedly be attributed to the direct influence of printed European models.","type":"Miniature pasted on an album leaf","holder":"The David Collection","dates":"Hegira c. 1000 / AD c. 1590","location":"Copenhagen","provenance":"India, Deccan, Bijapur","keywords":["Europe","India","Leaf","painting"]},"1c651cdc-3180-5289-952f-daeae5e69f65":{"name":"Emigrants who immigrated to America","description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. This photo depicts some Muslim migrants who immigrated to America.","type":"Photograph","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1922–1925","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"1c78b924-ed6f-5a33-8922-4aa69a219c71":{"name":"Portraits of Jahangir and Shah Jahan","short_description":"This album painting shows portraits of two Mughal emperors; the upper portrait shows Jahangir (r. 1605–27) in a *jharoka* window-scene, while the lower, larger portrait depicts his son, Shah Jahan (r. 1627–58) in greater dimensions, a golden nimbus or halo encircling his head. Most famous today for commissioning the Taj Mahal, Shah Jahan was also a connoisseur of gemstones. In this portrait, he is richly adorned with necklaces, bracelets, and pendants of pearls, emeralds, rubies, and other jewels. He wears an orange turban decorated with strings of pearls, rubies, and emeralds and a sapphire turban-ornament (*sarpech*) of black aigrette feathers. His gold belt glitters with diamonds and a large opal. In his sash is tucked a dagger or *katar*, and his right arm leans on a sword. He is holding his imperial seal on his left hand, a sign of his sovereignty.","type":"Folio","holder":"Aga Khan Museum","dates":"1628","location":"Toronto, Ontario","dimensions":"55.1 x 34.5cm","provenance":"India, Agra","obtention":"Former Prince Saddrudin Aga Khan Collection","keywords":["Album","figure","folio","human-figure","illuminated","Portrait","work-on-paper","works-on-paper"],"materials":["Gold","Ink","Opaque watercolour","Paper"]},"1c7eb8dd-c27a-55e4-b4bd-256860c07387":{"name":"Types of Cairo","alternate_name":"*Tipi del Cairo*","description":"The historical photos, belonging to Enrico H. Giglioli's collection, were collected by the Florentine naturalist during his travel around the world in 1865–68 on the Magenta's steam corvette, with the purpose to start diplomatic and commercial relations. The \"genre\" images seem to be created \"ad hoc\" to represent human diversity along the different ages. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum, and are very important for the history of anthropological science and history of photography. The origins in terms of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1913","location":"Rome","provenance":"Egypt","author":"Vito Lattanzi","copy_editor":"Anne Dowell"},"1deb708b-ab5d-5f99-8702-421204b044cf":{"name":"Berber woman (Nailiya) lying down","description":"The image depicts a Nailiya, a woman of the Berber tribe of the Ouled Naïl, in the south of Algeria. She is lying on her side like an odalisque, wearing a colourful silk dress and the rich jewels used to perform their traditional dance. The Nailiyat were independent women, free to marry men of their choosing. They moved to the cities in the North to earn money as dancers, in order to maintain their families in their community of origin. All this was not fully understood by Europeans. With the emergence of sex-tourism these women were forced to introduce sexual content in their originally hieratic performance, and finally they were even considered as prostitutes by the French administration, which in turn led to them being repudiated in their villages. Early photography contributed to forge this image of the Nailiyat in the European imagination.","type":"Photograph","holder":"National Museum of Anthropology","dates":"1856–1858","location":"Madrid","copy_editor":"Anne Dowell"},"1e2c6043-b6b2-543a-9e30-6ef03d18caa0":{"name":"*Portrait of Ferdinand Laffert, Royal Commissioner*","description":"The *Portrait of Baron Ferdinand Laffert* mixes official characteristics with a more personal style. The Baron was among the newcomers that gained estates after the Turks were ousted from Hungarian soil, and became the new landlord of a settlement in Ócsa, in Pest county near Buda, Hungary in 1693. He published one work during his lifetime, the *Publicus installationis actus in s. regni Hungariae coronae conservatorem excell., ac illustr. dni. comitis Georgii Leopoldi Erdődy de Monyorókerék ...* *Anno ab InItIo regnI HVungarIae, Ita & eXorDIo saCrae Coronae, Svpra septIngentos trIgesIMo. Posonii* in 1730.","short_description":"An official portrait of Baron Ferdinand Laffert who was among the newcomers that gained estates after the Turks were ousted from Hungarian soil, and became the new landlord of a settlement in Ócsa, in Pest county near Buda, Hungary in 1693.","type":"Painting (portrait)","holder":"Budapest History Museum","dates":"1727","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 94.5 cm, w: 74.5 cm","method_for_datation":"By historical data","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 28.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["book","Bratislava","Count Leopold Erdődy","Ócsa","Ottoman","Pest","Portrait","Pozsony","Pressburg","Turkish wars","Turks"],"materials":["Oil on canvas"]},"1f4778d6-1457-56dc-8745-6fecef3643f8":{"name":"Hussein Avni Pasha (1819–1876)","description":"Portrait of Huseyn Avni Pasha, who was murdered in 1876 by Hasan Bey. In 1874 Huseyn Avni Pasha became Grand Vizier. He served in this position until 25 April 1875. From 25 August 1875 until 1 October 1875, he served as War Minister. Starting 11 April 1876, he served again as War Minister and played a major role in toppling Sultan Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"2014af0a-f0bc-59a2-9a32-22eb77035668":{"name":"Ferdinand I, Czar of Bulgaria (1861–1948)","description":"Portrait of Ferdinand I (1861–1948) as Duke of Bulgaria. Ferdinand I was born as the son of the Austrian General August von Sachsen-Coburg and Gotha. In 1887 he became ruler of Bulgaria after the abdication of Alexander I von Battenberg. In 1908 he made himself Tsar of Bulgaria. Because he joined the German and Austrian monarchy in WWI and lost the war, he had to abdicate on 3 October 1918 and to emigrate to Germany and Slovakia. In 1948 Ferdinand I of Bulgaria died in Coburg, Germany.","type":"Photograph","holder":"Austrian National Library","dates":"After 1887","location":"Vienna","copy_editor":"Daniel de la Vega"},"204ad655-e0e1-593a-b96e-0e6675438945":{"name":"A Druse Bride from Lebanon","alternate_name":"*Sposa drusa del Libano*","description":"The bride wears a tantur, a head ornament worn along with a white veil by the women from Antilibano. The photo belonging to Enrico H. Giglioli's collection was collected by the Florentine naturalist on his world travels in 1865 to 1868 as he advanced diplomatic and commercial affairs between the newborn Italian state and the other nations. The images seem to have been created spontaneously to show ethnocentric diversity. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum and are important for the histories of anthropological science and photography. The origins of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome can be traced back to the 1875 foundation of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1881","location":"Rome","provenance":"Egypt","author":"Vito Lattanzi","copy_editor":"Anne Dowell"},"20742252-5d4f-565f-8b1e-0849b9510ddd":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861). When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"c. 1850","location":"Vienna","copy_editor":"Daniel de la Vega"},"213b0fb4-e0c5-55f3-9d6e-bd61b0fcc5ae":{"name":"Ottoman Clothing Album","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"21983581-bf0c-5102-8ca7-8f1af359caf4":{"name":"Muhammad Tawfiq Pasha (1852–1892)","description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"1879","location":"Vienna","copy_editor":"Daniel de la Vega"},"21d2fd52-ed06-5897-a1ce-fe2e55d7e878":{"name":"*Sultan Süleyman II in profile*","short_description":"This portrait of the Ottoman Sultan Süleyman (AD 1494/5– 1566) is generally attributed to Titian’s circle, mainly because of the inscription on the back of the painting. No original portrait of Süleyman by Titian has survived, but inventories document four portraits by him, among them two tentatively identified as portraits in profile. Comparison with other recorded portrait-types of Süleyman shows that its genesis is connected with a prototype disseminated by Paolo Giovio (AD 1483–1552) after AD 1543, when he commissioned a number of copies of portraits of sultans for his portrait collection at Como. This year marks the *terminus post quem* for this painting.","type":"Painting","holder":"Kunsthistorisches Museum","dates":"After AD 1543","location":"Vienna","dimensions":"98cm x 85cm","method_for_datation":"Inscription on the back of the painting \"Tiziano\" and stilistical analysis as well as historical context.","method_for_provenance":"The painting is recorded in the Inventory of the Imperial Gallery dated AD 1772 (number 130): \"Ein Türcken Kopf\". Probably the same painting recorded in the inventory of the collection of Archduke Ferdinand II of Tirol AD 1596.","provenance":"Italy, Venice","obtention":"The painting is recorded in the Inventory of the Imperial Gallery dated AD 1772 (number 130): \"Ein Türcken Kopf\". Probably the same painting recorded in the inventory of the collection of Archduke Ferdinand II of Tirol AD 1596.","bibliography":"Bischoff, Cäcilia, \"Sultan Süleyman\", in Sylvia Ferino Pagden (ed), *Der späte Tizian und die Sinnlichkeit der Malerei*, exh. cat., Wien: Kunsthistorisches Museum, 2007: 167-168.  \nDeiters, W., \"Is Titian painting the Sultan?” in Robert Born, Michal Dziewulski and Guido Messling (eds), *The Sultan's World*, exh. cat., Brussels/ Krakow: Hatje Cantz Verlag, 2015: 182-183.  \nHaag, Sabine, Sandbichler, Veronika, Klarer, Mario, *Piraten und Sklaven im Mittelmeer*, exh.cat. Schloss Ambras, Innsbruck: Haymon, 2019.  \nSandbichler, Veronika, \"Süleyman der Prächtige,“ in Veronika Sandbichler (ed), *Türkische Kostbarkeitenaus dem Kunsthistorischen Museum*, exh. cat., Wien: Kunsthistorisches Museum, 1997: 47-49.","author":"Francesca del Torre","copy_editor":"Liz Cooper","keywords":["collection","Italy","Museum","Ottoman","Ottoman-Venetian relations","Paolo Giovio","Portrait","Renaissance","Süleyman","Titian"],"materials":["Oil on canvas"]},"21fbb370-0706-50de-a10a-ae6eb3f6cb65":{"name":"Portrait Album – Ottoman State Officers","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"2398d928-c319-50b3-8b82-b2185dea28d6":{"name":"*Lady Layard*","description":"Lady Layard, wife of the famous excavator of Assyria, Austen Henry Layard, here poses in ‘Assyrian’ jewellery. This was made for her using genuine ancient objects.","type":"Painting","holder":"The British Museum","dates":"1870","location":"London","provenance":"United Kingdom"},"25615117-b95e-51bc-bba3-33731c28624f":{"name":"Portrait of a young woman","description":"A young woman on the photograph poses in the interior, lying on the Pirot kilim. She is wearing an overcoat named *džube*, which belongs to traditional urban dress ensemble worn in Kosovo. For this occasion *džube* is turned into an evening dress and combined with modern accessories. The outfit was most probably worn at a costume ball, which was a popular practice at this time, related to the elements of traditional 19th century urban dress. The kilim on the photo is decorated with the *Crown Prince* (*prestolonaslednik*) ornament.","type":"Photograph","holder":"Museum of Applied Art","dates":"Around 1930","location":"Belgrade","dimensions":"H: 8.4cm, W: 11.4cm","method_for_datation":"By stylistic analysis","provenance":"Serbia","obtention":"Purchased in 1987","author":"Draginja Maskareli","keywords":["Kilim","photograph","Pirot","Şarköy"],"materials":["Photograph"]},"261e731d-c1f3-5549-9d76-8e6eb76876e3":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Photograph","holder":"Austrian National Library","dates":"c.1893","location":"Vienna","copy_editor":"Daniel de la Vega"},"26e9ef4b-0b68-5435-8e38-53a259f9cdaf":{"name":"Portrait of Prosper Enfantin dressed in an imitation of the local style","description":"Prosper Enfantin (1796–1864) was one of the most active members of the Saint-Simonian movement (a socio-economic and political movement advocating a fraternal, socialist society based on economic prosperity). After being imprisoned in 1832 for founding a very politically-active community, Enfantin became fascinated by the Middle East, and in 1834 he left for Egypt with a few companions. He was also one of the proponents of the Suez Canal. In this image he is dressed in the local Egyptian style, wearing clothes he made himself.","type":"Portrait","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"275443d0-1d7d-5e19-a7ef-50820f9add5d":{"name":"*Convoy of pilgrims*","description":"The Hijaz Railway was a narrow-gauge railway (1,050mm/​3ft, 5 11⁄32 in track gauge) that ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. It got no further than Medina, 400 kilometres (250mi) short of Mecca, due to the construction interruption caused by the outbreak of World War I. The main purpose of the railway was to establish a connection between Constantinople, the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj (annual pilgrimage).","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"27da4fd7-996d-5066-b357-ffc4082c83ad":{"name":"Dr Charles Nicolle","description":"This is a photograph of the Nobel Prize for Medicine won by Dr Charles Nicolle for his work on infectious illnesses during his time at l'Institut Pasteur from 1903 to 1936.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"2cba4816-822e-5153-8c2f-a05c21e94c01":{"name":"Mulay ‘Abd al-Rahman, Sultan of Morocco (1789–1859)","description":"Portrait of Mulay 'Abd al-Rahman, Sultan of Morocco (1789–1859). In 1822 he became the successor of his uncle and tried to fight against the growing influence of the European powers in North Africa by supporting the Algerian resistance against the French occupation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"2efb58fe-14fe-59df-ad70-18b84374d4f5":{"name":"Edmund Count Szechenyi (1839–1922)","description":"Portrait of Count Edmund Szechenyi. He was born in 1839 in Bratislava and studied the work of fire brigades in London. In 1869 he founded in Budapest the first volunteer fire brigade, which was transformed into a professional fire brigade in 1870. From 1871–1874 he commanded the umbrella organisation of all fire brigades in Hungary. In 1875 he was sent by Emperor Franz Joseph to Istanbul to build up a fire brigade in the Ottoman capital. As head of the fire brigade he became the first Christian Pasha in the Ottoman Army and stayed in Istanbul until his death in 1922.","type":"Print","holder":"Austrian National Library","dates":"c.1880","location":"Vienna","copy_editor":"Daniel de la Vega"},"2f2d6f96-e497-5489-ae20-7c7ca9950d9b":{"name":"*Mulay Hassan, Sultan of Tunis, died 1550*","short_description":"This portrait of Mulay Hassan, the Sultan of Tunis, is based on either a painting in the Uffizi Galleries or its now-lost prototype that was once in the collection of portraits assembled by Paolo Giovio. All of the portraits in the collection seem to be based on a portrait of the sultan by Cornelisz Vermeyen, the Netherlandish artist who had accompanied Charles V on his Tunisian campaign in AD 1535. The latter was the emperor’s response to the capture of the city by the Ottoman admiral, Hayreddin Barbarossa, which had forced the emperor’s ally, Mulay Hassan, to flee to Spain.  \nFrom the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble in AD 1676. The small paintings come from a variety of sources and depict both famous historical and contemporary personalities.","type":"Painting","holder":"Kunsthistorisches Museum","dates":"Undated","location":"Vienna","dimensions":"Height: 13.8cm, Width: 11cm","provenance":"Austria?","obtention":"Part of the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble/commission in AD 1676","bibliography":"For the whole series, see: Kenner, Friedrich, *Die Porträtsammlung des Erzherzogs Ferdinand von Tirol, in: Jahrbuch der Kunstsammlungen des Allerhöchsten Kaiserhauses*, vol. 14, 1893: 37-186; vol. 15, 1894: 147-252; vol. 17, 1896: 101-274; vol. 18, 1897: 135-261; vol. 19, 1896: 6-146. For the work discussed see: vol. 19: 137-139, cat. no. 26.  \nSee also: Ladner, Gerhard, *Die Porträtsammlung des Erzherzogs Ferdinand von Tirol*, Vienna: Verlag der Kunsthistorischen Sammlungen, 1932: 41, cat. no. E26.","author":"Guido Messling","copy_editor":"Liz Cooper","keywords":["Ambras Castle","collection","Ferdinand II: portrait","Hafsid","Mulay Hassan","Portrait","portrait collection","Renaissance","sultan","Wunderkammer"],"materials":["Paper on cardboard"]},"2f43e6b1-762a-5338-b352-7d38a498d393":{"name":"Insignia with the Portrait of Muhammad Shah Qajar (r. 1834–48)","short_description":"This lavishly embellished portrait of Muhammad Shah Qajar with its fine enamelling and diamond-set turban ornament, arm bands and collar, offers an exquisite example of the skill of the royal Qajar artists during his reign. The *nasta’liq* inscription within the two medallions read: Al-Sultan ibn Sultan, Al-Sultan Muhammad Shah Qajar.","type":"Jewellery","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1235-40 / c. AD 1835-40","location":"Kuala Lumpur","dimensions":"10 x 8cm","provenance":"Iran","obtention":"Swiss private collection","bibliography":"Islamic Arts Museum Malaysia, *Symbols Of Power And Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015.","materials":["bending","enamelling","Gold and diamond","granulation","handwritten on the enamel surface","hinges","rivet","soldering","stone setting"]},"2fa5a8ab-1373-5032-9bc1-fd24f3282bbf":{"name":"*Qaytbay, Circassian Mamluk, Sultan of Egypt, died 1495*","short_description":"Quait Bey was a Mamluk Sultan who ruled Egypt and Syria from AD 1468 until his death in AD 1496. His reign marked a final cultural flowering in Egypt, which coincided with its growing conflicts with the Ottoman Empire. This portrait is probably based on a now-lost prototype once in the collection of Paolo Giovio, which also served as the model for a painting now in the Uffizi Galleries and a woodcut by Tobias Stimmer.  \nFrom the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble in AD 1676. The small paintings come from a variety of sources and depict both historical and contemporary personalities.","type":"Painting","holder":"Kunsthistorisches Museum","dates":"c. AD 1580","location":"Vienna","dimensions":"Height: 13.9cm, Width: 10.7cm","provenance":"Austria?","obtention":"Part of the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble/commission in AD 1676","bibliography":"For the whole series, see: Kenner, Friedrich, Die Porträtsammlung des Erzherzogs Ferdinand von Tirol, in: *Jahrbuch der Kunstsammlungen des Allerhöchsten Kaiserhauses*, vol. 14, 1893: 37-186; vol. 15, 1894: 147-252; vol. 17, 1896: 101-274; vol. 18, 1897: 135-261; vol. 19, 1896: 6-146. For the work discussed see: vol. 19: 135-136, cat. no. 24.  \nSee also: Ladner, Gerhard, *Die Porträtsammlung des Erzherzogs Ferdinand von Tirol*, Vienna: Verlag der Kunsthistorischen Sammlungen, 1932: 41, cat. no. E24.","author":"Guido Messling","copy_editor":"Liz Cooper","keywords":["Ambras Castle","collection","Ferdinand II","Mamluk","Portrait","portrait collection","Qaytbay","Renaissance","sultan","Wunderkammer"],"materials":["Paper on cardboard"]},"316c3ae7-9ea6-5cac-b035-f8104f24c1ed":{"name":"*Mohamed Sadok Pacha Bey* (painting)","description":"This 1861 oil on canvas by B. de Moynier shows the Mohamed Sadok Pacha Bey in front of the throne in the great hall of the Palais du Bardo, his right hand on the Tunisian constitution (which he has just proclaimed), his left holding his sword. He is dressed in official uniform, with red trousers with a gold stripe and a short black coat with a gold belt and epaulets, in addition to the Nichan al-Amen medal and a green sash with a double red stripe. On his chest the Nichan al-Dam, the Légion d'Honneur and the Nichan al-Iftikhar (classe majeur) medals can be seen, as well as a Légion d'Honneur and Nichan al-Iftikhar on a sling. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1861","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"3277a1c4-6310-5adb-8af8-8874fed7d747":{"name":"*Marija Terezija Oršić (nee Wintershofen)*","description":"By birth from a Styrian baronial family, Maria Theresia Wintershofen was extremely well educated. She married Count Antun Oršić (1670/6–1706), a descendant of an old Croatian baronial family who was a cavalry captain and first served in the War of Spanish Succession and then fought against the Turks in Hungary. Maria Theresia and Count Oršić married when they were both very young, before 1695. Soon after, in 1700, he sued her for adultery and for allegedly casting spells on him. Granted a divorce, he took away their three children.  \nAn unknown, probably Croatian painter has bestowed on this portrait of Maria Theresia something unusual and mysterious, somehow reflecting her strange destiny. The portrait magnificently illustrates various details of female aristocratic dress at the end of the 17th century, notably the influence of French fashion seen in the cap (*fontange)* which is highly decorative and made of ruffled white lace and red ribbons threaded with silver*.* The colourful dress she wears was typical of the 17th century, richly endowed with pearls and lace. She also wears a small watch, hung on a red ribbon from her waist, accentuating her high social position.","short_description":"By birth from a Styrian baronial family, Maria Theresia Oršić was very well educated. Maria Theresia and Count Oršić married when they were both very young, before 1695. Soon after, in 1700, he sued her for adultery and for allegedly casting spells on him. Granted a divorce, he took away their three children. The portrait magnificently portrays various details of female dress at the end of the 17th century.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"Kulmer family, Šestine near Zagreb","dates":"1695–1700","location":"Zagreb, North-West Croatia","dimensions":"H: 98.5 cm; w: 77 cm","place_of_production":"Croatia (?)","method_for_datation":"Established through study of the clothes of the subject and her biography.","obtention":"Donated to the Museum by Countess Josipa Kulmer from Šestine near Zagreb in 1854.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća* (Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 146–147.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 286.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["costume","divorce","education","fashion","jewellery","Oršić family","Ottoman","Portrait","timekeeping","witchcraft","women"],"materials":["Oil on canvas"]},"33c78378-09b9-5e76-bb0d-85f0948fe81c":{"name":"Inocencia Serrano y Cerver, Marquise of Cerralbo, and Amelia del Valle y Serrano, in Oriental garment","alternate_name":"Inocencia Serrano y Cerver, marquesa de Cerralbo, y Amelia del Valle y Serrano, con atuendo oriental","description":"The Marquis of Cerralbo and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This albumen portrait of Inocencia Serrano y Cerver, Marquise of Cerralbo, and her daughter Amelia del Valle y Serrano is delicious thanks to the typical Turkish costume, the apparently easy pose and the scenography and the absolute harmony with the idea of aesthetic orientalism.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"35b961a6-875c-5ccf-a80f-d6f917ccd48e":{"name":"Jozef Zachariasz Bem (1795–1850)","description":"Portrait of Jozef Zachariasz Bem as Turkish Pasha. Jozef Bem was born in the Austrian part of Poland. He fought as a Napoleonic officer against the Russians. In 1830 he participated in the Polish uprising against the Russians in Warsaw. In 1848 he was one of the leading Generals fighting with the Hungarian army against the Habsburg troops. After several defeats in 1849, he fled with 6,000 Hungarian-Polish soldiers to the Ottoman Empire. After converting to Islam, he became a Turkish General. In 1850 he suppressed an Arabic pogrom against the Christian population of Aleppo.","type":"Print","holder":"Austrian National Library","dates":"Before 1850","location":"Vienna","copy_editor":"Daniel de la Vega"},"36d58a55-2db8-5fb1-a95f-93e3fa5513d2":{"name":"Ottoman Clothing Album","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"36e1b6b4-30ae-5caf-b227-73b35b67c02b":{"name":"Fuad I, King of Egypt (1868–1936)","description":"Portrait of Fuad I, King of Egypt (1868–1936). In 1917 Fuad I succeeded his brother Hussein Kamil as Sultan of Egypt. In 1922, after Egypt had achieved independence from the Ottoman Empire, he became King of Egypt with the help of the British government.","type":"Photograph","holder":"Austrian National Library","dates":"After 1922","location":"Vienna","copy_editor":"Daniel de la Vega"},"370bd873-8035-59b2-bc6d-9c176b57e9d5":{"name":"Ibrahim Pasha (1789–1848)","description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"3879757a-f06b-5c78-885b-5bf3ddf848b8":{"name":"*Convoy of pilgrims*","description":"The Hijaz Railway was a narrow-gauge railway (1,050mm/​3ft, 5 11⁄32 in track gauge) that ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. It got no further than Medina, 400 kilometres (250mi) short of Mecca, due to the construction interruption caused by the outbreak of World War I. The main purpose of the railway was to establish a connection between Constantinople, the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj (annual pilgrimage).","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"3a9203b3-ee28-58a5-9738-28760f62fc9b":{"name":"Photograph","description":"This photograph is taken from a family photograph album. Most of the photographs in it are printed on platinum paper, which was introduced in 1879.  \nThroughout most of the 19th century women had few legal rights to property, money, children, or even, after marriage, their own bodies. However, there were great changes in attitudes during the last decade of the century. The traditional role of women was questioned and some women openly defied convention. They educated themselves by reading widely and took up what were seen as 'un-ladylike' activities such as smoking and cycling. The free movement of the bicycle was seen as a symbol of equality and personal freedom.","type":"Photograph","holder":"Victoria and Albert Museum","dates":"1898","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"3abe2459-c22d-5b5d-907a-4be0147c9eec":{"name":"Seated Berber woman (Nailiya)","description":"The image depicts a Nailiya, a woman of the Berber tribe of the Ouled Naïl, in the south of Algeria. She is sitting among rich cushions, wearing a colourful silk dress and the jewels used to perform their traditional dance.  \nThe Nailiyat were independent women, free to marry men of their choosing. They moved to the cities in the North to earn money as dancers, in order to maintain their families in their community of origin. All this was not fully understood by Europeans. With the emergence of sex tourism these women were forced to introduce sexual content in their originally hieratic performance, and finally they were even considered as prostitutes by the French administration, in turn leading to being repudiated in their villages.  \nEarly photography contributed to forge this image of the Nailiyat in the European imagination.","type":"Photograph","holder":"National Museum of Anthropology","dates":"1856-1859","location":"Madrid","copy_editor":"Anne Dowell"},"3b50b4cf-8492-533e-8f06-4e7806420158":{"name":"Tsar Nikolai and his family visit Queen Victoria","description":"Alix de Hesse-Darmstadt, who became the last Empress of Russia under the name Alexandra Romanova, was the granddaughter of none other than Queen Victoria of England. Nikolai II and his wife Alexandra stopped off in England on the way to Paris for their official trip in 1896, to introduce their first child (Olga) to her great-grandmother, Queen Victoria.  This photo is more of a family portrait than an official image.","type":"Photograph","holder":"National Library of France","dates":"1896","location":"Paris","translator":"Flaminia Baldwin"},"3c582e3e-a495-54db-b958-c92ae0736f0c":{"name":"Portrait miniature of the Qajar ruler, Fath ‘Ali Shah","short_description":"This miniature portrait of Fath ‘Ali Shah was signed by Baqir, a versatile enamel painter, who produced high-quality work for the Qajar dynasty. He signed the miniature portrait as ‘the slave born in the household Baqir’, which stressed his role as a craftsman in the royal workshop. In this miniature Fath ‘Ali Shah is portrayed as a relatively young man, with a short beard and continuous eyebrows. He is richly dressed and wears several necklaces, armbands and a tall astrakhan hat decorated with an aigrette, possibly booty from the Mughal treasury in Delhi. To the left of the portrait there is a teardrop-shaped cartouche, which bears the inscription: ‘Fath ‘Ali Shah Qajar’.","type":"Miniature painting; gold; enamels","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"Early 19th century","location":"London","dimensions":"6.2 x 4.4cm","method_for_datation":"Date and provenance are based on the signature of the artist whose work is known, and by the subject of the portrait himself.","provenance":"Iran","bibliography":"Piotrovsky, M.B., and J.M. Rogers (eds), *Heaven on earth. Art from Islamic Lands*, exhibition catalogue, Munich: Prestel, 2004: no.127, p.177.  \nRobinson, B.W., “Qajar painted enamels”, in R. Pinder-Wilson (ed.), *Paintings from Islamic lands*, Oxford 1969: 186-204.  \nVernoit, S., *Occidentalism*, London: The Nasser D. Khalili Collection of Islamic Art, volume 23, 1997: cat.53, p.96.","keywords":["crown","Enamel","gold","Iran","miniature","Portrait","Qajar"],"materials":["Gold sheet","painted with opaque and translucent enamels"]},"3d283460-a96d-52c9-8396-14cc20cc6366":{"name":"A young algerian girl","description":"Between the late 19th century and the 1930s, it became fashionable in the West to take photographs of children, either for publication as postcards or with \"anthropological\" aims. This photograph highlights the striking contrast between the hardships of poverty and the young girl's smile.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"4015cd67-07da-50de-ad09-a73de96638ef":{"name":"Abdul Baha Abbas (1844–1921)","description":"Born in Tehran, Abbas left Iran because of religious persecution. He travelled widely in Egypt, Europe and the United States. In 1913 he settled in Haifa where he founded the religious sect of Baha'i.","type":"Photograph","holder":"Austrian National Library","dates":"1897","location":"Vienna","copy_editor":"Daniel de la Vega"},"40b694ae-445b-54d8-b559-e424f0a605c7":{"name":"*Alexander Karatheodori Pasha (1833–1906)*","description":"Portrait of Alexander Karatheodori Pasha. He was born in 1833 in the Greek quarter, Phanar, in Constantinople and served as leading diplomat (Premier Plénipotentiaire) of the Ottoman Empire at the 1878 Congress of Berlin. With the consent of the Ottoman government, Austro-Hungarian troops occupied Bosnia-Herzegovina.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"1878","location":"Vienna","copy_editor":"Daniel de la Vega"},"41d110ef-ea08-56b4-9331-39d56114f999":{"name":"Portrait of Archduke Maximilian","description":"Portrait of the Archduke Ferdinand Maximilian, who was commander of the Austrian Navy. In 1855 he visited parts of the Ottoman Empire including Smyrna, Palestine and Egypt.","type":"Painting","holder":"Austrian Military Museum / Institute of Military History","dates":"1850","location":"Vienna","copy_editor":"Daniel de la Vega"},"42a12e5a-4f49-5af5-9a9c-e5db696bbced":{"name":"Portrait of a Lady","alternate_name":"Retrato de una dama","description":"The decoration of the cabinet represented in this painting is clearly influenced by Islamic art in the details of the arches and the motifs in Neo-Mudéjar style. This decoration is related to the different publications about the Alhambra or the drawings by Carderera, in which the designers and artists found new inspiration for their works.","type":"Painting","holder":"National Museum of Decorative Arts","dates":"1841","location":"Madrid","provenance":"Madrid?","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"42a328aa-1821-5971-b533-2606dafaee02":{"name":"The excavation of Mount Nemrut","description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"43466c72-e5b9-5030-8983-576a5a27f879":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Print","holder":"Austrian National Library","dates":"c.1914","location":"Vienna","copy_editor":"Daniel de la Vega"},"43b2594e-92cf-584f-b624-afc4b94a968d":{"name":"Giovanni Miani (1810–1872)","description":"Portrait of Giovanni Miani (1810–1872). Born in Northern Italy, he was an intellectual who was forced by Austrian authorities to seek exile in the Ottoman Empire. He lived in Athens, Smyrna and Egypt and was one of the European explorers who tried to find the sources of the Nile.","type":"Print","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"453156d3-f141-581a-96a5-4ef8c83cbae1":{"name":"Dr Charles Nicolle","description":"Pictured here is Dr. Charles Nicolle, a French microbiology doctor born in Rouen on 21 September 1966, in his research laboratory. His name is strongly linked to l'Institut Pasteur, which he directed from 1903–1936, playing the role of administrator, researcher, school headmaster, and advocate for the teaching of hygiene and illness prevention. In 1928 he received the Nobel Prize for Physiology. He died in 1936 and is buried at the Institut Pasteur, where his tombstone is engraved with olive and apple tree branches crossed over, the symbols of Tunisia and Normandy.","type":"Photograph","holder":"Musée de la Médecine","dates":"Early 20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"4541475a-b5b3-51f1-9463-7a0141b6de58":{"name":"Mohamed Daghabi","description":"Born in El Hamma to the Beni Zid tribe (near Gabès), Mohamed Daghbagi (1885–1924) became a deserter in 1915, after the battle of Dhibat between the French troops and the Tunisian resistance. In 1920 he rose to fame through his role in an armed group which took part in various conflicts. He then took refuge in Tripolitaine, and was arrested in 1922 and given back to the French. He was executed in El Hamma on 1 March 1924.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"459c2899-4ce2-5ffd-a17b-a43ffa91c9bc":{"name":"*Milos Obrenovic, prince of Serbia*","description":"Milos Obrenović (1783-1860) was Prince of Serbia from 1815 to 1839, and again from 1858 to 1860. He participated in the First Serbian Uprising, led Serbs in the Second Serbian Uprising, and founded the dynasty of Obrenović. Under his rule, Serbia became an autonomous duchy within the Ottoman Empire. He is credited with starting the process of re-establishing Serbian statehood, as well as shaping the domestic and foreign policies of the modern Serbian state. Prince Milos ruled autocratically, permanently refusing to share power. During his rule, he was the richest man in Serbia and among the richest in the Balkans. In the portrait that was painted by Pavel Djurkovitch in Kragujevac, prince Milos is dressed in Oriental costume and has on the top of the head a turban. It is a typically Oriental piece of costume and this was of significance for the attitude and dignity of the Serbian sovereign at the beginning 19th century, who was by all means respecting an Ottoman empire and his Sultan.","type":"Painting","holder":"The National Museum","dates":"1824","location":"Belgrade","provenance":"Kragujevac, Serbia","author":"Petar Petrovic","copy_editor":"Daniel de la Vega"},"47de166a-64f2-5809-807d-457eb735b800":{"name":"Stefan Petrovic Knicanin (1809–1855)","description":"Portrait of Stefan Petrovic Knicanin. The Serbian officer Stefan Petrovic Knicanin supported the Austrian Emperor during the 1848 revolution. In 1849 he returned to Serbia and fostered good relations between Serbia and Austria. He died in 1855 in Belgrade.","type":"Print","holder":"Austrian National Library","dates":"1849","location":"Vienna","copy_editor":"Daniel de la Vega"},"48a64aba-b279-5473-911b-51ced2c8a938":{"name":"Portrait Album – Ottoman State Officers","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"49a80737-c924-5479-8273-7392e3cd1db8":{"name":"Gjorgij Pulevski","description":"Gjorgji Pulevski was a prominent figure of the Macedonian Enlightenment. He was born in Galichnik in 1822 and died in Sofia in 1893. In 1873, during his stay in Belgrade, he published the ”Dictionary of Four Languages,” which included Macedonian, Albanian, Greek and Turkish words. His “Dictionary of Three Languages” was issued in 1875. Gjorgji Pulevski was the founder of the Macedonian Literary Society, established in Sofia in 1888. It was one of the independent associations of Macedonian emigrants that made contributions to the awakening of the Macedonian national spirit.","type":"Photograph","holder":"Museum of Macedonia","dates":"1880s","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"49ea5362-039b-5261-908a-c40c047fa0bb":{"name":"Turkman Prisoner","short_description":"The Turkoman prisoner is a common subject in Iranian art. The motif was copied and subtly interpreted in both drawings and paintings, which were probably intended for placement in albums. The prisoner depicted here, as in all such representations, is fettered by a *palahang*, a device made from a forked branch, to which one wrist is attached by an additional band of wood or metal. A crossbar at the back of the prisoner’s neck completes the restraint. As is typical, the prisoners’ physiognomy and clothes denote his Turkman ethnicity. He wears a sleeveless outer robe over a long-sleeved tunic, with an elaborately knotted sash; his head is covered by a peaked cap. Characteristically, he carries a sheathed sword, a dagger, a quiver with arrows, a bow and case, a flail, and a whip. Not surprising, given his extensive armaments, he does not seem humbled by his captivity; rather, apart from the introduction of the shackling yoke, such prisoner figures are often nearly indistinguishable from contemporaneous paintings of similarly clothed and armed Uzbek princes or warriors. Based on the Persian poetry by Amir Shahi of Sabzavar (d. 857/1453), which surrounds the painting, it is possible to suggest a less literal meaning for this prisoner imagery. The verses give voice to the torments of unrequited love, a common theme in classical Persian poetry. Claiming to haunt the street of the beloved by night, the lover moans, \"Happy is that prisoner who has someone to come to his rescue,\" which is inscribed, almost like a caption beneath the bent leg of the captive.","type":"Manuscript","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira second half of 10th century / AD second half of 16th century","location":"Los Angeles","dimensions":"21.5 x 14cm","method_for_datation":"The motif of the Turkman prisoner first appears in Persian painting around the middle of the sixteenth century. The LACMA painting is very similar to one in a Persian-made album in the Topkapi Palace Library, Istanbul, H. 2156, which has margins dated between Hegira 980 / AD 1572 and Hegira 982 /AD 1575. This strong similarity suggests that a tracing was made from the Topkapi version, perhaps datable to the 1560s to early 1570s, which was reversed and used as pounce to produce the LACMA painting.","method_for_provenance":"The motif of the Turkman prisoner is known primarily in Safavid painting; a few instances occur in Mughal India.","provenance":"Iran","obtention":"Collection of Roland Yazhari, Portland, Oregon, until 2000 (sold to); LACMA, gift of the Ancient Art Council, Iran Trip 2000.","bibliography":"Komaroff, Linda, \"A Turkman Prisoner or Prisoner of Love?\" in Alireza Korangy and Daniel J. Sheffield (eds), *No Tapping around Philology: a Festschrift in Honor of Wheeler McIntosh Thackston Jr.'s 70th Birthday*, Wiesbaden: Otto Harrassowitz, 2014: 379.  \nKomaroff, Linda, *Collecting Islamic Art at the Los Angeles County Museum of Art: A Curatorial Perspective*, Los Angeles: Art Catalogues; LACMA, 2017: 18-20.  \nRizvi, Kishwar, \"Between the Human and the Divine: The Majālis al-ushshāq and the Materiality of Love in Early Safavid Art,\" in Walter Melion, Michael Zell, and Joanna Woodall (eds), *Ut Pictura Amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500-1700,* Leiden: Koninklijke Brill NV, 2017: 233.","author":"LACMA Staff","keywords":["gold","ink","inscription","Iran","Manuscirpt","painting","Portrait","Safavid","watercolour"],"materials":["and gold on paper","Ink","opaque watercolor"]},"4cb14496-4bb6-5ace-9b66-d5e561825dc3":{"name":"Antonio del Valle y Serrano, Marquis of Villa-Huerta","alternate_name":"Antonio del Valle y Serrano, marqués de Villa-Huerta","description":"The Marquis of Cerralbo and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This vignetted bust shot albumen portrait shows the elegance and the character of Antonio del Valle y Serrano, marquis of Villa-Huerta and stepson of the marquis of Cerralbo.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"4dcb750e-6c2b-5848-924b-43fb6905059d":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega"},"4ed1534b-d859-5994-b88b-5db059e74f6c":{"name":"*Ferdinand III as King of Hungary*","description":"The history of the painting is connected to the Diet of Sopron in 1625. In November 1625, the 18 year-old Habsburg heir was crowned King of Hungary in Sopron as Ferdinand III. Participating envoys reported that for the occasion the interior decoration of the Franciscan Church of Sopron consisted of the heraldic red, white and green of Hungary. The prospective ruler was also dressed for the ceremony in this vein: in the attire of a Hungarian nobleman, as seen in this portrait. The young king's first official portrait, the painting is an important document of the coronation, its authenticity seen in the faithful depiction of the Hungarian Holy Crown, rarely seen at the time. Such a detailed depiction, correct even in the colours used, would have been possible only by observation. As an object deprived of “publicity”, the crown was on display during coronation ceremonies only. This means that the artist must have attended the crowning ceremony. The portrait is attributed to the Flemish painter Justus Sustermans – court painter of the Medici in Florence – by analogy of his contemporaneous works, and by the fact that he had visited the Habsburg court on an earlier occasion and worked on commissions for the imperial family. There is probably more than one version of *Ferdinand III as King of Hungary*, this one becoming part of the collection of a notable Spanish art collector, connoisseur and collector of portraits, Marquis Leganés, Don Diego Da Messia. Leganés was busy at the time arranging the marriage of Ferdinand III and the Infanta, Maria Anna, sister of Philip III King of Spain, which was schedule for the spring of 1626.","short_description":"The history of the painting is connected to the Diet of Sopron in 1625. Participating envoys reported that for the occasion the interior decoration of the Franciscan Church of Sopron consisted of the heraldic red, white and green of Hungary. In this commemorative painting, the first official portrait of the 18 year-old Ferdinand III as King of Hungary, he is dressed in these colours. An important detail of the painting is the accurate depiction of the Hungarian Holy Crown, seen in every detail and accurately depicted enriched by the same colours.","type":"Painting (portrait)","holder":"Hungarian National Gallery","initial_owner":"Leganés Collection, Madrid","dates":"1626","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 201 cm; w: 126 cm","place_of_production":"Vienna / Madrid","method_for_datation":"By historical data and stylistic analysis","provenance":"Leganés Collection, Madrid (probably commissioned by Don Diego Da Messia, Marquis Leganés, Spanish art collector and connoisseur)","obtention":"Leganés Collection Madrid; purchased from a European private collection","bibliography":"Buzási, E., “III. Ferdinánd mint magyar király (Justus Sustermans ismeretlen műve az egykori Leganés gyűjteményből)” (“Ferdinand III as King of Hungary: a still unknown painting by Justus Sustermans from the late Leganés collection”), *Annales de la Galerie Nationale Hongroise*, Budapest, 1991, pp. 149–158.","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["collection","collector","costume","Hungarian Holy Crown","Leganés collection","Princely portrait"],"materials":["Oil on canvas"]},"4efddfdd-e8a3-5895-9f9c-d7247e51a06f":{"name":"Portrait of an unknown scholar","short_description":"This portrait depicts a calligrapher or scholar, wearing a white turban and with a red beard dyed with henna. Crouched in the corner of a simple room, lost in thought, he holds the mouthpiece of his water pipe. To his left, on top of a chest, a few personal objects include a pair of spectacles, a silver pocket watch, pencil cases, a book and a small glass vase with a bunch-flowered narcissus (*Narcissus tazetta*).  \n  \nWe know almost nothing about the painter, Mirza Aqa, mentioned in the poem accompanying this portrait. The qualities of this work are due in particular to the pictorial technique used by the painter. The faithful, almost rough rendering of the face gives the figure a strong, penetrating presence. The play of perspective, light and shadow, and the realism shown by the painter can be found in other contemporary Qajar painters.","type":"Portrait","holder":"Museum Rietberg","dates":"Hegira 1280 / AD 1863/64","location":"Zurich","dimensions":"Height: 24cm, Width: 15.5cm","method_for_datation":"By comparison with similar dated works.","method_for_provenance":"By comparison with stylistically similar works.","provenance":"Iran","obtention":"Acquisition","bibliography":"Langer, Axel, “Portrait d’un érudit, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 244-245.","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Opaque watercolour and ink on paper"]},"5034d37c-081e-5b69-8d00-457af42ac16a":{"name":"El Sayyid Muhammad Idris al-Mahdi al Senussi (1889–1983), from 1916 Chief of the Senussi Muslim order","alternate_name":"*SA l’Emiro Senusso Saied Idris*","description":"El Sayyid (or Sidi) Muhammad Idris al-Mahdi al Senussi (1889-1983), the grandson of the founder of the Senussi Sufi order, became head of the Senussi order in 1916. He took the title of Emir and ruled as King of Libya from 1951 through 1969. In 1920 Italy reached an agreement with him and invited him to Rome, where he met King Victor Emmanuel III. Idris’ relations with the Italian government later deteriorated, and he went into exile in Egypt and encouraged anti-Italian guerrilla from there.","type":"Photograph","holder":"Italian Institute for African and Oriental Studies","dates":"1920","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"50b3f8f9-ce03-5830-9814-d4eedeb46a2e":{"name":"*Ivan III Adam Ratkay*","description":"The Ratkays were a noble family originating from Hungary whose family name is spelled in several different ways: Rathkay, Rattkay, Ratkay. In 1502, the Ratkays gained possession of the castle and estate of Veliki Tabor in north-west Croatia. From thereon they called themselves “Ratkay de Nagy Tabor”. Marriage connects the Ratkays to the Croatian nobility.  \nIvan III (Veliki Tabor, Croatia, 1640–Mexico, 1683) was a page at the court of Emperor Leopold I. He studied philosophy and theology in Graz before becoming a Jesuit, and was ordained in 1676. In 1678, he departed via Genoa, Seville and Cadiz for Mexico, landing in Vera Cruz two years later. From 1681, he lived among the Tarahumara Indians as a missionary, dying there from the effects of a native poison in 1683. He wrote journals of his travels in Latin, documenting his journey to Mexico and New Mexico, which he enriched with a map of Tarahumara with missionary settlements and Spanish fortresses (thereby making him one of the first Croatian cartographers). The family died out at the end of the 18th century.  \nThe painting consists of a portrait, four scenes from his life as a Jesuit, and a family coat of arms, all in separate painted frames. This painting is unique in the Museum collection in that it depicts the short life of the missionary in a series of smaller scenes arranged around the central oval with the portrait of Ivan III. It was painted by an unknown artist in the first decades of the 18th century.","short_description":"From a noble family, Ivan III had been a page at the court of Emperor Leopold I. He studied philosophy and read law before becoming a Jesuit. In 1678, he departed for America landing in Vera Cruz two years later. Working as a missionary among the American Indians, he died there from the effects of a native poison in 1683. He wrote journals of his travels in Latin and drew a map of the territory where he worked, making him one of the first Croatian cartographers.","type":"Painting (portrait)","holder":"Croatian History Museum","dates":"First quarter of the 18th century","location":"Zagreb, North-West Croatia","dimensions":"H: 141 cm; w: 117 cm","method_for_datation":"The date and origin of the painting were established by the inscription and from study of the information about the person depicted.","obtention":"Unknown; in the Museum collection since before 1920.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća* (Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 164–165.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 417.  \n*Ratkaji Velikotaborski* (The Ratkays of Veliki Tabor), Grad Veliki Tabor, 1993, pp. 31, 51.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["education","Jesuit","Mexico","native","Portrait","Ratkay family","religious mission","travel journal","travelling"],"materials":["Oil on canvas"]},"5213376b-6aff-55de-afcc-32cf7bfb66d1":{"name":"Portrait of Paul Draneht","alternate_name":"Paul Draneht (1815–1894), the Superintendent of the Cairo Opera who commissioned Aida from Giuseppe Verdi; Ritratto di Paul Draneht","description":"Paul Draneht (1815-1894) was born in Nicosia (Cyprus) as Pavlos Pavlidis. He was the child of a Greek Christian Orthodox family who fled Cyprus due to the clashes between Greeks and Turks, and took refuge in Egypt. Muhammad (Mehmet) Ali Pasha (the Khedive of Egypt) sent him to study in France. Trusted by the Khedive (who awarded him the titles of Bey and Pasha), Paul Draneht participated in the negotiations regarding the opening of the Suez Canal.  \nHe became superintendent of the Egyptian Opera Theatre and commissioned the opera Aida to the Italian composer Giuseppe Verdi. The Aida opened in Cairo on 24 December 1871.","type":"Painting","holder":"Alexis Zervudachi Collection","dates":"1880s–90s","author":"Massimiliano Cremona","copy_editor":"Anne Dowell"},"532b4aae-3420-5fef-ba89-4653325f00d7":{"name":"*A young and an old Turk*","description":"Carol Popp de Szathmari was born in Transylvania, but later settled in Bucharest, Wallachia, where he worked as court painter of princes Alexandru Dimitrie Ghica, Gheorghe Bibescu and Alexandru Ioan Cuza. During the reign of prince Carol of Hohenzollern, he was also court photographer. He is the author of five photographic albums with images of people and places from Bucharest and other regions in Romania, among which there are depictions of people belonging to the ethnic minorities of Romania, such as the Turks. He travelled twice to Istanbul, in 1860 and 1864, as member of prince Alexandru Ioan Cuza’s suite. During the Crimean War (1854-1855) he photographed the Russian and Turkish armies that occupied Wallachia and then went to Crimea, where he took more than 200 photos of the fights.","type":"Photograph","holder":"National Museum of Romanian History","dates":"Second half of the 19th century","location":"Bucharest","provenance":"Romania"},"54f5684d-16ac-5378-a06c-a89a79ec2891":{"name":"*Portrait of Marcello Sacchetti*","description":"Pietro Berrettini, also known as Cortona, was one of the key figures in Roman Baroque art, both as a painter and an architect.  \nThe subject of this portrait, Marcello Sacchetti, was made depositary general and secret treasurer of the Apostolic Chamber in 1623 thanks to his relationship with Maffeo Barberini, who had just become Pope Urban VIII. The artist painted this portrait after 1623 but before 1629, the year that Sacchetti died. A date around 1626 is generally accepted.  \nThe relationship between painter and patron was important, not just because Berrettini was given some major commissions by the Sacchetti family between 1627 and 1629, but for its exemplary nature.  \nWell integrated in Roman social and cultural circles, the nobleman Sacchetti introduced Berrettini to the most important collectors, allowing him to obtain new and interesting commissions and to consolidate his relationship with the powerful Barberinis.  \nSacchetti, a banker and businessman, is painted by the artist in a pose that successfully transmits the refinement of the gentleman, dressed in dark colours with collar and cuffs in fine white lace, with a pleasing spontaneity. Leaning casually against a fine console of richly decorated gilded wood, with the family coat of arms at the centre, through his deep gaze, he emits with proud nobility a psychological strength filled with feeling.  \nThe style is enhanced by an atmosphere rendered through the use of light and dark built up with intense brushstrokes, effortlessly achieving a perfection of form, reinforced by the chosen pose, a dazzling silk handkerchief in his hand.  \nThe painting may be one of a cycle of seven “Standing portraits of the Sacchetti” mentioned in a 1639 inventory. In 1644, the canvas is mentioned in an inventory by Antonio Barberini. It is not known how it became part of the Borghese collection, where it was documented in 1833 and where it was enlarged to serve as a pendant to the *Portrait of Monsignor Clemente Merlini* by Andrea Sacchi. The painting was restored and returned to its original dimensions in 1931.","short_description":"Pietro da Cortona was commissioned by Sacchetti, one of the most important collectors in Rome, on numerous occasions for his family homes. The nobleman is shown in a spontaneous pose beside a valuable table, showing his refined taste.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c.1626","location":"Rome, Latium","dimensions":"h: 133 cm; w: 98 cm","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, II, Rome, 1959, n.162, pp. 110–111.  \nGuarino, S., in *Pietro da Cortona 1597–1669*, exhibition catalogue (Rome), Milan, 1997, cat. 25, pp. 320–321.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["collection","collector","patronage","Portrait"],"materials":["Oil on canvas"]},"55817e68-2681-5c06-a3a1-71fdbd06edc2":{"name":"Photograph of a diplomatic visit to England","description":"This photograph depicts the diplomatic delegation that accompanied Sultan of Morocco Mulay al-Hasan I’s Ambassador Hajj Muhammad al-Zebdi on an official visit to Britain at the invitation of Queen Victoria.","type":"Photograph","holder":"General Library and Archives","dates":"Early 20th century","location":"Tetouan"},"562cd119-0bf1-544d-a90a-b4094899b356":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"c. 1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"5686a4e1-e33b-5ad7-8f7a-20b3b101f2ca":{"name":"Petar (Pezia) Petrovich (2nd half of the 19th century – 1900)","description":"Portrait of Petar (Pezia) Petrovic. He was Chief of the Albanian Mirdita tribes fighting against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"568aa288-3d05-5bf2-9461-11f5d3c78666":{"name":"*Portrait of Charles of Bourbon*","description":"The Portrait of Charles of Bourbon (Charles III of Spain), one of a pair together with a portrait depicting Queen Maria Amalia of Saxony, now lost, is one of the first creations of the Royal Tapestry Factory in Naples.  \nFounded by the young King in 1737, soon after his arrival in Naples, the tapestry factory, together with a factory for the carving of semiprecious stones, was one of the first established by order of Charles of Bourbon. This decision must have been influenced by the young Charles’ interest in the Medici factories that were still operating in Florence. This interest developed when the future King stayed in the city in 1732, as the future successor to Gian Gastone de’ Medici.  \nIn fact, a small group of Florentine weavers and carvers of precious stones was responsible for giving life to the first two royal Bourbon factories in Naples, located near the church of San Carlo alle Mortelle. The factory, which was also composed of a local workforce, with the aim of promoting the development of new artistic techniques in the Kingdom of Naples, was under the direction of the Florentine Domenico del Rosso. And it was to the Florentine weaver that Charles entrusted his portrait and that of his consort; as with other items produced during the initial phase of the factories, these works were intended to celebrate the King and their patron. Production of the tapestry was completed in 1741, as indicated by the presence of the signature and date on the bottom right-hand edge of the tapestry: “DOM.CO D. L. ROSSO 1741”. The artist who provided the preparatory study for the tapestry is unknown; however, there is speculation that it may have been Giovan Battista delle Piane, who was a court portrait painter during these years; or Francesco Solimena, based on the tapestry’s extraordinary expressiveness and the intensity of the light and the colours in its original state.","type":"Bourbon manufacturing","holder":"Museum of Capodimonte","owner":"Museum of Capodimonte","dates":"1739–1741","location":"Naples","dimensions":"H: 237cm, W: 174cm","method_for_datation":"Signed and dated: “DOM.CO D. L. ROSSO 1741”","method_for_provenance":"Inventories","provenance":"Naples","obtention":"Bequest of Alfonso d’Avalos to the National Museum of Naples (the Italian State) in 1862","bibliography":"Giusti, Paola, *1737‒1759: Le Manifatture Reali al tempo di Carlo di Borbone*, in *Carlo di Borbone. Un sovrano illuminato per Napoli*, Naples: arte’m, 2016: 39.  \nMartino, Linda, *Museo di Capodimonte*, Milan: Touring Club Italiano, 2002: 221 (illustrated).  \nSiniscalco, Margherita, *Civiltà del '700 a Napoli. 1734‒1799*, vol. 2, Florence: Centro Di, Firenze, 1980: 97 (illustrated).  \nSpinosa, Nicola, *L’Arazzeria napoletana*, Naples: Libreria Scientifica Editrice, 1971.","workshop":"Royal Tapestry Factory in Naples (1737–1806)","author":"Maria Rosaria Sansone","translator":"Judith Forshaw","translation_copy_editor":"Mandi Gomez","keywords":["Charles III of Spain","Charles of Bourbon","Domenico Rosso","Don Carlos","Florentine weavers","Francesco Solimena","Giovan Battista delle Piane","Neapolitan Church of San Carlo delle Mortelle","Portrait","Royal Tapestry Factory in Naples","Tapestry"],"materials":["Wool and silk"]},"56f05326-4b1d-5eff-9a58-a822374155ee":{"name":"Portrait Of Binjamin Uziyel","description":"In 1911, when the Ottomans had to leave Tripoli, Binjamin Uziyel, who served in the consulate there, did research on a project of setting up sugar factories in Turkey after going to Genoa. He presented it to the Istanbul Chamber of Commerce by preparing a detailed report about setting up sugar factories in Turkey and ways to use the sugar beet.","type":"Photograph","holder":"The Quincentennial Foundation Museum, Archive of Turkish Jews","dates":"19th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"582a237b-27f7-5d01-9b51-c2c6abbdd759":{"name":"Metal plate from India","short_description":"The object is a metal plate from India portraying Jahangir Shah, the fourth Mughal emperor of India, and his wife, Nur Jahan. Against a black metal background, Jahangir wears traditional Mughal courtier clothes decorated with gold bands and is armed with a long sword at his waist. He holds his last and most favourite wife, whom he married in 1611.  He gazes at her, and the expression of his face in profile, along with his hand on her arm, clearly represents his admiration for the Empress. The empress is armed with a dagger on her hip, decorated with a golden head of a lion. She holds a fan in her right hand, engraved with her title in gold. In her left hand, she holds a pipe, connected to the hookah on the other side of Jahangir. At the top, the metal plate is engraved with the Persian words, \"Lady Nur Jahan and the Emperor Jahangir.\" It is remarkable that Nur Jahan is mentioned prior to the Emperor.","type":"Metalwork","holder":"MKG Museum for Applied Arts","dates":"Hegira 977-1036 / AD 1569-1627","location":"Hamburg","dimensions":"Height: 122cm, Width: 80cm","method_for_datation":"Dated through the inscription.","method_for_provenance":"Unknown.","provenance":"India","obtention":"Catalogued in 2019.","copy_editor":"Caitlin Link","keywords":["Jahangir","Mughal","Nur Jahan"],"materials":["Bronze"]},"5838d2ce-d94c-553a-ba3e-9f697d70d8a3":{"name":"Photograph of Tell el-Hesi diggers","description":"Some members of F.J. Bliss’ workforce at Tell el-Hesi. What is most noteworthy here is that in the period up to 1938 men, women, and children all worked together on excavations.","type":"Photograph","holder":"The Palestine Exploration Fund (PEF)","dates":"1892–94","location":"London","provenance":"?"},"59c09c6e-e0cc-5963-83cc-fd6b4aea8244":{"name":"Bakırköy Railway Station","description":"During the 19th century, new technologies radically transformed both travel and communications. The first railway in Anatolia was constructed between Izmir and Aydin. Ottoman railways were mainly built during the period of Abdülhamid II. The first railway in the Republic of Turkey was part of the İzmir-Aydın line, founded by a British company in 1860. The İzmir-Kasaba line was built in 1865, the Rumeli line in 1869-77, the Anatolia-Baghdad line in 1872 and the Mudanya-Bursa line in 1892.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"59e91077-81f0-5cb2-9fc1-2e7eb98c95ab":{"name":"Turkish woman","alternate_name":"*Vues d'Égypte et Types Orientaux*","description":"The Zangaki brothers were a pair of photographers working in Egypt who sold \"Orientalist\" photos to Western tourists. This photograph for example, responds to Western stereotypes by depicting a Turkish woman lying nonchalantly by shisha pipe.","type":"Photograph","holder":"National Library of France","dates":"1890-1895","location":"Paris","translator":"Flaminia Baldwin"},"5be7c4c7-6d3d-5df5-96ec-e6d5e56acbcd":{"name":"*Portrait of Johann Lenner, City Judge of Pest*","description":"The carpenter, Johann Lenner, left Germany for Pest where his craftsmanship was required in the rebuilding of the city following the end of Ottoman rule. Lenner obtained nobility through his craftsmanship and became a city judge. After four years as city judge, he served in Pest as a councillor for the 10 years that followed. As a result of Lenner's work the city amassed a large sum of money with which it supported the foundation of a Piarist school in Pest in 1717. An inscription on the back of this painting reads *“Johann Lenner de Lennersberg primarius Juder Liberae Regiaque Civitatis Pesthiensis quo potissimum agente Scholae Piae Anno 1717”*.  \nThe half-length portrait represents Lenner standing. He is dressed in a dignified manner, wearing a wig and a cloak. This painting is one of the earliest examples in a series of official portraits of chief officials of the city of Pest.","short_description":"An early example of a representational portrait of a city official.","type":"Painting (portrait)","holder":"Budapest History Museum","initial_owner":"Unknown","dates":"1717","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 94 cm; w: 74.5 cm","place_of_production":"Pest","method_for_datation":"On the basis of the inscription on the back of the painting","provenance":"Unknown","obtention":"By purchase","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 24.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["carpenter","education","Oil painting","patronage","Piarist order","Portrait","school"],"materials":["Oil on canvas"]},"5d7ce667-91be-5456-a2b0-7cd880b231f3":{"name":"*Portrait of Ruđer Bošković*","description":"In this portrait world-famed Croatian scientist Ruđer Bošković (1711–1787) is 45 years of age as stated in the legend under the painting. Seen in his study, with his published works arranged on a shelf, he sits in an armchair, at his desk, dressed in the Jesuit uniform of black cassock and a cap. In his right hand, he holds compasses while his left hand rests on a planetarium; his face looks out to the observer. The colours have an overall brown tone and the portrait is faithful, though of only mediocre quality. Painted by an unknown Italian painter, Bošković was teaching mathematics in Rome at the time.  \nBeneath the portrait is an inscription in Latin:  \nP.ROGERIUVS BOSCOVICH S.I.IN COLLEGIO ROM.MAT. PROFES.  \nNATUS RAGUSIJ XV KAL. IVNIJ MDCCXI AETATIS ANNO XLV  \nBošković was a leading physicist, mathematician, astronomer, philosopher and writer. Born in Dubrovnik, he was educated at the Jesuit college there and then in Rome. In 1725, he entered the Society of Jesus and remained in it until its dissolution in 1773. He was a professor at many schools and universities throughout Italy and travelled throughout Europe. A member of many academies, he published numerous scientific works. He was an all-round intellectual that studied and taught archaeology, literature, philosophy and rhetoric, and, in addition, worked as a diplomat. At the end of his life, his mental health suffered, and he died completely exhausted from pneumonia in 1773.","short_description":"A portrait of the world-famed Croatian scientist, Ruđer Bošković (1711–1787), painted in the mid-18th century by an unknown artist. The portrait shows him sitting in his study surrounded by the many books he wrote and clad in the habit of the Jesuits. In his right hand, he holds compasses while his left hand rests on a planetarium. According to the legend at the bottom of the painting, the portrait dates to 1756 when Bošković was teaching mathematics in Rome aged 45.  \nThis leading physicist, mathematician, astronomer, philosopher and writer, born in Dubrovnik, educated at the Jesuit college there and then in Rome, entered the Society of Jesus in 1725 and remained in it until its dissolution in 1773.","type":"Painting (portrait)","holder":"Museum of Icons of the Serbian Orthodox Church Community","dates":"1756","location":"Dubrovnik, Dalmatia","dimensions":"H: 96 cm; w: 71.5 cm","place_of_production":"Rome or Lucca","method_for_datation":"According to a legend at the bottom of the painting, the painting portrays Bošković at the age of 45. Therefore, since he was born in 1711, the portrait dates to 1756.","obtention":"Donated by the Serbian Orthodox Church Community in Dubrovnik.","bibliography":"Dadić, Ž., *Ruđer Bošković*, Zagreb, 1987.  \nMartinović, I., “Najranija recepcija Boškovićeve filozofije prirode”, *Dubrovnik* 3, 1993, pp. 46–70.  \nGjukić-Bender, V., *Portraits of Famous people of Dubrovnik,* Dubrovnik, 1993.","author":"Vedrana Gjukić-Bender","translator":"Graham McMaster","translation_copy_editor":"Mandi Gomez","keywords":["astronomy","education","Enlightenment","Jesuit","Portrait","religious schools","science","scientific instrument","scientific object","scientist","teaching","university"],"materials":["Oil on canvas"]},"5e9e845e-5f4e-508c-91ed-f52d967dbf97":{"name":"*Family gathering in Alexandria*","description":"Black and white photo in a family album: A family gathering at the garden of Emmanuel Benaki’s mansion in Alexandria. His eldest daughter Alexandra Benaki was engaged to his partner Tom Davis in April 1889. In the center of the picture appear the bride and the groom, the sister of Alexandra Benaki, Penelope Benaki-Delta, as well as their mother, Virginia Benaki. Phototographer unknown.","type":"Photograph","holder":"Benaki Museum","dates":"1889","location":"Athens","author":"Maria Dimitriadou"},"5fafc343-ccfd-52d3-8bd4-f2f311ffa1cf":{"name":"*Bust of Clement XII*","description":"Pietro Bracci produced a large number of works, mainly portraits. He was one of the most important late Baroque sculptors of the 18th century in Rome, and was involved in the creation of the Trevi Fountain. He was trained in the Baroque tradition based on the work of Gian Lorenzo Bernini and classical equilibrium.  \nThere is no documentary evidence linking the bust to the sculptor, nor any explicit references in the work-log that Bracci was in the habit of keeping after 1725, but the attribution is generally accepted by scholars.  \nIt is dated around the time of the pontificate of Clement XII Corsini, which lasted from 1730 to 1740, although it is possible that the bust was made after his death.  \nThe ageing face of the pope is sculpted faithfully, reproducing the lines infused with deep expressiveness and intelligence, key characteristics of the artist's portraits. The pontificate's vestments are finely decorated and tied at the chest, while the fur-trimmed cloak and underlying *mozzetta*  \n(a short elbow length cape worn by Catholic clergy) are sculpted to achieve an elegant volume of folds that create a play of light and shadow.  \nThere are other busts of the pope, although full information is not available for all of them. Of particular interest is the one currently in Ravenna, which may have been intended for the pontificate's tomb in Laterano, and the bust of Clement XII, currently exhibited in the Galleria Nazionale di Arte Antica, which was acquired in 1927.  \nThe portrait of the pope in the Galleria Borghese was donated to the museum in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","short_description":"Pietro Bracci follows the Baroque tradition seen in Bernini's psychological portrait, *Cardinal Scipione Borghese*. Bracci was one of the sculptors involved in the creation of the Trevi Fountain.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1730–1740","location":"Rome, Latium","dimensions":"h: 76 cm","provenance":"Istituto dei Ciechi (Institute of the Blind) at the Baths of Diocletian","obtention":"Given to the Galleria Borghese in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.40 p. 43.  \nHonour, H., in *voce* “Bracci Pietro”, in *Dizionario Biografico degli Italiani*, Milan, 13, 1971, pp. 620–623.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p.76.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Bust","Classical model","marble","Portrait","talking portrait"],"materials":["Statuary marble"]},"60d2a3da-9b0d-5e19-af72-c7ddc1d18f65":{"name":"Portrait of an officer Dusan T. Urošević","description":"Portrait of Dušan T. Urošević, an officer, shows a Pirot kilim as a prop on the floor of the photographer’s studio in Niš. The border of the kilim is decorated with *Queen’s sleeve* (*kraljičin rukav*) ornament. As it was common in late 19th and early 20th century, the subject wasn’t portrayed in a real-life environment, but in carefully staged photographer’s studio setting. Besides the Pirot kilim and furniture, other props used in the studio were a curtain, a tablecloth, a vase with the flowers and a book.","type":"Photograph","holder":"Museum of Applied Art","dates":"1907","location":"Belgrade","dimensions":"H: 16.2cm, W: 10.5cm","method_for_datation":"By stylistic analysis and historical documents (name of the photographer printed on the cardstock mount)","provenance":"Niš","obtention":"Purchased in 1995","author":"Draginja Maskareli","keywords":["Kilim","photograph","Pirot","Şarköy"],"materials":["Photograph"]},"6215ebc8-8b3b-5484-8ac2-a702cc00efad":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","description":"Portrait of Carol I, King of Romania (1839–1914) on horseback/ Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega"},"629911e6-06d2-536a-9acd-824991f44ffa":{"name":"Ferdinand, King of Romania (1865–1927) / Ferdinand von Hohenzollern-Sigmaringen","description":"Portrait of Ferdinand I, King of Romania. After the death of King Carol I, Ferdinand (as the nephew of the deceased king) ascended to the throne. In 1916 he joined the *entente* and declared war against Austria and Germany. After World War I, Romania gained Transylvania, Bukowina and the Banat from Austria, and Bessarabia from Russia. Ferdinand died in Romania in 1927.","type":"Photograph","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"647bb6c0-14ae-506b-85c5-060226c34178":{"name":"Poet Nigar Hanım","description":"Nigar Hanım, who was born in Istanbul in 1856, studied in a French school. She also took private Turkish, Arabic and Persian classes. She started to write poems when she was a child. She had a very good command of the French language and French literature. Every Tuesday, she gathered reputable personalities at her place, where they discussed art and literature, listened to music and read poems. She collected her poems in *Efsûs I* (1877), *Efsûs II* (1891), *Nîram* (1896), *Aks-i Seda* (1900) and *Elhan-i Vatan* (1916). She also wrote a work of prose in 1901 entitled *Safahat-i Kalb*. A fine lyricism that expresses her unhappiness in her private life can be observed in her work. Among the Turkish poets, she was the most productive, writing very original pieces in the second half of the 19th century.","type":"Photography","holder":"Aşiyan Museum","dates":"Second half of the 19th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"65011066-4ed5-5528-a635-0088b486989b":{"name":"Portrait of Cardinal Sembratowicz","description":"Sylwester Sembratowicz (1836–98) had been metropolitan Archbishop of Lviv (in Polish Lwów or Lvov), of the Greek-Catholic denomination, since 1885. In 1895, he became Cardinal. He was also a professor and Dean of the Theological Faculty at the Jan Kazimierz University in Lviv.  \nCardinal Sembratowicz is depicted sitting on a highly decorated armchair in the sacral interior, behind him is a lectern covered with embroidered drapery. Beneath his feet, we see a precious carpet, probably a Persian carpet of the Tabriz type. On the carpet’s softly painted surface it is possible to recognise an ornament of elaborately woven palmettes, with many colourful details that are joined with wavy tendrils, on a red ground. The border is dark-blue, filled with a row of palmettes. Persian carpets were very popular among wealthy inhabitants of Lviv in the 19th and 20th centuries. A very similar carpet, dating to the 19th century, is preserved in the collections of the National Museum in Kraków (inv. no. MNK XIX-12064). In spite of this carpet’s generous dimensions, the Janelli family took it with them into exile when forced to leave Lviv by the Soviet authorities in 1946.","type":"Painting","holder":"National Museum in Kraków","dates":"1896","location":"Kraków","dimensions":"H: 21cm, W: 300cm","provenance":"Ukraine, Lviv","obtention":"Donated before 1939","bibliography":"Kozakowska, Stefania, and Małkiewicz, Barbara, *Polish painting from around 1890 to 1945. Catalogues of the Collections of the National Museum in Kraków*, Kraków: National Museum in Kraków, 1998: 21‒2, cat. 14.  \nZięba, Andrzej A., “Sylwester Sembratowicz”, *Polski Słownik Biograficzny* (Polish Biographical Dictionary), vol. XXXVI/2, fasc. 145, Warsaw and Kraków: Polish Academy of Sciences, 1995: 212‒16.","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Aleksander Augustynowicz","carpets in art","Lviv (Lwów or Lvov)","Sylwester Sembratowicz","Tabriz"],"materials":["Oil on canvas"]},"65f0147e-2ea5-57c6-89c2-25c7b8e3c09c":{"name":"*Count Paar as Neptune*","description":"Count Josef Ignaz Paar, High Steward of Emperor Joseph I and curator of the Vienna-Academy, and his wife, Marie Anna of Valdštejn, the empress's lady-in-waiting, initiated the transformation of the Renaissance chateau in Budišov into a spectacular mansion in 1715. Only a few of the rooms with their Baroque interiors have survived: the *sala terrena* with chinoiseries and the Ancient (Golden) Room on the second floor, decorated with grotesque paintings and featuring scenes from the lives of ancient gods that also personify the elements. Crypto-portraits in the room beside it crown the elaborate decoration of the chateau, a typical example of the residences of court nobility at the time. The ground floor features hunting scenes with the god, Zeus, conveying the fate of the interconnection between earthly pleasures and tribulations. The paintings on the first floor depict the course of the world through the changing seasons, while on the second floor there are pictures from the lives of the high gods. The second large painting shows the countess Paar as *Amfitríté*. The Triptychon illustrate the Devise “*Omnia vincit amor*” – that love wins over all – and originally they decorated the wedding room, now known as “the room of elements”.  \nOnly a fragment of Prenner's, the court painter of Maria Theresa, work has survived. Walter Xaver of Dietrichstein commissioned him with the restoration of the Mikulov chateau; Prenner was also his artistic advisor. The artist worked for Jan Adam Questenberk (Rapoltenkirchen, Jaroměřice nad Rokytnou). As director of the Vienna court art collections, he captured their treasures in a series of engravings, *Theatrum artis poctoriae* and *Prodromus*.","short_description":"Crypto-portraits of the counts in the room crown the elaborate decoration of the chateau, an example typical of the residences of court nobility at the time. Count Paar was a High Steward of Emperor Joseph I and curator of the Vienna-Academy. Only a fragment of Prenner’s work, the count painter, has survived.","type":"Painting","holder":"Budišov State Chateau","owner":"Budišov State Chateau","initial_owner":"Count Josef Ignaz Paar","dates":"1740–1750","location":"Budišov State Chateau, Moravia","dimensions":"H: 180 cm; w: 210 cm","place_of_production":"Vienna","method_for_datation":"The authorship, mentioned in older literature, was confirmed by a find of the *Prenner 1721* signature on newly revealed paintings in the Budišov Church.","provenance":"Budišov Chateau","obtention":"The painting is what remains of the original Baroque interior in “the Room of Elements” (probably a wedding room) at Budišov Chateau, a relatively low-key town off the beaten track in the Czech-Moravian Highlands.","bibliography":"August Prokop, *Die Markgrafschaft Mähren in kunstgeschichtlichen Beziehungen*, Wien, 1904, p. 1300.  \nMarie Mžyková, Na okraj kryptoportrétů Paarů na zámku v Budišově, *Cour d´honneur* 3, 1998, pp. 49–51.  \nPetr Czajkowski, Malířská výzdoba v kostele a zámku v Budišově u Třebíče (na okraj činnosti malířů J. Drentwetta a J. A. Prennera v první třetině 18. století na Moravě), *Zprávy památkového ústavu v Brně*, 3, 1999, pp. 85–97.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["crypto-portrait","mythology","Virgil"],"materials":["Oil on canvas"]},"65fd829c-bfae-5827-bf9b-ed418624bfa6":{"name":"Ferdinand I, King of Romania (1865–1927) / Ferdinand von Hohenzollen-Sigmaringen","description":"Street Scene with King Ferdinand of Romania in Vienna. After the death of King Carol I, Ferdinand (as the nephew of the deceased king) ascended to the throne. In 1916 he joined the *entente* and declared war against Austria and Germany. After World War I, Romania gained Transylvania, Bukowina and the Banat from Austria, and Bessarabia from Russia. Ferdinand died in Romania in 1927.","type":"Photograph","holder":"Austrian National Library","dates":"1914","location":"Vienna","copy_editor":"Daniel de la Vega"},"67e4f746-f9b3-5718-ba2d-1a3899a55af1":{"name":"Water Glass","description":"The tall glass is cylindrical in shape and rests on a low circular stem and base. It is decorated with an oval medallion on the front featuring a photographic portrait of King Alexander and Queen Draga Obrenović against a white background. The oval medallion is highlighted with a partially gilded ornament of stylized leaves and vine strips. Two thin gilded lines encircle the rim.  \nThis type of glass featuring a royal portrait had been appearing in Serbia since the mid-19th century. Portraits of the Obrenović dynasty were often applied to glass tableware. It is presumed that they were most likely produced as memorabilia. The glass with King Alexander and Queen Draga's portrait can certainly be interpreted in terms of promoting the last royal couple of the House of Obrenović.","type":"Glass","holder":"Museum of Applied Art","dates":"End of the 19th century","location":"Belgrade","dimensions":"Height: 18cm, Diameter (upper rim): 6.4cm, Diameter (base): 6.8cm","method_for_datation":"By stylistic analysis and comparative method using other objects made in the same period in the same place.","method_for_provenance":"By stylistic analysis","provenance":"Austro-Hungarian Empire, Vienna","obtention":"Purchased in 1954","bibliography":"Djurić, J., *Staklo, u Srbiji XIX veka* (Glass in 19th Century Serbia), exhibition catalogue, Belgrade: Muzej primenjene umetnosti (Museum of Applied Art), 1985: 83.","workshop":"Unknown Vienna manufacture","author":"Biljana Crvenković","copy_editor":"Valerie Pulsifer","keywords":["Blown glass","Commerce","gilded","Obrenović","photograph","Portrait","Tableware"],"materials":["blown glass with applied photo decoration","colourless"]},"6857e440-8f5f-5412-a588-b0da5f2afb45":{"name":"*Bust of the Cardinal Scipione Borghese*","description":"In 1605 when Paul V became Pope, he immediately made his nephew Scipione a cardinal, despite his young age, quickly promoting him to a position comparable to secretary of state. This enormous power allowed the cardinal-nephew to create a splendid home and a marvellous art collection over a decade, in an unorthodox manner.  \nThe bust portrait of Scipione by Gian Lorenzo Bernini was sculpted for his first major patron in 1632, after a creative hiatus of nearly seven years as a sculptor, during which he developed a new concept in portraits, more representative of the vibrant Baroque style.  \nThe spontaneous and intense pose, the arrangement of the bust with the head turned in a slight movement, the attentive gaze and the mouth open in an expression of vague wonderment combine to create a highly expressive, almost colloquial relation with the viewer.  \nThe cloth folds in the *mozzetta* (a short elbow length cape worn by Catholic clergy) and the detail of the small unfastened button showing us the live body beneath the clothes are an integral and involving part of the piece.  \nThe marked confidence displayed by this excellent example of a Baroque style of which Bernini was a master gives an intimate and human dimension to the sitter, despite his official status.  \nWith the bust almost finished, a hairline fracture opened up in the marble around the forehead, due to the stresses of the sculpting tools. The sculptor was forced to produce a second version of the bust at very short notice. This shows how little attention Bernini paid to his choice of marble, something that was of fundamental importance for other sculptors, such as Michelangelo. Despite the crack, the Cardinal requested that both works be delivered to him, keeping both in the Galleria Borghese.","short_description":"Cardinal Borghese, the pope’s nephew, was a passionate collector and looked after the cultural policy of the papal court. He had a sensitive instinct for artistic quality and gave a boost to the birth of the Baroque. Bernini renders the Cardinal life-like; the transience of human feeling and the expression of inner emotions are part of the Baroque aesthetic.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Scipione Borghese","dates":"1632","location":"Rome, Latium","dimensions":"H: 82 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.36, pp. 37–39.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano, 1990, cat. 31, p. 88).  \nColiva, A., “Due Busti di Scipione Borghese”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, catalogo della mostra, Rome, 1998, pp. 276–289.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Due Busti di Scipione Borghese”, in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 216–233.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bust","collection","collector","marble","patronage","Portrait","talking portrait"],"materials":["Marble"]},"68850fe9-86ff-5692-8ae9-7d758c18ca87":{"name":"*Letta Asım Baloya Giderken* (*Letta Asım was about to go to a ball*)","description":"As a result of modernization efforts and the increase in relations with the West in the 19th century, there were significant changes in Ottoman social life. Instead of the traditional 18th-century entertainment which consisted of miniatures, in Tanzimat Period of the 19th century, theatre, opera, musical performances and ballrooms became popular in Istanbul. In public places, western-style dance and musical instruments began to be seen.","type":"Painting","holder":"Mimar Sinan Fine Arts Unıversity Painting and Sculpture Museum","dates":"1912","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"699fbe74-5142-545f-991c-73824a07527f":{"name":"Author Tevfik Fikret and his book of poetry *Rübab-ı Şikeste*","description":"Tevfik Fikret, who published his first book of poetry *Rubab-ı Şikeste* (broken instrument), dealt with love, piety, nature and a worldview that was self-enclosed to the environment. His poems influenced other Turkish poets and he is considered a pioneer of contemporary Turkish poetry. His work also has some seeds of the social opposition of the future.","type":"Photograph; book","holder":"Aşiyan Museum","dates":"1900","location":"Istanbul","copy_editor":"Daniel de la Vega"},"69f1c95c-2875-58ff-b85b-10d1c2d2ab83":{"name":"Marius Scalesi","description":"Pictured here is Marius (Mario) Scalesi, a young poet of Italian origin, born on 6 February 1892 in Tunis to an Italian father and a Maltese mother. He suffered from tuberculosis from birth, and became paralysed following a fall down the stairs in his home in La Goulette, the so-called \"Little Sicily\" of Tunis. Forced to abandon his studies in order to make a living, he completed his education independently. His articles of literary criticism and poems were published in the journal *La Tunisie Illustrée*. His collection of poems, *Les Poèmes d'un Maudit* sheds light on the hardships of his life. He died in 1922 in an asylum in Palermo. A fascinating figure due to his triple cultural identity - Italian, French and Tunisian - he is considered one of the pioneers of North African poetry in French.","type":"Photograph","holder":"Institut Culturel Italien (Italian Emabassy in Tunisia)","dates":"19th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"6a3c68eb-7bea-5e92-8112-9d9d0c950351":{"name":"The Bach Hamba brothers","description":"'Ali (pictured here) and Mohamed were two of the leaders of the protest movement \"Harakat al-Shabab al-Tunisi\" (the Young Tunisians). Born in Tunis in 1876 and 1881 respectively, these two men of Turkish origin helped found a French-language newspaper, *Le Tunisien*, through which they attacked the politics of the French colonialists and demanded reform. With the help of their comrades, the brothers organised many acts of resistance, such as the Jellaz Affair (1911) and the tramway boycott (1912). The arrest of the majority of the movement's founders, and the suppression of the newspaper *Le Tunisien* marked the end of their activities in Tunisia. However, they continued to make their demands from abroad, working mainly in Geneva and Istanbul, where they finally died in 1818 ('Ali) and 1820 (Mohamed).","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"6b2642e7-7a75-5343-8798-9e4bf21929a4":{"name":"Luca Petrovich (2nd half of the 19th century – 1900)","description":"Portrait of Luca Petrovic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"c.1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"6c3d3ee7-fba0-54ef-ae3a-b0810a3caeb2":{"name":"A bedouin and his camel/dromedary","description":"The bedouin became a symbol of romantic nomadism in the 19th century European imagination. The Zangaki brothers, a pair of Greek photographers working in Egypt, began producing photos of these nomads for Western tourists.","type":"Photograph","holder":"National Library of France","dates":"c. 1870","location":"Paris","translator":"Flaminia Baldwin"},"70423969-df09-5091-ad7b-50e63c993a4d":{"name":"Painting of Vittorio Emanuele II, King of Italy","description":"This oil on canvas portrait from 1862 depicts the King Vittorio Emanuele II (1861–1878). Fair-skinned with blue eyes and brown hair, the king is dressed in official uniform, with a black jacket and silver buttons and a silver belt. The Ordre du Sang, the Nichan al-Dam and the Annunziata medals are on the left of his chest. A royal red cape is draped over his shoulders, bordered by gold decorations, a white fur collar and lapels embellished with black feathers. A gold crown decorated with red and green strasses sits is on his left, and red curtains with tassels and tiebacks in the same colour form the backdrop. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1862","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"70d49b3f-e99f-5946-83f7-c0c3b1092a69":{"name":"Osman Hamdi Bey (During the excavation of Mount Nemrut)","description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"70d8300c-308e-5b69-9c40-e4c3750f6ab8":{"name":"Photograph of a musician holding a violin and bow","description":"A photograph of a musician in Morocco, he wears local dress and is holding a violin and bow.","type":"Photograph","holder":"General Library and Archives","dates":"1912","location":"Tetouan"},"70df1938-c4b1-5bed-9f24-8054cc85bf48":{"name":"Karl I, Emperor of Austria (1887–1922)","description":"Portrait of Karl I, the last Austrian Emperor. The Austrian and the Ottoman Empires disintegrated after World War I. Karl I had to flee from Austria and died in exile on the island of Madeira.","type":"Print","holder":"Austrian National Library","dates":"c. 1916","location":"Vienna","copy_editor":"Daniel de la Vega"},"7445c306-1049-5630-9a00-27983ccbe9b6":{"name":"*Khedive Ismail*","description":"Khedive Ismail, the fifth ruler of the Muhammad 'Ali Dynasty, Khedive of Egypt from 1863 to 1879. Ismail assumed rule over Egypt when work on the Suez Canal was ongoing. He continued the project until the Canal was opened for navigation in 1869. He established Dar al-Kutub (the National Library and Archives of Egypt) on 26 September 1870. The First Egyptian Parliament was inaugurated in 1866, during his reign.","type":"Photograph; portrait; painting","holder":"Bibliotheca Alexandrina","dates":"19th century","location":"Alexandria","copy_editor":"Daniel de la Vega"},"7503191f-13bf-5090-a965-b30a2948d2bd":{"name":"Ibrahim Pasha (1789–1848)","description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"75a1a06b-dd6b-5798-a0d2-b2d013063c27":{"name":"Rai Sal Darbari","short_description":"This painting of the Hindu courtier Rai Sal Darbari was once part of the Salim Album, which was assembled during the years 1600 to 1604, for Prince Salim before his accession as the emperor Jahangir. This especially striking depiction of Rai Sal Darbari was surely one of the finest paintings in the album. Immediately noticeable is the palette, with its stunning contrast of rich colours—crimson, ochre and purple—the intensity of which is relieved by the brilliant white of the figure’s turban and one of the *patka*s (sashes) that hangs from his waist. Closer inspection reveals the sensitive treatment of the figure’s face, the fine creases around the eyes and the facial hair, each individual strand of which has been painstakingly rendered.","type":"Album folio","holder":"The Chester Beatty Library","dates":"Hegira c. 1008–14 / AD 1600–05","location":"Dublin","dimensions":"23.3 x 14.9 cm","provenance":"India","catalogue_holding_link":"https://viewer.cbl.ie/viewer/image/In_44_2/1/LOG_0000/","keywords":["border decoration","calligraphy","Illustration","miniature painting","Portrait","portraiture","textile"],"materials":["coloured pigments and gold on paper"]},"77f52d4b-ff6b-552e-acdb-df8edbe68721":{"name":"Ismail, Khedive of Egypt (1830–1895)","description":"Portrait of Ismail, Khedive of Egypt (1830–1895), who financed the construction of the Suez Canal. Because of the enormous costs of the building and his reform measures, Egypt's debt rose from three million pounds sterling to 100 million pounds sterling. In 1875 Egypt was bankrupt and Ismail Pasha was forced to sell 176,602 shares to Great Britain for 3,976,582 pounds sterling. Egypt came under financial control of France and Great Britain.","type":"Print","holder":"Austrian National Library","dates":"After 1869","location":"Vienna","copy_editor":"Daniel de la Vega"},"79b21411-a495-509f-bd1b-4acb4fa78729":{"name":"*Portrait of a Negro*","description":"Morgado de Setúbal, a late 18th-century Portuguese “genre” painter, is quite original in his approach to portraying popular and picturesque scenes. His Portrait and still-life works stand out for their representations of various social types in Portuguese society, where his focus was mainly on the working classes. In this painting he depicts a black slave or servant who wears poorly conserved clothes and points at the viewer. The painting is typical of the artist's use of bold forms and earthy colours.","short_description":"This portrait of a black slave or servant is an example of Portuguese “genre painting”. In his portrayal of popular and picturesque scenes, Morgado de Setúbal allows the viewer to appreciate some late 18th-century Portuguese social types.","type":"Portrait painting","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"João de Castro Osório de Guimarães","dates":"c. 1775–1800","location":"Lisbon, Lisbon","dimensions":"H: 75 cm; w: 57.5 cm","place_of_production":"Setúbal (?)","method_for_datation":"By stylistic analysis","provenance":"Acquired from João de Castro Osório de Guimarães in 1933","obtention":"Acquired from João de Castro Osório de Guimarães in 1933","bibliography":"Exhibition Catalogue:  \n*Os Negros em Portugal,* Mosteiro dos Jerónimos, Lisbon, 1999.","copyright":"Copyright image: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação,I.P.","author":"José Alberto Seabra Carvalho","translator":"José Alberto Seabra Carvalho","translation_copy_editor":"Mandi Gomez","keywords":["genre painting","negroes","Portuguese painting"],"materials":["Oil on canvas"]},"7ab5bd97-3948-5e4a-9db2-309afc5b078e":{"name":"A lithographed postcard showing the “Sharif al-Makka al-kabir Aun ar-Raba\"","description":"The figure is Sharif ʿAwn al-Rafiq Pasha, who served as Sharif and Emir of Mecca from 1882 until his death in 1905. Institutional catalogues of his surviving portrait consistently identify him by this name and term of office. The title, “Sharif of Mecca”, referred to the Hasanid descendants of the Prophet Muhammad who governed Mecca. Sharifian government in the city developed from the tenth century and remained one of the most important institutions of western Hijaz politics for centuries. As a member of the Hashemite ʿAwn household, he governed the holy city, exercised authority connected with the Hajj, and negotiated his position with the Ottoman administration, whose recognition remained essential to the sharifate. The Arabic heading was intended to identify him as شريف مكة الكبير عون الرفيق (“ʿAwn al-Rafiq, Grand Sharif of Mecca”), but the name is irregularly and inaccurately written on the card.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1323 / AD c. 1905","location":"Berlin","dimensions":"Height: 12,9 cm; width: 8,8 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Qatar Digital Library, “‘Aun èr-Rafīq, Grossscherif von Mekka’”, Photograph by Christiaan Snouck Hurgronje. Collotype, 1888. *British Library, India Office Records and Private Papers.*  \n  \nSweis, Sami Jiryis, “Hashemite Household Anxieties: The Amirate of Mecca, Arabism, and the Arab Revolt, 1880–1919”, PhD diss., University of Chicago, 2020.","copy_editor":"Danielle Morcom","keywords":["government","Mecca","Portrait","Saudi Arabia","sharifate"],"materials":["coloured postcard","Paper"]},"7e87a4ee-76a2-59b0-995b-b76a7a6ee825":{"name":"*Woman with mimosa*","description":"Osman Hamdi focused on dilemmas such as East and West, love and hate, life and death. While stylistically reminiscent of western Orientalist painters, his works reflect a more nuanced appreciation of Ottoman society and culture. In the art of his paintings, he depicted unique details so diligently that he made us recognize our environment and Turkish culture. He illustrated carpets, tile panels, calligraphies, decorative arts, shrines, mosques and human figures in his paintings. He also gave importance to details while reflecting the colourful scenes of Turkish culture, traditional architecture, Ottoman fashion and domestic and social life of the women in the Ottoman Empire. And it’s obvious that he is the first painter who used human figures in the western style.","type":"Painting","holder":"Mimar Sinan Fine Arts University, Painting and Sculpture Museum","dates":"1906","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"7f9082fe-da75-56c9-8c44-bba718558f12":{"name":"Ottoman Clothing Album","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"80035f13-53d6-5c24-82f4-b515c60d1e91":{"name":"Portrait Album – Ottoman State Officers","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"82d030e3-3a19-5186-b070-89dfbd474e06":{"name":"*Portrait of Countess Erzsébet Berényi, Wife of Count Miklós (Nicolaus) Zichy*","description":"*Portrait of Count Miklós Zichy*, together with its companion piece *Portrait of Countess Erzsébet Berényi*, the count's wife, are rare examples of family portraiture which differ from the traditional so-called Ancestors' Galleries found in the region at the time.","short_description":"An official family portrait representing Countess Erzsébet (Elizabeth) Berényi, the wife of count Miklós (Nicolas) Zichy.","type":"Painting (portrait)","holder":"Budapest History Museum","initial_owner":"The family of Count Zichy","dates":"Around 1760","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 91.5 cm; w: 71.5 cm","place_of_production":"Hungary","method_for_datation":"By historical data","provenance":"The family of Count Zichy","obtention":"From the bequest of Count Jenő Zichy, 1903","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.24.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Count Miklós Zichy","Countess Erzsébet (Elisabeth) Berényi","Óbuda","Oil painting","Portrait","Zichy family"],"materials":["Oil on canvas"]},"837581e0-006f-52d2-82bf-795b4cf10463":{"name":"Portrait of Abraham Behor And Nisim Camondo","description":"Abraham Salomon's descendants, Abraham-Behor (1829-1889) and Nisim (1830-1889) were partners in banking. As a rival to the Ottoman Bank, The Camondo Family established the Ottoman Empire Company-i Umumiyesi (*Societe Generale de l'Empire Ottoman*) with a capital of two million pounds in 1864. Because of the establishment of the Credit General Ottoman Bank in 1868, the Camondo Brothers decided to move the bank to Paris with the idea that the Bank should have absolutely no external links. Abraham-Behor became president of the institution of the *Alliance Israelite Universelle* in 1864. This institution – which instructed students in French in the name of modernization and westernization – was founded to improve the material and spiritual conditions of the Jews and to ensure the spread of education in İstanbul.","type":"Photograph","holder":"The Quincentennial Foundation Museum, Zulfaris Synagogue Museum","location":"Istanbul","copy_editor":"Daniel de la Vega"},"83934d9b-77bc-58ef-af02-542c738a2425":{"name":"Portrait of the Marquis of Pombal","description":"The portrait was painted in 1776 by the French artist Louis-Michel van Loo, who was known for his portraits of Kings and noblemen. Van Loo worked from sketches outlined in Lisbon by J. A. Padrão and J. S. Carpinetti, while C. J. Vernet was in charge of the nautical-themed background. Commissioned by the English and Swiss merchants, Gerard Devisme and David Purry, the picture was devised to eulogise the persona and political achievements of the Marquis of Pombal, a central figure in the Age of Enlightenment: a merciless statesman and influential Minister of the Kingdom in the government of José I of Portugal for 27 years (1750–1777).  \nThe Marquis of Pombal ruled with a heavy hand, suppressing the Jesuits and prevailing over the Portuguese Inquisition and the Church. In the portrait, his left hand gestures toward the River Tagus and Hieronymus Monastery, but also goes further in its propagandist call by encompassing the Kingdom's Atlantic call. Mercantilist, the marquis established the *Junta do Comércio* and other guilds to regulate all commercial activities, favouring trade monopolies run by the merchant bourgeoisie, and impelling the manufacturing business to greater productivity. The marquis rationalised State administration and demarcated the region for the production of Douro and Port wines, guaranteeing the wine's quality trough the *Companhia das Vinhas do Alto Douro*. He also launched the *Aula* *do Comércio* and the *Real Colégio de Nobres;* established the basis for secular public primary schools and in so doing created hundreds of new teaching posts. He reformed the academic curricula of the University of Coimbra, which at the time was inspired by Jesuit teaching.  \nThe Pombaline reforms, including the reconstruction of Lisbon in the aftermath of the earthquake of 1755, are depicted trough the allegory of Commerce, Arts and Industry seen in the three figures surrounding the statue of King Joseph I, which appears behind the Marquis. The marquis was pragmatic and uncompromising in his efforts to coordinate the rebuilding of downtown Lisbon and the new Praça do Comércio (replacing the old Terreiro do Paço) where the statue of King Joseph I stands. Some of the plans to rebuild Lisbon rest on a table underneath his right arm, and others can be seen on a red walnut carved stool.","short_description":"The *Portrait of Marquis de Pombal* was commissioned in 1776 from the French artist Louis Michel van Loo in order to eulogise the persona and political achievements of the Marquis of Pombal, Minister of the Kingdom in the government of José I of Portugal.","type":"Painting","holder":"Oeiras Town Hall","owner":"Oeiras Town Hall","initial_owner":"Sebastião José de Carvalho e Melo, Marquis de Pombal","dates":"1766","location":"Oeiras, Lisbon","dimensions":"H: 290 cm; w: 354 cm.","place_of_production":"Lisbon and Paris","method_for_datation":"Original documents and stylistic analysis","provenance":"Palace of the Marquis de Pombal, Oeiras","obtention":"The painting was transferred from the palace of Marquis de Pombal to the Town Hall headquarters in 1939","bibliography":"Marques, A. H. de O., *História de Portugal*, Vol. 1, Lisbon, 1974.  \nMonterroso Teixeira, J. de, *O Triunfo do Barroco,* Europália, 1991, p. 273,274.","workshop":"Portraiture European and Baroque","author":"Cristina Correia","translator":"Cristina Correia","keywords":["Companhia das Vinhas do Alto Douro","Enlightened despotism","Enlightenment","Jesuit expulsion","Marquis de Pombal","mercantilism","Pombaline reform","Portrait","urban planning"],"materials":["Oil on canvas"]},"85ea18f4-df5c-5e4b-ac52-cad7c455e015":{"name":"*The Apotheosis of Emperor Joseph II*","description":"This small allegorical composition is a rare example of a piece that might have been planned originally purely as a decorative piece. The execution of the painting is finely detailed, and contrary to its small size, it is of exceptional quality. The painting is also unusual in its representation of the emperor, which is not at all in keeping with the normal iconography associated with him.  \nThe Holy Roman Emperor Joseph II (1765–1790) was King of Hungary from 1780 to 1790. The eldest son of Maria Theresia and Francis von Lorraine, having succeeded to the throne, he tried to organise a unified empire with reforms of Enlightened Absolutism. Both his political and religious policies served the emperor's overall ideal of the strong central power of the state. His reform policies were named after him and are known in Hungary as Josephinism. A limited guarantee of freedom of worship was seen with the Patent of Tolerance in 1781, and he abolished serfdom and the death penalty. Like many of the enlightened monarchs of the time, he was a prolific patron of the arts, commissioning an opera from Mozart and a funeral cantata from the young Beethoven.","short_description":"Because of its small size and compositional form, this painting is a rare example of Baroque allegory associated with the Holy Roman Emperor Joseph II (1765–1790). The painting glorifies the Habsburg emperor and Hungarian king during whose reign Enlightened Absolutism was born. Because of his reforms and the laws he passed, the era is known in Hungary as Josephinism.","type":"Painting","holder":"Budapest History Museum","initial_owner":"The Royal Collection, Buda Castle","dates":"Second half of the 18th century","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"D: 30.8 cm","method_for_datation":"By historical data","provenance":"From the Royal Collection, Royal Palace, Buda","obtention":"Transferred from the Royal Collection, Royal Palace in Buda in 1945","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","Enlightenment","Franz von Lorraine","Joseph II Habsburg","Josephinism","Maria Theresia","panel"],"materials":["Oil on panel"]},"8824c22c-0cd4-502b-8da0-b722a3dd6846":{"name":"*Izzedin Yusuf Effendi (1875–1916)*","description":"Portrait of Izzedin Yusuf Effendi (1875–1916). He was the heir to the throne. In 1916 he committed suicide.","type":"Print","holder":"Austrian National Library","dates":"1916","location":"Vienna","copy_editor":"Daniel de la Vega"},"8882d0e5-57fa-5c65-adef-21bc617bd242":{"name":"*Portrait of a Laughing Youth*","description":"The painting is mentioned for the first time as part of the collection in the 1693 inventory. It has been attributed variously to different artists in the past, but was confirmed as a “Carracci Caricature” in an 1833 *fideicommissum* (a deed forbidding the heirs to the Borghese estate from splitting up the collection). In the 20th century, it was deemed to be an early work of the Bolognese artist, at a time when Carracci made numerous attempts at “genre works”, leaving some superb examples, such as the famous canvas , *The Beaneater* in the Galleria Colonna, Rome (c. 1583–1584).  \nThe portrait of the jester has always been thought to be a character from the *Commedia dell'Arte*. This small sketch shows a smiling, mocking youth dressed in a dark suit, ruff and light hat, awkward and upside-down. The supposed jester, with his grotesque red nose, cannot be identified entirely with the theatrical comic tradition and, although the severe and sober clothes resemble the Bolognese mask of “Dottor Graziano”, the unusual hat is perhaps an invention of Carracci himself.  \nThe light comes from the right, creating a *chiaroscuro* effect on the folds of the hat, emphasising the satisfied look and ambiguous smile of the character, the focal point of the portrait.  \nIt is the complicit look and smile of a comic actor that, between fiction and reality, skilfully establishes a relationship with the viewer.  \nThe portrait stands against a simple yellow background, which helps to focus attention on the burlesque face, whose keen, realistic expression is rendered with a sombre palette of colours.  \nFree charcoal lines quickly define the sketch, combined with fast, fluid brush strokes. Given the medium (paper on canvas) the use of these tools seems to suggest a desire to capture the immediacy of a live portrait, rather than a caricature, which has been suggested, although this area was of interest to the painter.  \nThe modernity of expression in the sketch anticipates by half a century the portraits of Velazquez and Bernini and appears to be the beginning of the study of emotions and character types that characterises 18th-century artistic innovation.  \nThe work is one of Carracci's “small portraits” painted after 1582, where his search for reality was based on simple lines and not precise reproductions of faces.","short_description":"This piece is an interesting example of the artistic re-invention pursued by Carracci. In his sketchy *Portrait of a Laughing Youth*, dating to around1584, the young artist captures a moment of the youth's laughter. With its spontaneity, it is extraordinarily modern, anticipating the portraits by Bernini and Velázquez 50 years later. It may be the portrait of an actor, the Bolognese mask of the “Dottor Graziano”.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1584","location":"Rome, Latium","dimensions":"h: 44.5 cm; w: 29 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, I, Rome, 1955, n.16, p. 21.  \nSantolini, S., in *L'Anima e il Volto. Ritratto e fisionomica da Leonardo a Bacon*, exhibition catalogue, Milan, 1998, pp. 148–149.  \nBenati, D., in *Annibale Carracci*, exhibition catalogue (Rome), Milan, 2007, cat. II. 9, pp. 110–111.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["character types","chiaroscuro","commedia dell'arte","genre painting","Portrait"],"materials":["Oil on paper on canvas"]},"89d4c66b-a374-55e7-8284-7f6b427b03c0":{"name":"Portrait of Abel Acácio Botelho","description":"This painting by António Ramalho (1859–1916) portrays European fascination for eastern cultures. As well as wearing a Japanese costume, the figure in the painting is surrounded by oriental objects in a clear reference to his aesthetic preferences.","type":"Painting","holder":"National Museum of Contemporary Art – Chiado Museum","dates":"1889","location":"Lisbon","author":"DGPC"},"8a70de1b-8f52-5be5-84b2-f02ae35a3ab5":{"name":"‘Abd-al-Hamid (Abdülhamid) II (1842–1918)","description":"Portrait of 'Abd-al-Hamid (Abdülhamid) II (1842–1918). He was born in 1842 in Istanbul. In 1876 he became Sultan and after the lost war with Russia in 1877, he was forced to agree to the 1878 Congress of Berlin. The signatory powers of the congress allowed Austria to occupy Bosnia-Herzegovina, which belonged to the territory of the Ottoman Empire. In 1888 he had to accept the occupation of Tunisia by France. He tried to modernize the Ottoman Empire with the help of Germany, but in 1908 a revolution of Turkish officers forced him to abdicate. He died in 1918 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"After 1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"8aa9aed7-b2ea-50bd-90ad-08ec6d53d8f4":{"name":"Portrait of Émile Prisse d'Avennes dressed in an imitation of the local style","description":"The engineer, painter and architect Prisse d'Avennes (1807–1879) lived in Egypt for 20 years, and was to a great extent assimilated into Egyptian society and had adopted many Egyptian customs. Other figures, such as Delacroix in Morocco and Flaubert in Egypt, were also fascinated by the landscapes, knowledge and customs of these countries, which became the inspiration for many of their works, thus initiating the trend of \"Orientalist writing\".","type":"Print","holder":"National Library of France","dates":"1872","location":"Paris","translator":"Flaminia Baldwin"},"8ad123be-79dd-59a7-84a8-ffc0f7c6d8e7":{"name":"*James Robertson and His Brother-in-Law Felice Beato in Turkish Costume*","description":"A self-portrait of James Robertson and his brother-in-law Felice Beato standing side by side and dressed in Turkish costume is an important work in the history of photography. This picture is in every sense a coloured counterpart of two other portrait photographs by Robertson first brought to light by Bahattin Öztuncay in 1991. The image of Felice Beato in this identical photograph is the only known picture of him in his youth.","type":"Photograph","holder":"Ömer M. Koç Collection","dates":"1855","location":"Istanbul","author":"Bahattin Öztuncay","copy_editor":"Daniel de la Vega"},"8c4762e1-5805-5789-8cac-3fcdc7d7a021":{"name":"*Portrait of a Sculptor – Gottfried Fritsch*","description":"A slightly stooped male half-figure emerges from a dark background, in which the viewer can make out roughly worked stones. While his expressive look scans the viewer, the man, holding a pair of compasses in his left hand, leans against a sculpture in progress representing a human figure. The clothes (a casually open shirt, fur hat), the statue and the tool are attributes that characterise the person depicted as an artist-sculptor. The lower section of the picture has probably been cut off at some point: the sculptor's fingers touch the canvas edge and the palm of the statue surfaces suddenly at the bottom-right of the trunk, without logical connection.  \nThe composition is diagonally balanced; the light accents of the white shirt and the body are supplemented by the colour contrast of the green coat and its pink lining.  \nDuring the Baroque period artists were frequently represented as art connoisseurs, collectors of antiques and court artists with characteristic attributes, whereas before they had been regarded as mere craftsmen.  \nGottfried Fritsch (1706–1750), the last classical Baroque sculptor in Moravia, is depicted as a *virtuosus quondam statuarius*, a learned artist. The picture comes from the Tovačov chateau, owned by the Petřvaldskýs of Petřvald in the 18th century. Count Amand Antonín oversaw from Tovačov a demesne in which he initiated important artistic activities. Among other things, he enabled Fritsch to study sculpture in Vienna and Italy. The sculptor decorated the Petřvaldskýs' graveyard in Střílky.  \nFranz Anton Palko, who also worked as a painter for the Bishop of Olomouc, stayed in Brno where he created the altarpiece for the parish Church of St. James. František Vavřinec Korompay, a renowned artist, was one of his students. Palko's benefactors and patrons included Count Wenzel Anton Kaunitz-Rietberg, State Chancellor of the Habsburg monarchy. The count particularly admired the artist's “French” portrait style.","short_description":"The picture represents “a learned artist”, a sculptor-virtuoso. The “French-style” portrait was created for the Lord of Petřvald, a significant supporter of the arts. The painter was one of the most acknowledged portraitists of the period and was also active in the imperial court in Vienna.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Amand Anton Petřvaldský of Petřvald, Střílky","dates":"1748–1750","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 90 cm; w: 75 cm","place_of_production":"Moravia","method_for_datation":"The high quality of the picture, its colour scheme and layout invite comparison with *Portrait of Father* from 1746 (Belvedere, Wien), *Self-portrait with a Broad-brimmed Hat* and *Portrait of Count* *Unwerth* (Szépművészeti Múzeum, Budapest).","provenance":"Střílky Chateau","obtention":"An inventory made after Amand Petřvaldský of Petřvald's death in 1762 contains and entry: *Porträt den Bildhauer Fritsch vorstellend, in einem Rahme*. The picture was originally found in Střílky Chateau and later in Tovačov Chateau; it then became the property of the Künburgs. In 1946 it became part of the picture collection at Brno Museum. It has been in the Moravian Gallery, Brno since 1961.","bibliography":"Heinrich Schwarz, Franz Anton Palko als Bildnismaler, *Mitteilungen der österreichischen Galerie* 6, 1962, pp. 18–28.  \nJiří Kroupa, František Antonín Palko v Tovačově,  in Vít Vlnas – Sekyrka (eds), *Ars baculum vitae. Sborník studií z dějin umění a kultury k 70. narozeninám prof. PhDr. Pavla Preisse, Dr.Sc.,* Prague, 1996, pp. 250–256.  \nPavel Preiss, *František Karel Palko, Život a dílo malíře sklonku středoevropského baroka a jeho bratra Františka Antonína Palka,* Prague, 1999, p. 272.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *Moravie a la age baroque* *1760–1790*, Paris – Rennes – Brno, 2002, pp. 301–302, cat. 139.  \nJiří Kroupa, *Umělci, objednavatelé a styl. Studie z dějin umění*, Brno, 2006, pp. 242–257.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["iconography","Portrait"],"materials":["Oil on canvas"]},"8c7b0235-6bb9-503d-ac59-f73f7984f36b":{"name":"*Le général Khaireddine* (painting)","description":"This 1852 oil on canvas by Simil depicts the General Khaireddine (Khayr al-Din) on horseback in official uniform. This brigadier-general uniform from the latter half of the 19th century comprises a full suit, a short coat, a shirt, a checia, a chemla and a pair of shoes. The brigadier-general also wore two crossed capes and a sword, with the Nichan al-Iftikhar (1st class) medal on the right-hand side of the chest, next to the insignas, and the Légion d'Honneur and the Ordre des Saints Maurice et Lazare medals on the left-hand side.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1852","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"8d0345df-1e22-5450-8f37-706dc5be7d91":{"name":"A Woman from Cairo","alternate_name":"*Donna de Il Cairo*","description":"This photo from Enrico H. Giglioli's collection was taken by the Florentine naturalist during his travels around the world in 1865 and 1868 while advancing diplomatic and commercial relations between the newborn Italian state and the other nations. The images seem to have been created spontaneously to show ethnocentric diversity. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum. The origins of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"MIBACT | National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1880","location":"Rome","provenance":"Egypt","author":"Vito Lattanzi","copy_editor":"Anne Dowell"},"8d7fb33a-5d98-5c0b-a5f1-fab6b28e82f7":{"name":"Painting of Mohamed Sadok Bey and Napoléon III","description":"This oil on canvas by Alexandre Debelle shows Mohamed Sadok Bey seeing off the emperor Napoléon III as he leaves Algiers on 20 September 1860. The bey and the emperor are on horseback, surrounded by their garrisons and local inhabitants in traditional dress. This painting is set in an urban dwelling by the sea, and the tricolour French flag is fluttering above the crowds. The bey is dressed in official uniform, with the Nichan al-Ahd round his next, and the Nichan al-Dam, the diamond-crusted Légion d'Honneur and the Nichan al-Iftikhar (with the eagle of the Second Empire) medals are on the left side of his chest. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1862","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"8df53ce3-81e5-5c23-89d6-2324283cfe08":{"name":"*Portrait of Provost Augustinus Aurelius*","description":"The composition is typical of portraits of High Church representatives. The provost of the Augustinian monastery in Šternberk is portrayed at the age of 50 sitting in an upholstered armchair with gilded carving, against a background of a green curtain and a decorative vase with the monastery's emblem. The shape and colours of the drapery create a dynamic spiral movement adding to the portrait's effect. Augustinus Aurelius is dressed in ceremonial clothing, a white soutane, white surplice and blue almuca, holding a blue cap in his left hand. The attributes of his position in the church also appear: a mitre, sceptre and a crucifix around his neck. With his right hand, the provost points to the plans for the Výšovice residence which was, together with the completion and decoration of the Šternberk Church, among the provost's major building enterprises where he favoured a plain classical style. The provost's diary has survived containing an entry on a performance given by the young Mozart in Brno in December 1767. The provost may have met Korompay on this occasion and commissioned him with the portrait. Although Korompay was a renowned portraitist in his time only a handful of portraits of this type have survived. The provost's portrait was inspired by František Antonín Palko, said to have been the artist's teacher. Korompay's craftsmanship is evident in the finely rendered lace of the attire and its ornamentation. Colour harmony, fine, light, modelling of shapes, and the rendering of the provost's soulful expression, manifest the skill of an artist obviously influenced by Martin Meytens's court portraits and French models.","short_description":"The composition is typical of portraits of High Church representatives. Colour harmony, fine, light, modelling of shapes, and the rendering of the provost’s expression, manifest the skill of an artist obviously influenced by the court portraits of František Antonín Palko and Martin Meytens.","type":"Painting","holder":"Moravian Gallery","owner":"Roman Catholic Parish, Výšovice","initial_owner":"Augustinian Monastery, Šternberk","dates":"1768","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 170 cm; w: 130 cm","place_of_production":"Brno","method_for_datation":"The picture is marked on the reverse: *Reverendissmus et amplissimus Dominus Aurelius Augustin, natus 18 Januari 1719, electus die 16. Nov. 1757. Pictus Brunae Franc: Korompay Ao 1768*. Within the painting: *Restitutio parochiae Veyschonvensis 1765* (on the sheet)*; Aet. 50* (on the vase).","provenance":"Augustinian residence, Výšovice","obtention":"The picture, intended for the hall of an Augustinian residence in Výšovice, is on long-term loan to the Moravian Gallery, Brno.","bibliography":"Vlasta Kratinová, *Malířství 18. století na Moravě ze sbírek Moravské galerie,* Brno, 1968, p. 21.  \nJiří Kroupa, *František Antonín Grimm* –­­ *architekt 18. století,* Brno-Kroměříž, 1982, cat. 37.2.  \nPavel Preiss, *František Karel Palko, Život a dílo malíře sklonku středoevropského baroka a jeho bratra Františka Antonína Palka,* Prague, 1999, p. 273.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 306, 308, cat. 141.  \nZora Wörgötter, in Zora Wörgötter – Eduard Hindelang (eds), *Franz Anton Maulbertsch und sein Umkreis in Mähren. Ausgewählte Werke aus tschechischen Sammlungen. Ausstellungsführer*, Langenargen, 2006, p. 55, cat. 56.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Portrait","Provost"],"materials":["Oil on canvas"]},"8e204732-2316-5b8b-bd49-13709f67292e":{"name":"Minto Album","short_description":"The Minto Album is a collection of forty, now loose folios, divided between the Chester Beatty Library (nineteen) and the Victoria and Albert Museum, London (twenty-one). It includes some of the finest Mughal paintings ever produced and consists mainly of standing portraits of emperors and other individuals important at court. The paintings included here depict Jahangir (r. 1605–27) holding a globe, Shah Jahan (r. 1627–58) in an orange robe, Shah Jahan and his sons, Mu‘in al-Din Chisti, spiritual guide of the Mughals, and a religious scholar identified by inscription as Muhammad Riza Kashmiri. The magnificent floral borders that surround each painting are as impressive as the paintings themselves.","type":"Album","holder":"The Chester Beatty Library","dates":"Hegira c. 1020-50 / AD 1612–40","location":"Dublin","dimensions":"38.9 x 27.2 cm","provenance":"India","catalogue_holding_link":"https://viewer.cbl.ie/viewer/image/In_07A_10/1/LOG_0000/","keywords":["Album","Allegory","angel","court","crown","emperor","floral decoration","illumination","Portrait","portraiture","prince","Religion","royal","saint","scholar","Sufism"],"materials":["coloured pigments and gold on paper"]},"8eb7973a-8c9e-5910-83bd-ad5e77872aba":{"name":"*Algerians*","description":"This study consists of a series of sketches depicting various Algerians. The subjects are mostly women, whose faces, wrapped in a traditional *haik*, are particularly interesting. According to experts only two paintings of this kind exist today. Before being acquired by the museum this study belonged to an important collection from the late 19th century. In 2003 it was published in the Australian scholar Roger Benjamin's collection dedicated to Auguste Renoir's Algerian period, *Renoir and Algeria*.","type":"Painting","holder":"Musée National des Beaux-Arts","dates":"1884","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"8ec0ecf7-b1a9-5b83-9f8a-0dc7cfe15831":{"name":"*Portrait of Tommaso Campeggi and his Family*","alternate_name":"*The Campeggi Family*","description":"This painting formerly credited to the Lombard painter Pier Francesco Cittadini, has been recently reattributed to the Bolognese painter Lorenzo Pasinelli (1998). The portrait is characterised by the presence of such Nordic elements as the dark background and the analytical description of the 12 people. Pasinelli probably painted the great canvas during his stay in Rome, as a present for his host Tommaso Campeggi, the ambassador of Bologna to the Holy See. In 1666 it was moved to the palace owned by Tommaso Campeggi in via San Mamolo, in Bologna. When the house was sold the picture was moved to the residence of “Strà San Donato” and finally to the castle of Dozza, the Campeggi country residence.  \nIt is one of the rare examples of group portraits in Bolognese baroque painting. The impression is that of an austere and somewhat provincial aristocracy. They are not concerned with being carefully examined by the painter and only interested in portraiture for its social implications. The family is sitting in the traditional scheme, following a hierarchical order and rigidly divided in two groups, males and females. The first born is given central position, next to his sisters who are holding his gloves. Tommaso is the most static and affected figure with rigid authoritarianism, whilst the elegance of the clothes is more emphasized in the female figures.","short_description":"The painting depicts the entire Campeggi family. The result is a perfectly balanced mixture of Bolognese and northern features combined with compositional and technical skill.","type":"Painting","holder":"Malvezzi-Campeggi castle","owner":"Malvezzi-Campeggi collection","initial_owner":"Campeggi family","dates":"1663–1664","location":"Dozza, Bologna, Emilia-Romagna","dimensions":"265 x 360 cm","place_of_production":"Rome","method_for_datation":"Bibliography, documents and stylistic analysis.","provenance":"Casa Campeggi, via San Mamolo, Bologna","obtention":"Moved from Rome to the Campeggi residence of Bologna, later to the country residence of Dozza.","bibliography":"Zanotti, G. P. *Nuovo fregio di gloria a Felsina sempre pittrice nella Vita di Lorenzo Pasinelli*, Bologna, 1703, p. 28.  \nRiccòmini, E. “Pier Francesco Cittadini”, *Arte antica e Moderna:* 13/16, 1961, pp. 362-373.  \nRoli, R. *Pittura bolognese 1650-1800. Dal Cignani ai Gandolfi,* Bologna, 1977, p. 165.  \nBaroncini, C. “Il ritratto della famiglia Campeggi a Dozza Imolese dal Cittadini al Pasinelli?”, *Accademia Clementina. Atti e memorie:* 38-39, Bologna, 1998-99, pp. 77–94.  \nBaroncini, C. “Il ritratto della famiglia Campeggi a Dozza: dal Cittadini al Pasinelli”,*Figure come il Naturale. Il ritratto a Bologna dai Carracci al Crespi* (exhibition catalogue) (ed. D. Benati), Milan, 2001, pp. 35-49 and pp. 100-102.","workshop":"Bolognese baroque painting","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","author":"Paolo Cova","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Campeggi family","Lorenzo Pasinelli","Pier Francesco Cittadini","Portrait","self celebration"],"materials":["Oil on canvas"]},"8f10719a-7586-5524-9036-a47811acc887":{"name":"*Muhammad 'Ali Pasha*","description":"Muhammad 'Ali Pasha, founder of Modern Egypt and Wali of Egypt in 1805. He was the head of the Alawiyya Dynasty that ruled Egypt from 1805 to 1952, and founder of modern Egypt. He came to Egypt in 1799 as part of a military unit to fight with the Turks – and the help of the British – to drive the French out of Egypt. However, the Turkish forces were defeated in 1799 in the Battle of Abu Qir.","type":"Photograph; portrait; painting","holder":"Bibliotheca Alexandrina","dates":"19th century","location":"Alexandria","copy_editor":"Daniel de la Vega"},"8f1ec06d-13b0-5253-b0bf-a8afb87b0260":{"name":"An Algerian student holding some slabs with verses of the Quran [written on them]","description":"Learning to write in Quranic schools took place by copying verses of the Quran onto slabs, which were then carefully erased.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"905cb8f2-54fa-520a-b0bc-209a26809787":{"name":"Ottoman Clothing Album","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in 19th century. Vassilaki Kargopoulo was of Greek descent. His first studio was opened in 1850 near the Russian Consulate. Between the years of 1859 and 1860, he began to attract the attention of customers from all sections of society. He focused on Ottoman clothing and street vendors in 1860.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"91b66b55-0c91-5d46-b3bc-af6121a29639":{"name":"Portrait of Mihai Suţu","description":"Mihai Suţu was the last Greek prince of Moldova. The Sublime Porte imposed Greek rulers in Wallachia and Moldavia (called “Phanariotes” because they came from Fanar, the Greek neighborhood of Istanbul) at the beginning of the 18th century and maintained them until 1821. During this period some modernizing reforms, influenced by the ideology of the Occidental Enlightenment, were introduced in the Romanian countries. The drawing was made by French artist Louis Dupré, who visited Greece, Istanbul, the Balkan Peninsula and the Near East in 1819 –1820. In the summer of 1819 he arrived in Bucharest together with Mihail Şuţu, whom he had met in Istanbul. He painted Şuţu laying on a red divan, wearing Oriental clothes.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1812","location":"Bucharest"},"921bd231-072a-5b12-b6bf-ef1ef9ab5517":{"name":"Metal plaque from India","short_description":"This Indian metal plaque depicts Jahangir Shah, the fourth Mughal emperor. It had two inscriptions in Persian: the first reads \"Daylight of the country, year 1013” and the second, golden inscription on the upper left side reads \"Lord Jahangir, the Emperor.\" The plate is decorated with small frames in which verses of a poem about the Emperor are inscribed. The beginning and end of the poem are missing, suggesting that there may have been other objects of the same kind bearing the rest of the poem. The poem recounts a discussion between the Emperor and a proxy.","type":"Metalwork","holder":"MKG Museum for Applied Arts","dates":"Hegira 977-1036 / AD 1569-1627","location":"Hamburg","dimensions":"Height: 122cm, Length: 80cm","method_for_datation":"Dated through the inscription.","method_for_provenance":"Unknown.","provenance":"India","obtention":"Unknown.","copy_editor":"Caitlin Link","keywords":["Jahangir","metalwork","Mughal"],"materials":["Bronze"]},"92891afc-502b-5609-8db7-99bf7bb50e6c":{"name":"Franz Joseph I, Emperor of Austria (1830–1916)","description":"Portrait of Emperor Franz Joseph as an officer of the *Kaiserjäger* (Elite regiment). He ruled Austria for 68 years. During his long reign he had cordial relation to the Sultans of the Ottoman Empire and visited Istanbul and Jerusalem. He died in 1916 during World War I.","type":"Photograph","holder":"Austrian National Library","dates":"1879","location":"Vienna","copy_editor":"Daniel de la Vega"},"92f613dc-01ad-5171-a5dd-b251dab90f70":{"name":"Photograph of Krste Petkov Misirkov with his friends","alternate_name":"Framed photograph; Fotografija na Krste Petkov Misirkov so prijatelite","description":"Krste Petkov Misirkov (1874–1926) is the author of the book “On Macedonian Matters”, which was published in Sofia in 1903. This work is a starting point in explaining Macedonian distinctiveness, having served as an intellectual and contemplative engine for generations of Macedonians fighting in the battlefield and in literature alike.","type":"Photograph","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"9438f959-d105-5cd5-890f-56a9cdcc3715":{"name":"*Josef Freiherr Philippovich-Philippsberg (1818–1889)*","description":"Portrait of Josef Freiherr Philippovich-Philippsberg (1818–1889). In 1836 Philippovich-Philippsberg joined the Austrian Army. In 1878 he became commander of the Austrian invading forces for the occupation of Bosnia-Herzegovina. On 17 August 1878, Austrian troops occupied Sarajevo. Philippovich commanded Austrian forces in Bosnia until 1880.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"c. 1878","location":"Vienna","copy_editor":"Daniel de la Vega"},"945bf083-a74e-5bce-800b-f411f54c9b67":{"name":"Photograph of diplomatic visit to England","description":"This photograph depicts the Moroccan diplomatic delegation that accompanied Sultan of Morocco Mulay ‘Abd al-‘Aziz’s Ambassador, ‘Abd al-Rahman ibn ‘Abd al-Sadiq al-Rifi, on an official visit at the invitation of King Edward VII.","type":"Photograph","holder":"General Library and Archives","dates":"Early 20th century","location":"Tetouan"},"96a0b74f-0971-56c3-8154-0b603d6d4116":{"name":"*Portrait of Emperor Joseph II and His Second Wife Marie Josepha of Bavaria and Counts Esterházy, Bathiany and Liechtenstein*","alternate_name":"*Joseph II with Wife Maria Josepha of Bavaria, Close Courtiers and Ladies-in-Waiting*","description":"A counterpart to this sizeable canvas is the picture *Maria Theresa with Sons Below the Bust of Her Deceased Husband Franz Stephan of Lorraine and Chancellor Kounic-Rietberg*. This painting represents the hierarchy of both the dynasty and the monarchy. After the death of his father, Joseph II ruled side-by-side with Maria Theresa. In the background, Josef Wenzl of Liechtenstein indicates a medallion bearing a portrait of Isabela of Parma, Joseph II's first wife. On the right, behind the throne, Joseph's two unmarried sisters, Marie Elisabeth and Marie Anna, are engaged in conversation. In the foreground stands Franz Esterházy with a tiger skin, while Count Karl Josef Batthyány, High Steward, is located at the edge of the canvas. The festive air is enhanced by the arrangement of a drapery with golden tassels together with the seating of the figures on the steps. The landscape in the background features an obelisk topped with a globe upon which an eagle perches holding in its beak a curled serpent biting its own tail a symbol of eternity. The eagle, a creature associated with Jupiter, was among the attributes of imperial iconography and refers to the sovereign's virtues. Another attribute and a symbol of wisdom is the shield with the head of Medusa at the bottom of the picture, on a stone vase. A group of *putti* taming a lion in the upper section of the vase symbolise the power of love and its victory over physical strength.  \nThe group portrait was commissioned by the abbot of the Premonstratensian Monastery in Louka near Znojmo as an expression of loyalty. The paintings come from the summer refectory, a key section of the monastery designed as a “Temple of Solomon”. The major decorative components were paintings by Franz Anton Maulbertsch depicting essential elements of the Premonstratensian order. These were accompanied by a series of portraits of monastery supporters and superiors.","short_description":"The group allegorical portrait of the Habsbourg family was commissioned by the abbot of the Premonstratensian Monastery in Louka near Znojmo – one of the most important monasteries in the Danubian country – as an expression of loyalty. The painting represents the hierarchy of both the dynasty and the monarchy.","type":"Painting","holder":"State Chateau","owner":"State Chateau, Valtice","initial_owner":"Premonstratensian Monastery in Louka /Znojmo","dates":"1768","location":"Valtice, Moravia","dimensions":"H: 455 cm; w: 263 cm","place_of_production":"Vienna","method_for_datation":"Palko did a sketch for the picture of Maria Theresa known from a replica by Josef Winterhalder Jr. After Palko’s untimely death, the two paintings were finished by Anton Glunck, a graduate of the Vienna Academy. Glunck is also mentioned as the artist of the pictures in the inventory of the monastery collated by Josef Winterhalder Jr., who also supplemented it with drawn records. Glunck’s participation is confirmed by three receipts preserved in the Moravian Provincial Archive.","provenance":"Veselí na Moravě Chateau","obtention":"The picture comes from the summer refectory of the Premonstratensian Monastery in Louka near Znojmo. When the monastery was dissolved in 1784 the picture became the property of Count Waldorf in Sádek, near Třebíč, until 1904. It was then owned by Count Chorinský and found in the Veselí na Moravě Chateau. After the Second World War the picture came into the possession of the State Chateau, Valtice.","bibliography":"Lubomír Slavíček, Franz Anton Palko nebo Anton Glunck? K autorství skupinových portrétů císařovny Marie Terezie a císaře Josefa II. z letního refektáře premonstrátského kláštera v Louce u Znojma, *Bulletin Moravské galerie v Brně 50,*1994, pp. 32–40.  \nLubomír Slavíček, F. A. Maulbertsch a malířská výzdoba letního refektáře v Louce, in Petr Kroupa – Jiří Kroupa – Lubomír Slavíček – Josef Unger, *Premonstrátský klášter v Louce. Dějiny – umělecká výzdoba – ikonologie,* Znojmo, 1997, pp. 98–102.  \nPavel Preiss, *František Karel Palko, Život a dílo malíře sklonku středoevropského baroka a jeho bratra Františka Antonína Palka,* Prague, 1999, pp. 268–271.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","decorum","eagle","Joseph II","mithology","Portrait","Premonstratensian","symbolism","zoomorphic imagery"],"materials":["Oil on canvas"]},"97284ed3-c2ab-51af-8cd2-2ae8ea41f09e":{"name":"*Portrait of the Beneficiary Faustino das Neves*","alternate_name":"*Portrait of the Beneficiary*","description":"Strongly influenced by her father, Baltazar Gomes Figueira, and by painters such as Francisco Zurbarán, Juan de Roelas and Daniel Seghers, Josefa de Ayala worked in a small provincial centre outside Lisbon. Away from the court, and in a place where the medieval lifestyle was preserved, she related to the politics opposed to the Spanish Habsburg dynasty, supporting the Restoration cause of the Royal House of Braganza. The social life of this micro-society revolved around social gatherings and meetings in convents and noble residences. The noblemen – members of the Municipal Senate – religious orders, brotherhood and charitable institutions with whom she fraternized, were well-read and had no economic restrictions. In their homes were many works of art some of which were commissioned from local provincial artists.  \nFrom as early as the 17th century, Josefa had several biographies written about her. Costa Meesen (1696) referred to her “cleanliness and aptitude” upon imitating “things from nature”. Writer Damião Froes Perym (1736) also praises her “skill, beauty, honesty and charm” and her moral virtues. In the 19th century, José Silvestre Seabra and Almeida Garrett made reference to *Portrait of the Beneficiary Faustino das Neves*, considering it the genre which best revealed the sensitive side of Josefa d'Óbidos. The piece got lost in time and in 1957 it was identified by Reis-Santos as the work of Josefa d'Óbidos.  \nThe artist perfectly captures the psychology of this distinguished man from Óbidos. His dark clothing and his vigorous look contrast with the luminosity of the white and beige of his face, accentuating the Counter-Reformation features of the piece. The male figure, accompanied by an angel announcing his death, is purposely decentralised relative to the axis of the composition. This is a peculiarity which enhances the formal skills of Josefa de Ayala thus allowing her to be included within the ranks of the best 17th-century Portuguese painters.","short_description":"Josefa de Ayala skilfully conveys the psychology through the glance, gesture and pose of this distinguished man from the town of Óbidos. His dark clothing and vigorous look contrast with the luminosity provided by the white and beige tones of his face. The figure is accompanied by an angel announcing his death.","type":"Portraiture","holder":"Municipal Museum of Óbidos","owner":"Museu Municipal de Óbidos","initial_owner":"Misericórdia de Óbidos","dates":"c. 1670","location":"Óbidos, Leiria","dimensions":"H: 83 cm; w: 106 cm","place_of_production":"Óbidos, Portugal","method_for_datation":"Attributed by Reis-Santos in 1957.","provenance":"Misericórdia de Óbidos","obtention":"Misericórdia de Óbidos","bibliography":"Serrão, V., “Josefa de Ayala Pintora, ou o Elogio da Inocência”, *Josefa de Óbidos e o Tempo Barroco*, Exhibition Catalogue, Galeria D. Luís, Palácio da Ajuda, Lisbon, 1991.  \nSerrão, V., *o Barroco*, Lisbon, 2003.","workshop":"Workshop of Josefa de Ayala e Cabrera; regional 17th-century naturalist painting","author":"Cristina Correia","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Counter-Reformation","naturalism","painting","portraiture"],"materials":["Oil on canvas"]},"98465502-2fc0-537f-8943-a5b60d87d5c5":{"name":"Osman Hamdi Bey (Getting mold of Antiochus relief During the excavation of Mount Nemrut)","description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"9863f692-894f-5cb2-b496-b0ec25aba740":{"name":"Kabyle mother with her child","description":"Western photographers were particularly interested in both women's daily lives, and family life. This photo from 1920 shows a Kabyle woman carrying her baby with a look of pride on her face.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"9c39a32f-844c-5e79-9249-d24aa6612ad5":{"name":"Siamese diplomatic service","alternate_name":"Group photo","description":"in 1861, Mongkut, the King of Siam, sent a diplomatic service to Paris, not in order to create an alliance, but to preserve their independence by sending messages of good will to various European sovereigns. Napoléon III organised a lavish reception at the Palais Fontainebleau, recalling the Siamese reception which Louis XIV received in 1684. This photo reveals the importance of the Siamese delegation (three ambassadors and ten attachés in their military dress) accompanied by the Abbot Larnaudie, interpreter for the Siamese court.","type":"Photograph","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"9d9c9b21-26f5-5feb-9433-34771e40c124":{"name":"Nikola Karev","description":"Nikola Karev (1877–1905) was one of the ideological leaders and organizers of the Uprising of Ilinden. The uprising broke out on the night of 2 August 1903. After taking over, Krushevo revolutionaries declared the Krushevo Republic on 3 August. The Headquarters of the uprising took the military control over the town. The other governing bodies were the Revolutionary Council, consisting of sixty of the most prominent citizens representing all nationalities, and the Government, consisting of six members. Vangel Dinu was the Prime Minister and Nikola Karev was the President of the Republic. Owing to the progressive socialist ideas of Nikola Karev and other revolutionaries, the Krushevo Republic was laid on truly democratic foundations and republican principles. Karev announced the Krushevo Manifesto as a truly democratic document addressing all nationalities living in Macedonia, regardless of their religion, envisioning equal rights for everyone.","type":"Photograph","holder":"Museum of Macedonia","dates":"End of the 19th centuty","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"9ece1ead-7c0b-528b-bdd1-e15c148b868c":{"name":"Medallion","short_description":"In Rome in the 4th century, glass-makers fully exploited the technique of sandwiched gold glass. Religious subjects - predominantly Christian but also Jewish - as well as portraits of families and individuals such as this piece were depicted in gold leaf with stippled and painted decoration. This was then placed between two layers of colourless glass that were fused together.  \n  \nThe identity of the man in this portrait is not known, but the costly process of this technique means it was somebody of high status. Medallions formed by this method were sometimes made as decorative pendants for wearing, but most were set into the base of bowls and dishes to commemorate a special occasion or present as a wedding gift. The portrait disks were later broken out of the dishes to be re-used as grave markers.","holder":"Victoria & Albert Museum","dates":"200 - 400 AD","location":"London","dimensions":"Diameter: 4.4cm","provenance":"Italy","obtention":"Purchased by the museum in 1868","bibliography":"Harden, Donald B., et al. (eds), *Glass of the Caesars*, Milan: Olivetti, 1987: 262.  \nHoney, W. B., \"Gold-Engraving under Glass\", *Connoisseur*, 92, (1933): 376, no.5.  \nLiefkes, Reino (ed), *Glass*, London: V&A Publications, 1997: 21-22, pl. 19.  \nWilliamson, Paul (ed), *The Medieval Treasury: The Art of the Middle Ages in the Victoria and Albert Museum*, London: V&A Publications, 1986: 42-43.","author":"Simon Spier","materials":["Gold lead applied to dark blue glass then finely scratched and stippled with a needle point and protected with a fused layer of colourless glass"]},"9ee00ba7-2731-5d14-b9bf-0d46da259600":{"name":"Ismail, Khedive of Egypt (1830–1895)","description":"Portrait of Ismail, Khedive of Egypt (1830–1895), who financed the construction of the Suez Canal. Because of the enormous costs of the building and his reform measures, Egypt's debt rose from three million pounds sterling to 100 million pounds sterling. In 1875 Egypt was bankrupt and Ismail Pasha was forced to sell 176,602 shares to Great Britain for 3,976,582 pounds sterling. Egypt came under financial control of France and Great Britain.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1868","location":"Vienna","copy_editor":"Daniel de la Vega"},"9faeadc1-e075-5681-bdc1-072dabd412c6":{"name":"Miniature 'Wine-Server' ('Portrait of a Young Man')","short_description":"According to the inscription in the lower left corner of the composition, the author of the painting is Reza Abbasi, the most prominent Iranian artist of the AD 17th century. The founder of the new style of painting and the head of the famous Isfahan school, Reza Abbasi has departed from the bright decorative colours of the classic Persian miniature and turned to a more restrained and unusual palette. He chose a thin and sensitive calligraphic line as his main means of expression. Wine-server (Persian: *saqi*) - a young man who served at banquets, pouring wine to guests. A flask in a form of a gourd in his right hand testifies to his role. The man is dressed in a malachite green robe. An orange silk scarf is untied and carelessly thrown over his shoulders. His full face, dreamy staring eyes, curls falling down on cheeks, small gentle hands and graceful posture, the smooth curves of which seem to echo the flexible lines of plants - all correspond to the traditional type of an effeminate youth-*saqi*.","type":"Miniature","holder":"The Khanenko Museum","dates":"AD 1627–1628","location":"Kyiv","dimensions":"Length: 22.3cm, Width: 13.5cm","method_for_datation":"Stylistic analysis and inscription reading by V. Krachkovskaya (publication, 1926, origin and date).","method_for_provenance":"Publication of Vera Krachkovskaya (1927): the Khanenkos' collection.","provenance":"Isfahan, Iran","obtention":"Purchased by Bohdan and Varvara Khanenko in Paris, 1914, presumably from Fredrik Robert Martin's collection. Donated by Varvara Khanenko in 1918, nationalised by Bolshevik regime in 1919.","bibliography":"Bilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nCanby, Sheila R. *The Rebeeious Reformer: The Drawings and Paintings of Riza-Yi Abbasi of Isfahan*, London: Azimuth Editions, 1996.  \nKrachkovskaya, V., \"Musulmsnskoye iskusstvo v sobranii Khanenko (Muslim Art from the Khanenkos' Collection)\", in Bartold V.V. (ed), *Zapyski Kollegii Vostokovedov (Notes of the College of Orientalists)* at Asian Museum of USSR Academy of Sciences, Vol II, Leningrad: USSR Academy of Sciences, 1927.  \nNewman, Andrew (ed), *Society and Culture in the Early Modern Middle East: Studies on Iran in the Safavid Period*, Leiden: Brill, 2003.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.","workshop":"Reza Abbasi workshop","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["Iran","miniature","Reza Abbasi","Safavid"],"materials":["gold and ink on paper","Opaque watercolour"]},"a0dc5e60-a3ed-58a3-8317-2db79e5cbc80":{"name":"Mico Liubibratic (1839–1889)","description":"Portrait of Mico Liubibratic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"a12c9928-1d6f-5b1e-814c-74692d5b8de6":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"a532878c-9737-5402-a686-e8febd96a222":{"name":"*Klemens Wenzel Lother of Metternich-Winneburg (1773–1859)*","description":"Klemens Wenzel Lothar of Metternich was the leading diplomat at the Congress of Vienna (1815) who organized the balance of power between the European states. The core of Metternich's policy was supporting Austrian hegemony in Italy and preventing Russian hegemony in Germany. In the German Confederation, there existed an equilibrium between Austria and Prussian influences. Metternich's so-called \"balance of power\" politics ensured peace in Central Europe for a generation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"a7c102ce-f4bb-5330-8383-c17696408f62":{"name":"Khayr al-Din Pacha","description":"Khayr al-Din Pacha brought in many reforms which significantly changed the precolonial period, to a great extent Westernizing the Beylik of Tunis, which was later portrayed as \"modernization\". This Mamluk of circasian origin was probably born in 1825, and came to Tunis as a child in 1840. He quickly climbed the ranks and took his father-in-law Mustapha Khaznadar's place as Chief Minister under the rule of Mohamed Sadok Bey from 1873 to 1877. He died in 1890 in Istanbul, where he had served as grand vizier. He appears tall and majestic in this photograph, and carries authority in his piercing gaze. His jacket is richly decorated, bearing the coat of arms of the sovereign who bought him and brought him to Tunis, Ahmed Bey (1835–1855).","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"ab544580-373f-5233-aec7-0fcf8aeb0acf":{"name":"*Milovan Bohekowich (-1900)*","description":"Portrait of Milovan Bohekowich. Bohekovich was the commander of Montenegrin forces fighting the Turks.","type":"Print","holder":"Austrian National Library","dates":"Before 1900","location":"Vienna","copy_editor":"Daniel de la Vega"},"acc57934-ae32-5e43-8f31-305447337577":{"name":"Water pumping equipment in Kağıthane, Istanbul","description":"During the 19th century, new technologies radically transformed both travel and communications. Cendere Hamidian Water Pump Station was built by Abdülhamid II in 1902 at an altitude of 34 metres above sea level. With its function, architectural design and mechanical equipment, the station is a unique monument to the history of the architecture industry in the Ottoman Empire. It pumped to Balmumcu and Beşiktaş – in the direction of Tophane, moving water coming from 20 different pipes in Kağıthane using steam pump machines.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"accedc02-c511-5161-ae0b-0e44a11da1d9":{"name":"Portrait of Emperor Franz Joseph","description":"Portrait of Emperor Franz Joseph in Uniform. In 1869 Franz Joseph visited the Ottoman Empire, especially Istanbul, the Holy Land and Egypt.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1870","location":"Vienna","copy_editor":"Daniel de la Vega"},"ace50751-44b2-507a-97c4-64edc5800962":{"name":"*The Illustrious Men of Budrio*","description":"These paintings are good examples of the fashion of collecting and cataloguing local memories in a sort of Filopatria (love for one's home-town). This was typical of the baroque age and of the age of the Enlightenment. They are composed of several roundels that had to be filled from time to time with portraits of illustrious citizens. In the first painting are depicted doctors, soldiers, ecclesiastics and venerable men living between the Middle Ages and the Early Counter-reformation. Among them are Mercatello, a medical doctor in Bologna, Antonio Cossa, professor of Law, and Bartolomeo Garganelli, professor of Law and Astronomy. In the second painting, finished in 1799, we find especially ecclesiastics, diplomats and magistrates, philosophers, scientists, medical doctors and theologians: Francesco Muratori, professor of Anatomy, Vincenzo Menghini medical doctor and chemist, the local historian Domenico Golinelli and his son Ludovico, a clergy man; artists such as the follower of the Carracci Giacomo Lippi, the baroque painter Giovanni Battista Caccioli, the set designer Vincenzo Gotti; the architects Alfonso Torreggiani and Giuseppe Tubertini. In the third picture illustrious men not included in the first two are depicted, who were born before the end of the century, like the landscape painter Alberto Melonari, the “quadraturista” Giuseppe Carlo Gotti, the set designer and member of the Bolognese Accademia Clementina Alessandro della Nave, the illustrious chemist and pharmacist, Francesco Maria Coli, professor of the University of Bologna, Domenico Inzaghi and Don Giuseppe Benedetti from whose bequests to the town of Budrio were created the public library and the Pinacoteca.","short_description":"These paintings, hanging in the first room of the Pinacoteca, celebrate men born in Budrio who became famous in various fields including literature, politics, sciences and arts. Many of them are also part of the history of Bologna and its institutions because, given that they were born in Budrio, they are also Citizens of Bologna.","type":"Celebration and documentary painting","holder":"Pinacoteca civica “Domenico Inzaghi”","owner":"Comune di Budrio","initial_owner":"(Probably) Consorzio dei Partecipanti","dates":"17th and 19th century","location":"Budrio, Bologna, Emilia-Romagna","place_of_production":"Budrio","method_for_datation":"Stylistic analysis; the tradition attributes them to the local painter Faustino Trebbi, for stylistic reasons it is thought he only painted the third one. The other two are probably the work of different artists.","provenance":"Municipal Library, Budrio","obtention":"Public Library, then moved to the Pinacoteca (1989).","bibliography":"Bernardini, C., *La Pinacoteca Civica* *di Budrio. Guida Illustrata,* Bologna, 1989, pp. 15-16.  \nBernardini, C., in *I dipinti della Pinacoteca Civica di Budrio. Secoli XIV - XIX* (eds. D. Benati and C. Bernardini), Bologna, 2005, pp.176-179, nn. 84.","workshop":"Local workshop, baroque age, Late baroque, 18th and 19th centuries","author":"Carla Bernardini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["documentation","Enlightenment","filopatrìa","historical iconography","Memory","Portrait"],"materials":["Tempera on canvas"]},"ad69ad7a-9e01-515e-b676-3ad43b71d387":{"name":"*Portrait of Count Miklós Zichy*","description":"A male portrait set in front of a dark background. The artist has concentrated on the features and characteristics of the sitter, making this a rare example of family portraiture that differs from the traditional type of so-called Ancestors' Galleries.  \nIn 1740, Count Miklós (Nicolaus) Zichy (1710–1758) became landlord of different possessions in Buda (Budakeszi, Óbuda and Újlak among others). A patron of the arts, he financed the building of churches, public buildings and his own castle, built in 1745, in the centre of Óbuda. The Count became a well known and outstanding personality of the region. This type of portraiture does not make use of the traditional attributes and settings of the so-called Ancestors' Galleries but rather connects Baroque representative portraiture to bourgeois portraits of the early 18th century.","short_description":"A Baroque official portrait of Count Miklós (Nicolaus) Zichy (1710–1758), one of the richest landowners of the Buda area and a significant patron of the arts. Zichy financed the building and construction of churches and public buildings and constructed a family palace in Óbuda (Old Buda) in 1745.","type":"Painting (portrait)","holder":"Budapest History Museum","initial_owner":"Zichy family","dates":"Around 1760","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 91.5 cm; w: 71.5 cm","place_of_production":"Hungary","method_for_datation":"By historical data","provenance":"Zichy family","obtention":"From the bequest of Count Jenő Zichy in 1903","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.24.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","Count Miklós (Nicolaus) Zichy","Óbuda","Oil painting","patronage","Portrait","Zichy family"],"materials":["Oil on canvas"]},"aef7807d-0cef-5b06-ba3e-6be4aa40ba9c":{"name":"Turkish woman","alternate_name":"*Vues d'Égypte et Types Orientaux*","description":"The Zangaki brothers were a pair of photographers working in Egypt who sold \"Orientalist\" photos to Western tourists, allowing them to immortalise their trip to the \"Orient\". This photograph shows a young Turkish woman.","type":"Photograph","holder":"National Library of France","dates":"1890-1895","location":"Paris","translator":"Flaminia Baldwin"},"af2dcc82-957a-54c2-9a0f-e5e5ba86b4d3":{"name":"Ottoman Clothing Album","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"af7e1b24-5d7e-5856-900a-6365e01610ba":{"name":"Portrait Album – Ottoman State Officers","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"afd9edc1-f5ea-5e44-91d3-f71b09a91a1e":{"name":"*Ibrahim Pasha*","description":"Second ruler of the Muhammad 'Ali Dynasty, Ibrahim Pasha was the oldest of Muhammad 'Ali Pasha’s sons and his right hand in his conquests and projects. He came to Egypt with his brother Ahmad Tusun in 28 August 1805. He ruled Egypt for only two months.","type":"Photograph; portrait; painting","holder":"Bibliotheca Alexandrina","dates":"19th century","location":"Alexandria","copy_editor":"Daniel de la Vega"},"b10f4142-3c70-5d92-a683-74544a7543bd":{"name":"*Portrait of Count Sámuel Teleki with Baron Sámuel Brukenthal’s half-length portrait*","description":"J. M. Stock was a Transylvanian Saxon portrait painter and engraver, who matriculated to the Academy of Fine Arts in Vienna in 1763, where he was a pupil of Meytens. From 1771, he studied at the Academy of Engraving in Vienna and afterwards lived in Pozsony (Bratislava). As an art connoisseur in Vienna, he dealt with Sámuel Brukenthal, Governor of Transylvania, and carried out commissions for him. In 1786, the painter gave up his work in Bratislava and went with Brukenthal to Nagyszeben (Sibiu).  \nThe portrait of Sámuel Teleki with Sámuel Brukenthal in the background is a *Freundschaftsbild* or “friendship picture”. Although they had similar scientific interests, and were both art collectors and founders of a museum and library (Teleki in Marosvásárhely (Târgu Mureş) and Brukenthal in Nagyszeben (Sibiu), the intellectual basis of this “friendship painting” was their freemasonic relationship. Both were members of important lodges in Vienna and helped to initiate and then supervise methodical preparation of an encyclopaedia undertaken by the Masonic Lodge in Nagyszeben (Sibiu); the intention of the project was to cover the history and contemporary conditions of all three nations inhabiting the region.  \nStock portrayed both Teleki and Brukenthal at their desks. Teleki, in Hungarian national costume, poses in a way commonly adopted by scientists and is within a context suggestive of a study. In the background, Brukenthal is portrayed dressed in casual garments in the pose of a French encyclopaedist-philosopher; the portrait provides a fitting detail for the interior. In addition, the picture includes motifs relating to freemasonry for on the desk, among other objects suggesting scientific study, is a map of Háromszék county in Transylvania showing the names of cities particularly active in freemasonry. The bust of Joseph II, also on the desk, is significant in that the Edict of Tolerance issued by the Emperor in 1781, made Sámuel Teleki's public career possible permitting, amongst other things, his appointment as Vice Chancellor of Transylvania in 1787.","short_description":"Johann Martin Stock was a well-educated portrait painter and graphic artist in Nagyszeben (Sibiu) and Pozsony (Bratislava). This portrait is a *Freundschaftsbild* or “friendship picture” of the library's founders, the Transylvanian count Sámuel Teleki and his friend, Baron Sámuel Brukenthal, whose portrait is in the background.","type":"Painting (portrait, a “friendship picture” \\[*Freundschaftsbild*\\])","holder":"Hungarian National Gallery","dates":"1787","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 41.5 cm; W: 33 cm","place_of_production":"Nagyszeben (Sibiu)","method_for_datation":"The painting, both signed and dated, portrays two men whose identities have been confirmed with the help of engravings.","obtention":"Transferred from the City Art Gallery to the Museum of Fine Arts where it was up until 1974, when it was moved to the Hungarian National Gallery.","bibliography":"Buzási, E., “Johann Martin Stock: Portrait of Count Sámuel Teleki with Baron Sámuel Brukenthal's half-length portrait”, *The Hungarian National Gallery: the Old Collection*, (ed. M. Mojzer), Budapest, 1984, p. 203.  \nBuzási, E., “A barátság-motívum térhódítása a 18. századi magyar portréfestésben” (“The Spread of the Friendship Motif in 18th-Century Hungarian Portrait Painting”), *Művészettörténeti Értesítő* XXXIII, 1984, pp. 212–236.","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Elizabeth Hoch","translation_copy_editor":"Mandi Gomez","keywords":["education","encyclopaedia","Enlightenment","freemasonry","Freundschaftsbild","Johann Martin Stock","Joseph II","Saxons","science"],"materials":["Oil on canvas"]},"b1761f2e-80b8-586f-b4e2-c3736d979725":{"name":"Photograph of an employee outside the *Poste-Cherifienne* office","description":"The first national post and transport service in Morocco was founded by Mulay al-Hasan I on 20 Jumada I 1390 (22 November 1892) and was known as the *Poste-Makhzen*. The office was established in order to take control nationally of the postal (mainly parcels and messengers) service in Morocco, but competition from private foreign firms was tough. When in 1892 the Sultan first gave orders for port managers to take control of Morocco’s interests in this regard, this nascent organisation included 13 Moroccan cities, defined as zones connected by transport links, and each defined by specific costs.","type":"Photograph","holder":"Itisalat al-Maghrib Museum","dates":"AH: 20 Jumada I 1390 (22 November 1892)","location":"Rabat"},"b2f01795-06d0-53f5-977b-6664d2f2de6b":{"name":"*King João V of Portugal Drinking Coffee and Chocolate*","description":"This interesting miniature, set within an ornate silver frame displaying the royal coat of arms, is one of only a few remaining objects from the Joanine court to have survived the Earthquake of 1755. According to the family of the Marquis of Foz, to whose collection this miniature belonged until 1901, this scene represents King João V being served drinking chocolate at home by the Duke of Lafões. However, in the corner of the miniature is the date 1720, making the Foz identification of the duke implausible given that the duke was born in 1718 and would have been two years old at the time this picture was painted. The most plausible hypothesis is that the person depicted is Prince Miguel of Braganza, the half-brother of the King and father of the future Duke of Lafões, who would, therefore, be the child represented. The Foz family also asserted that the Marquises of Angeja and Alegrete appear in the painting, as well as the painter himself and the house chaplain, however, firm identifications have been neither consistently contradicted nor confirmed.  \nThe objects depicted in this composition are noteworthy: the utensils associated with painting are in the foreground: a pallet, brushes and a sketch on a piece of paper. The objects related to drinking: a coffee pot, hot chocolate maker, tea cups and a bottle, alluding to the popularity of chocolate and coffee both of which became extremely fashionable among the Portuguese aristocracy and throughout the rest of Europe.  \nAlthough the scene suggests a relaxed and jolly atmosphere, the strict etiquette and hierarchy of the Joanine court is present within the structure of the composition: the representational field is divided into two halves, with the higher ranking figures on the left-hand side*.*  \nNothing is known about the identity of the miniaturist, although his name suggests that he might be one of many Italian artists who, together with other foreigners, came to work in Portugal during the reign of João V. The frame presents plant-like decorations with acanthus, volutes and shell shapes in chiselled and embossed silver – a feature associated with the first quarter of the 1700s. The frame is surmounted by a shield and crowned with the Portuguese royal arms sustained by two lieutenant *putti.* A grotesque mask at the bottom centre is typical of this phase of the Baroque period. A chiselled frieze with laurel leaves serves as an internal frame for the miniature.","short_description":"A miniature painting representing King João V of Portugal with a group of courtesans being served coffee and chocolate, within an ornate silver frame bearing the royal coat of arms.","type":"Miniature painting","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"Marquis of Foz Collection","dates":"1720 (miniature); first quarter of the 18th century (silver frame)","location":"Lisbon, Lisbon","dimensions":"Miniature: h: 12 cm; w: 12 cm; frame: h: 27 cm; w: 20.2 cm","place_of_production":"Lisbon","method_for_datation":"The miniature by an inscription and the frame by stylistic analysis","provenance":"Marquis of Foz Collection","obtention":"Acquisition, 1915","bibliography":"*Catálogo do leilão dos objectos d'arte e mobiliário antigo*, Lisbon, 1901, cat. 575.  \nD'Orey, L., *Le langage des orfèvres du Portugal*, Lisbon, 1988, cat. 28.  \nRocca, S. et al., *Roma Lusitana – Lisbona Romana: guida alla mostra*, Rome, 1990–1991, cat.106.  \nTeixeira, J., “Le roi D. João V buvant du chocolat dans la compagnie de l'Infant D. Miguel” in *Le Triomphe du baroque*, Brussels, 1991, cat. I/10.","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Alexandra Markl (miniature)","translator":"Lili Cavalheiro","translation_copy_editor":"Mandi Gomez","keywords":["Exotic beverages","floral decoration","miniature","Portuguese king"],"materials":["frame: embossed and chiselled silver","Picture: tempera on ivory"]},"b38891de-f49d-5dd2-b4f0-dec5aad2f1bf":{"name":"Carpet-Qajar Portrait","short_description":"This wool rug depicts fifty-one prominent personalities across history in an assemblage portrait. Like many Iranian carpets in the 19th century, this textile reflects the emergence during the Qajar dynasty of pictorial carpets displaying religious, historical or literary scenes.  \nAmong prophets like Moses, Solomon, and Jesus, are men known throughout Asian history such as Genghis Khan and Confucius. In addition, Socrates, Christopher Columbus and Napoleon Bonaparte contribute to this group portrait.  \n  \nThe border, an essential element in Persian carpets, frames the scene of famous people with floral patterns and a legend with the names of individuals. Interestingly, the numbers appear mirrored, suggesting that the carpet maker was illiterate or unfamiliar with Arabic numbers, leaving his mark within the thread.","type":"Carpet; Rug","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Doha","dimensions":"Length: 249.6cm, Width: 155.8cm","method_for_datation":"Date and origin were derived from material, colour, pattern and knot examination.","method_for_provenance":"Date and origin were derived from material, colour, pattern and knot examination.","provenance":"Iran","obtention":"Purchase","bibliography":"Ahani, L., Yaghoubzadeh, A., and Vandshoari, A., \"A Presentation and Classification of Pictorial Carpets of Qajar Era\", *Journal of History Culture and Art Research*, 6 : 2 (2017): 123-137.  \nRashadi, H. and Marasi, M., \"A Study on the Status of Borders in Pictorial Carpets of Qajar Era\", *goljaam*, 7 : 20 (2012): 57-72.  \nSchulz, Vera-Simone, \"Portraits, Photographs, and Politics in the Carpet Medium: Iran, the Soviet Union and Beyond\", *Konsthistorisk tidskrift/Journal of Art History*, 83 : 3 (2014): 244-265.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["carpet","Qajar","rug"],"materials":["Senneh knot","wool"]},"b5774f3e-8016-55ca-9542-099e3ef271b9":{"name":"Portrait of Akbar in old age","short_description":"This posthumous portrait of the Mughal emperor Akbar (r. 1556-1605 CE) was probably commissioned by his grandson Shah Jahan (r. 1628-58 CE), who was thirteen when the emperor died. The aged Akbar is depicted in three-quarter profile, a view reserved for figures of lesser rank but perhaps accepted for posthumous emperor portraits. Mughal conventions such as the golden halo and the fact that the emperor stands upon the orb of the world signify Akbar’s power as a ruler. The intricate details of his embroidered robe and sash, the pearls around his neck, and the bejewelled dagger hilt emphasize his royal standing and are complemented by a scrolling vegetal border rendered in gold. On the border of the album page, believed to be contemporary with the portrait, three of the emperor’s attendants stand symbolically (and literally) behind him, respectively holding his umbrella, standard, and shield. Two puttis, winged angelic figures derived from European models, hold a golden canopy protectively over Akbar’s portrait, while the antelope and deer depicted below, also on the earthly orb, associate the reign of the late emperor with a peaceful era. This portrait is believed to come from Shah Jahan’s last album, the compilation of which began around 1650 CE, and may never have been completed. Its paintings include several single-figure portraits that acted as models for future albums (Canby 1998, p. 151). The numerous border paintings are extremely developed and skilful works of art in their own right. In the early twentieth century, the “Late Shah Jahan Album” was unfortunately dispersed, and the pages, often split into two, were sold separately.","type":"Folio","holder":"Aga Khan Museum","dates":"1645","location":"Toronto, Ontario","dimensions":"38.1 x 26cm","provenance":"Agra, India","obtention":"Former Prince Saddrudin Aga Khan Collection","bibliography":"Canby, Sheila R., *Princes, Poets and Paladins: Islamic and Indian paintings from the collection of Prince and Princess Sadruddin Aga Khan*, London: Trustees of the British Museum, 1998. ISBN: 9780714114835.","keywords":["Album","figure","folio","human-figure","Portrait","work-on-paper","works-on-paper"],"materials":["Opaque watercolour and gold on paper"]},"b70d09b4-b304-5766-96c2-44d09249f330":{"name":"*Portrait of Carlo Broschi called Farinelli*","description":"This painting is a portrait of the world famous soprano castrate singer Carlo Broschi whose stage name was Farinelli. He is wearing a cape of the order of Calatrava as in 1750 he was made a Knight of this important Spanish order by the king of Spain Ferdinand VI. The singer touches a page of music laid on the cembalo with his left hand. In the background, oval portraits of the King of Spain and his queen, Maria Barbara di Braganza, are surrounded by a tripudium of nymphs and cupids. There is also a self-portrait of the painter, Corrado Giaquinto. The portrait was part of Farinelli’s rich collection of paintings decorating his villa in Bologna, where he retired after a long stay at the court of Madrid (1737–1759).","type":"Painting","holder":"Museo Internazionale e Biblioteca della Musica","initial_owner":"Maria Carlotta Pisani, Farinelli’s niece, bequest","dates":"c. 1755","location":"Bologna, Emilia-Romagna","dimensions":"275,5 x 185,5 cm","place_of_production":"Naples?","provenance":"Farinelli’s Villa, once in via Lame 228, Bologna","obtention":"Presented to the Comune di Bologna in 1850 by Maria Carlotta Pisani, the niece of Farinelli.","bibliography":"*Mostra della pittura italiana del '600 e del '700* (exhibition catalogue), Rome, 1922, p. 21.  \n*Pittura Italiana del Settecento* (exhibition catalogue) (eds. E. Riccòmini and J. Winkelmann), Bologna, 1974, pp. 38-39.  \n*Collezionismo e storiografia musicale nel Settecento. La quadreria e la biblioteca di Padre Martini* (exhibition catalogue), Bologna, 1984.  \n*Le stanze della musica* (exhibition catalogue), Cinisello Balsamo (Mi), 2002.  \n*Guida al percorso espositivo del Museo della Musica*, Bologna, 2004.","workshop":"Neapolitan Baroque","author":"Jenny Servino","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Corrado Giaquinto","Farinelli","music","Neapolitan painting","Opera","Portrait","Self-portrait","Singer"],"materials":["Oil on canvas"]},"b76ae0c2-5d4f-563b-9c84-b8b5747b1e2f":{"name":"Ivan V Drašković (about 1660–Varaždin, Croatia, 4.1.1733)","description":"For generations the Drašković family played an important part in the political and social life of Croatia. Counts from the 17th century (1631), numerous members of the family became *bans* (viceroys) and high-ranking military officers. The family's wealth comprised numerous estates, among which were Trakošćan and Klenovnik castles in northwest Croatia. Ivan V Drašković, son of vice-marshal Ivan IV and Marija Magdalena Nádasdy, studied in Varaždin, Vienna and Bologna before returning to Croatia in 1695. In 1699, he became Grand Sheriff of the Valpovo and Baranja County, and shortly after became a royal councillor. Having excelled militarily, promotion to General followed in 1708 and the Croatian parliament named him Commander of the Croatian National Troops. He actively supported the proposal to ensure the right of succession of the Habsburg female line (Croatian Pragmatic Sanction) in 1712. He fought as vice-marshal (*podmaršal*) on the Turkish border. Drašković was acting *ban* (viceroy) from 1718 to 1732 but only officially appointed to the post on 2 February 1732. He died suddenly the following year.  \nThe portrait, painted some time shortly after Drašković officially became *ban* in 1732, depicts the elderly count as a nobleman, his right hand holding a general's baton. On the right-hand side, the imperial eagle holds the coats of arms of Croatia, Slavonia and Dalmatia, signifying his official status as *ban*. In the background to the left is Trakošćan castle, with tents and soldiers below.","short_description":"Count Ivan V Drašković was acting *ban* (viceroy) from 1718 to 1732. Officially appointed *ban* on 2 February 1732, he died suddenly the following year. Drašković actively supported the right of succession to the Habsurg female line (Croatian Pragmatic Sanction). The portrait, painted some time shortly after Drašković officially became *ban*, depicts the elderly count as a nobleman, his right hand holding a general's baton.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"The Kulmer family, Šestine near Zagreb","dates":"1732/33","location":"Zagreb, North-West Croatia","dimensions":"H: 90 cm; w: 69 cm","place_of_production":"Croatia (?)","method_for_datation":"The imperial eagle holding the coats of arms of Croatia, Slavonia and Dalmatia signifies the office of *ban* (viceroy), and enables the painting to be conclusively dated to 1732 or 1733.","provenance":"The Kulmer family","obtention":"Donated to the Museum by Countess Josipa Kulmer from Šestine near Zagreb in 1854.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, p. 77.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 246.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["ban (viceroy)","coat of arms","Drašković family","eagles","Portrait"],"materials":["Oil on canvas"]},"b7e5dd09-cf9b-5310-9343-8db43d0c9114":{"name":"*The Emperor of Austria ascending the Great Pyramid*","description":"William Simpson wrote in his autobiography: \"I went out one day and saw the Emperor of Austria lugged to the top of the Great Pyramid by two Arabs as if he had been only an overland passenger\". Many visitors were unceremoniously hauled to the top of the monument by local inhabitants, helping unfit and often overweight tourists to clamber up the huge blocks. Emperor Franz Joseph was one of many European dignitaries in Egypt in November 1869 for the opening of the Suez Canal. Simpson was employed by the Illustrated London News as their \"Special Artist\". Photography would soon replace such drawings.","type":"Watercolour","holder":"The British Museum","dates":"1869","location":"London","provenance":"Egypt"},"bc4ebe5a-094c-56c1-b426-f1d720ea5206":{"name":"Abdülaziz (1830–1876)","description":"Portrait of Abdülaziz (1830–1876). In 1861 he became Sultan. He was very interested in fostering a good relationship with European powers and to this end visited Paris, London and Vienna in 1867. Because of the uprisings in Bosnia-Herzegovina and Bulgaria, he was forced to abdicate on 30 May 1876.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1861","location":"Vienna","copy_editor":"Daniel de la Vega"},"bcbffbcf-b106-5603-ac6b-c0832f43b411":{"name":"*Josip Kazimir Drašković* (4.3.1716 – Klenovnik, Croatia, 9.10.1765)","description":"The Drašković family played an important role in the political and social life of Croatia throughout many generations. Counts from the 17th century (1631), numerous members of the family were Croatian *bans* (viceroys) and high-ranking military officers. The family's wealth included numerous estates, among them Trakošćan and Klenovnik castles in northwest Croatia. Josip Kazimir Drašković, son of viceroy Ivan V, was a prominent high-ranking officer, a colonel by the age of 30, and a general by 1750. He took part in quenching the peasants' and soldiers' uprising in Croatia in 1755. In 1758, Empress Maria Theresia awarded him her Military Order for outstanding bravery in the defence of Olomouc; in 1765, he was awarded the Commander's Cross of the same Order for defending Moravia. He was married to Suzana Malatinski with whom he had three sons and a daughter.  \nThe portrait, originally in Trakošćan, was probably part of the Gallery of Officers serving under Josip Kazimir, consisting of 50 portraits (the other portraits are in Trakošćan Castle Museum). The portrait is the work of the Viennese painter, Johann Michael Millitz. Between 1764 and 1778, he painted numerous members of the Croatian and Hungarian nobility, and painted Josip Kazimir's daughter Julijana (married to Count Erdödy). Drašković is shown wearing a Commander's Cross of Maria Theresia's Military Order. The portrait, modified probably in 1765, commemorates the higher order of Commander's Cross, over-painting the Military Order received by Drašković in 1758.","short_description":"Count Josip Kazimir Drašković, son of viceroy Ivan V, was a prominent high-ranking officer promoted to general in 1750. He took part in quenching the peasants’ and soldiers’ uprising in Croatia in 1755. In 1758, Empress Maria Theresia awarded him the Military Order, and in 1765, he was awarded the Commander’s Cross of the same Order.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"Drašković family, Trakošćan Castle","dates":"After 1758, probably modified in 1765","location":"Zagreb, North-West Croatia","dimensions":"H: 98.5 cm; w: 77 cm","place_of_production":"Vienna (?)","method_for_datation":"The date and origin of the portrait were established through information known about Josip Kazimir Drašković as well as by stylistic analysis of the painting and other known works by Johann Michael Millitz.","provenance":"Estate of the Drašković family from Trakošćan","obtention":"Received from the Commission for the Collection and Preservation of Cultural Monuments and Antiques in 1952.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 79–80.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, pp. 229, 247.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["Austrian army","Drašković family","Portrait","soldier","warfare"],"materials":["Oil on canvas"]},"bcebbe38-8019-5c28-b4b7-8f04a8b1d7be":{"name":"Ibrahim Pasha (1789–1848)","description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1841","location":"Vienna","copy_editor":"Daniel de la Vega"},"be995e66-cbb2-5c08-8546-d64d8f9a6fa0":{"name":"Cameo","short_description":"This oval shaped cameo depicts the Mughal emperor Shah Jahan (r. AH 1037-1068 / AD 1628-1658). He is shown in profile, richly jewelled, a model most likely taken from Mughal paintings. A small group of securely dated cameos exist from the period of Shah Jahan, all of which have been attributed to European lapidaries who worked at the court of the emperor. Cameos like this one continued to be made in later centuries, often by Indian lapidaries, and set into jewelled pendants to be worn.","type":"Jewellery","holder":"Museum of Islamic Art","dates":"Hegira 13th century / AD 19th century","location":"Doha","dimensions":"Height: 4.1cm, Depth: 3.3cm","provenance":"India","obtention":"The Estate of the late Mary Fry, nee Fane, Fulbeck Hall, Lincolnshire; her sale, Sotheby’s, The Contents of Fulbeck Hall, Lincolnshire, 8th October 2002, Lot 460  \nBonhams Knightsbridge, Islamic and Indian Art, 1 May 2003, Sale 10185, Lot 380 to Qatar Museums","bibliography":"Anderson, Sean A., *Lightness and Being: The Museum of Islamic Art, Doha*, Qatar: The Marg Foundation, 2012.  \n  \nSoueif, Ahdaf, *Reflections on Islamic Art*, Doha: Bloomsbury Qatar Foundation Publishing, 2011.","author":"Tara Desjardins","keywords":["Cameo","India","jewellery","Mughal","Shah Jahan"],"materials":["Bloodstone","Cameo","carving","Sardonyx"]},"bf3df40c-9dbc-5641-863e-11c7fa684ee3":{"name":"*Mature Self-portrait*","description":"The exact date of the self-portrait is unknown, but the slightly greying temples suggest that the artist was about forty. This hypothesis is consistent with the style of the period, which many scholars have likened to the emotional sensitivity of his contemporary, Velázquez.  \nBernini painted only for himself, creating portraits, and in particular self-portraits, in private. He did not seek physiognomic detail or self-aggrandisement, focusing instead on researching psychology and the reality of the human condition. These features give painting back that immediacy which makes his paintings a precursor of the modern Borghese portrait.  \nThe brush strokes are fast and spontaneous, the shaking effects helping to humanise the subject. The background of the painting appears not to be finished, concentrating our attention on the expression of the face, whose features are rendered by deep chiaroscuro and colouring attributable to Annibale Carracci.  \nThe head is turned slightly away from the profiled bust. This arrangement suggests a slight movement of the face toward the viewer, accentuated by subtle movement of the hair caused by the twisting.  \nBernini uses strong combinations of light and shadow to add intensity to the eyes, which are almost sculptural in form.  \nNo documentation has ever been found to confirm the hypothesis that this canvas was taken from a diptych, whose pendant was the portrait of Costanza Bonarelli, the woman Bernini loved. The right-hand side of the canvas is frayed, hence the assumption that this is indeed part of that split work.  \nThe painting was donated to the Galleria Borghese in 1911 by Baron Otto Messinger, who owned a substantial body of works from the Chigi collection. It is, therefore, assumed that this famous self portrait came from the same place.","short_description":"This painting demonstrates the self-awareness of the artist, whose pose betrays his preoccupation with intellectual discovery.  \nBernini created many self-portraits during his career.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Chigi collection (?)","dates":"c. 1638–40","location":"Rome, Latium","dimensions":"h: 55 cm; w: 44.5 cm","provenance":"Collection of Baron Messinger","obtention":"Gift of Baron Messinger, 1911.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, II, Rome, 1959, n.109, pp. 73–74.  \nHerrmann Fiore, K., in *Invisibilia. Rivedere i capolavori, vedere i progetti*, catalogo della mostra, Rome, 1992, p. 40.  \nHerrmann Fiore, K., “Tre ritratti dipinti da Gian Lorenzo Bernini nella Galleria Borghese”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 233–239.  \nMontanari, T., *Bernini pittore*, exhibition catalogue (Rome), Milan, 2007, cat. 4, pp. 94–95.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["chiaroscuro","Self-portrait"],"materials":["Oil on canvas"]},"bf8c236d-a3f0-57db-aaff-72a234666a2c":{"name":"Portrait of Sultan Selim II","short_description":"This large album portrait of Sultan Selim II (reigned 1566–74) reveals much about his reign. It was Selim’s father, Sultan Süleyman the Magnificent (reigned 1520–66), who solidified the geographical borders of the Ottoman Empire and refined the central administration of his government, allowing his son and successor to pursue more sedentary pleasures such as literature, art and wine-drinking. Nicknamed “Selim the Sot” for his affection for wine, the sultan was nonetheless a great bibliophile and patron of architecture, music and the arts of the book. The painter, poet and naval commander Haydar Reis depicted Selim II as larger than life; the robust sultan in his luxurious fur-lined and brocaded gold garment dwarfs both the page boy and the interior in which he sits in a cross-legged position on a carpet. This composition was one of a number of conventions for Ottoman royal portraiture developed in the 1570s and is similar to portraits in Loqman’s *Kiyafetu’l Insaniye fi Semailu’l-Osmaniye*, a study to record the physiognomy of the Ottoman sultans.","type":"Folio","holder":"Aga Khan Museum","dates":"1570 or 1590","location":"Toronto, Ontario","dimensions":"44.2 x 31.2cm","provenance":"Istanbul, Turkey","obtention":"Former Prince Saddrudin Aga Khan Collection","keywords":["folio","painting","Portrait","ruler","sultan","work-on-paper","works-on-paper"],"materials":["Gold","Opaque watercolour","Paper"]},"bf8ccf55-0b9f-51ab-833d-046d658d52ad":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"c16fad3d-de00-51aa-b32f-c08f9761a3dc":{"name":"*Madame X*","description":"The basis of Turkish painting drawing influence from western tradition was laid when *Mühendishane-i Berr-i Hümayun* (the Naval Academy) opened in 1795. Halil Pasha was foremost among the painters with a military background who founded a western-style art tradition in Turkey. He worked with Jean Leon Gerome in his atelier in Paris. He provided a unique distinction to the analysis of impressionist light and colour, and was an example of artists dealing with impressionist technique. Because of his qualified knowledge about anatomy and his interest in depicting the human figure, Halil Pasha had a unique place in Turkish Art History.","type":"Painting","holder":"Sabancı University, Sakıp Sabancı Museum","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"c2b70678-bfae-5de0-a210-547e266d7099":{"name":"Emigrant family","description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. This photograph belongs to the Luka Likidis family, who migrated from Bodrum to Crete in 1916.","type":"Photograph","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1916","location":"Istanbul","provenance":"Greece","copy_editor":"Daniel de la Vega"},"c41a0993-462a-5165-a2e7-78834dccf500":{"name":"*Bust of Cardinal Domenico Ginnasi*","description":"In 1911 the bust was found in the Carmelite Convent at the Church of Santa Maria della Vittoria, relocated from the Church of SS. Pietro e Marcellino, the seat of the Teresian Nuns. The nuns moved there in 1757, from the convent founded after the death of Domenico Ginnasi in Palazzo Ginnasi in 1639, and they took the bust with them, having always identified it as a portrait of the cardinal.  \nThe work was first attributed to both Bernini and Algardi, before being linked to Giuliano Finelli following comparison with the bust the sculptor made for the cardinal for his funeral monument at S. Lucia dei Ginnasi (the decoration is based on a design by Lanfranco, whose daughter married Finelli).  \nThe sculptor worked with Bernini on several occasions, notably on *Apollo and Daphne* in the Galleria Borghese and the baldachin (large sculpted bronze canopy over the altar) of Saint Peter's. He worked alone from 1629 and joined Rome's artistic circle thanks to the numerous contacts that he was able to make, notably Pietro da Cortona, who in turn introduced him to the Sacchetti family, well known patrons.  \nHis style is characterised by attention to detail, intense skill and psychological depth, but always retaining spontaneity and immediacy, a peculiarity of Bernini's so-called “talking portrait”. The partially unbuttoned *mozzetta* (a short elbow length cape worn by Catholic clergy), the kindly and informal face and the realistic lines are clear evidence of this style.  \nIn relation to this, a *Bust of Cardinal Scipione Borghese* made by Finelli and currently in the Metropolitan Museum of New York, was sculpted at the same time as the Bernini version (1632). In 1634 Finelli moved to Naples, where he developed a portrait style closer to Parthenopean and Spanish taste, preferring distant, official, commemorative portraits. However in the work undertaken at this time for Roman clients, he never completely abandoned his refined virtuosity and keen psychological study, as can be seen in the bust of Cardinal Ginnasi, sculpted in 1639.","short_description":"A pupil of Bernini, Finelli focused his attention on the particular rather than the whole. This tendency prevented Finelli from being a great statuary artist, although it enabled him to evolve a striking flair for portraiture.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Carmelite Sisters, Palazzo Ginnasi Convent (?)","dates":"1639","location":"Rome, Latium","dimensions":"h: 68 cm","provenance":"Carmelite Convent in Santa Maria della Vittoria","obtention":"Carmelite Convent in Santa Maria della Vittoria, 1911.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.2, p. 10.  \nSanta Maria, P. L., in *voce* “Giuliano Finelli”, in *Dizionario Biografico degli Italiani*, Milan, 48, 1997, pp. 32–34.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 385.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Algardi","Bernini","Bust","marble","patronage","Portrait","talking portrait"],"materials":["Statuary marble"]},"c4f3ee34-3e55-5cf6-ab02-eee9f50cdc11":{"name":"*Danilo I, Prince of Montenegro (1871–1939)*","description":"Danilo I, Prince of Montenegro (1871–1939) as a child. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Print","holder":"Austrian National Library","dates":"1880","location":"Vienna","copy_editor":"Daniel de la Vega"},"c7278b24-cf58-5191-9342-586e5560d4ff":{"name":"*Mlle. Lauta, first* \\[French\\] *woman to get a degree in philosophy*","description":"Léontine Zanta (not Lauta, as indicated by the photograph) was the first French woman to receive a literature degree (not a philosophy degree), writing her thesis on revival of Stoicism in the 16th century. A journalist, teacher and novelist, she was also very interested in feminism.","type":"Photograph","holder":"National Library of France","dates":"1914","location":"Paris","translator":"Flaminia Baldwin"},"c783fc3a-6b1b-58c1-83a4-ba0e00d74936":{"name":"A teacher and one of his pupils","description":"Pictured here are schoolteacher teaching his young pupil to write.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"c7f58b8f-d101-5a99-a3cc-dcb898bbfeeb":{"name":"An Algerian woman grinds her meal in an old wooden mill","description":"Many Western photographers took great interest in women's daily lives, or in daily rural tasks. In this photograph from 1920 an Algerian woman is pictured as she grinds wheat with a wooden pestle and mortar.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"c95dc265-e63b-5039-8f8f-a2652ee2dcba":{"name":"Tripolitania (Libya). Italian soldiers in front of a Roman mosaic","description":"Italian soldiers in front of a Roman mosaic in Tripolitania, Libya. At their feet, almost at the centre of the photo, a plaque explains that: “These wonderful remains of Ancient Rome art and civilization” have been brought back to the admiration of posterity by the Italian soldiers of the Bersaglieri 33rd Battalion in 1911 and they “confirm… Italy’s right to rule over Tripolitania”.  \nThe plaque explicitly claims that Italy colonial ambitions over Libya were legitimate because Ancient Rome had once ruled over that territory. This line of argument was often used by Italian colonialists in order to legitimize Italian colonial ambitions over Libya.","type":"Photograph","holder":"Central Institute for Cataloguing and Documentation (ICCD)","dates":"1911","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"c9c74f64-866f-5104-9cb6-e6c2fc0927e4":{"name":"*O Grupo do Leão*","alternate_name":"The group of artists in the Leão de Ouro beer house","description":"This is a Portuguese new generation of artists who played a major role in naturalist and realist painting in Portugal. Meant to decorate the beer house, this painting became famous and marked the beginning of a period of great artistic activity. This painting by Columbano Bordalo Pinheiro (1857–1929), the greatest painter of his time, depicts a group of artists who got together at the “Leão de Ouro” beer house in Lisbon.","type":"Painting","holder":"National Museum of Contemporary Art – Chiado Museum","dates":"1885","location":"Lisbon","author":"DGPC"},"c9d97b65-0be6-5a7c-984a-641093ced2e4":{"name":"*Portrait of Count Maxmilián Oldřich Kounic*","description":"This rendition of a young count in informal brocade clothes and a lace housecoat stands out from the routine official court portraits of its time by virtue of its soft rendering in relaxed brush strokes. The spontaneity and lightness of the work correspond with the personality of a youth known to be devoted to “aristocratic” pastimes such as dancing, horse riding, fencing and playing the guitar. The young count travelled twice to the court in Düsseldorf to get to know his future wife, heiress of the Rietberg County. Maxmilián Oldřich Kounic (1679–1746), later the Moravian provincial governor, undertook the grand tour in 1698, visiting The Hague, Brussels and finally Paris, where he had his portrait painted by a Flemish artist who moved through the elegant Roman and Paris milieu.  \nThe Kounic family was among the most powerful in Moravia. Maxmilián Oldřich's father, Dominik Ondřej Kounic, was the imperial vice-chancellor, his son Václav Antonín Dominik (1711–1794) became a leading diplomat, court and state chancellor under the reign of four emperors, Maria Theresa, Joseph II, Leopold II and Francis II. Václav Antonín Dominik also promoted the ideas of the Enlightenment; he established the Academy of Science and *Belle Lettres* in Brussels and united the Vienna Academy. Maxmilián Oldřich Kounic was responsible for selecting painters to decorate the Assembly Hall of the Provincial Estates in Brno, and played an important part in the reconstruction of the Kounic family residence in Slavkov, the design of which was among the first examples of the French chateau plan in Moravia.","short_description":"This rendition of a young count stands out from the routine official court portraits of its time by virtue of its soft rendering in relaxed brush strokes. The portrait came into existence during the grand tour of Maxmilián Oldřich Kounic, who later became the Moravian provincial governor.","type":"Painting","holder":"History Museum, Slavkov","owner":"Slavkov Chateau","initial_owner":"Count Kounic","dates":"1698","location":"State Chateau, Slavkov, Moravia","dimensions":"h: 73.5 cm; w: 60 cm","place_of_production":"Paris","method_for_datation":"Letters that survive from Count Kounic’s grand tour elucidate the circumstances of the portrait’s origin. Dominik Ondřej Kounic wanted to commission a portrait of his son the size of which was to be identical to that of his own portrait by Hyacinth Rigaud. His son wanted to know whether to choose Rigaud or Gottfried Kneller to portray him, and asked his father to send him the dimensions of the picture marked by knots on a string as he believed nobody in France would understand Moravian measurements. Unfortunately, the count’s choice of portrait artist is not covered by further correspondence. Marie Mžyková has suggested, on the basis of a style analysis backed by the comparison of X-rays, that the artist was Jakob Ferdinand Voet, a court portraitist from Antwerp.","provenance":"Slavkov Chateau","obtention":"The painting was part of the Kounic collection in Slavkov Chateau, near Brno. It is currently administered by the Institute of National Heritage, Brno.","bibliography":"Miloš Stehlík, *Obrazárna státního zámku ve Slavkově u Brna,* Brno 1966.  \nMarie Mžyková, Dílo Hyacintha Rigauda v československých sbírkách, in *Barokní umění a jeho význam v české kultuře.* *Sborník sympozia, které pořádala Národní galerie v Praze k připomenutí osobnosti a díla Oldřicha J. Blažíčka ve dnech 11. a 12. prosince 1986*, Prague, 1991, pp. 194–201.  \nJiří Kroupa, *Václav Antonín kníže Kounic-Rietberg a jeho doba*, Brno, 1994.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 330–301, cat. 138, p. 136.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Grand tour","Portrait"],"materials":["Oil on canvas"]},"cff9d211-aedd-5f72-abe6-63319cd03d80":{"name":"Photograph of Krste Petkov Misirkov","alternate_name":"Framed photograph; Fotografija na Krste Petkov Misirkov","description":"Krste Misirkov (1874–1926) was a grandiose and profoundly nationally designated personage of the 19th century. He lived in St. Petersburg and was an esteemed and highly engaged member of the Slav-Macedonian Scientific Literary Society. He contributed to the standardization of the modern Macedonian language, having given responses to some important issues of the history, culture and language of Macedonians.","type":"Photograph","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"d12751a5-ab84-5160-b99b-ce28227573a2":{"name":"The embroiderers of Dar al-Kiswa in Cairo","short_description":"Dar al-Kiswa started life as *warshat al-kharanfash* – a large factory established by Muhammad ‘Ali Pasha in 1817 in Cairo. 4000 young men from Cairo were assembled to work there as apprentices in a variety of crafts and trades. But by the 1880s, it had become a workshop dedicated to the production of the Meccan textiles. The workshop was closed down in the late 1990s.  \n  \nAt its heyday, up to a hundred weavers, artisans and embroiderers were known to have worked in Dar al-Kiswa. One section of the workshop, the *qism al-zarkasha*, was responsible for embroidering the textiles that were sent to Mecca every year. Many were members of the same family and often started work there as young boys, remaining until they retired. In the 1930s thre were at least 60 there, with an average age of about 65.  \n  \nThe photographs are of some of the employees working in the embroidery section at Dar al-Kiswa. It is not known when they were assembled, but it is likely to have been sometime around the 1940s–early 50s.","type":"Photographic montage; passport-size photographs","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"*circa* 1940s – early 50s","location":"London","provenance":"Egypt, Cairo","bibliography":"Nassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["annotations in ink","Passport-size photographs","pasted on red card"]},"d1d2c280-9bfc-5ff6-9d5a-7ba47f268569":{"name":"*An Aristocratic Couple as Adam and Eve*","description":"*An Aristocratic Couple as Adam and Eve* is a very unusual, bizarre picture of the genre; an allegorical portrait that allowed the artist to ignore the formalities of traditional portraiture. The couple, wearing white wigs and sitting in the garden of Eden among tame wild animals obviously commissioned the painting, but their identities are still unknown. Because of the boldness of the portrayal it is very likely that the painting was the result of an established friendship between the artist and the commissioner, particularly as this kind of portrayal is unparalleled in Millitz's oeuvre as he painted mainly traditional, representative half-length portraits.  \nAs we know little about Millitz's genre or group portraits and still less about his portraits with landscape elements, this allegorical portrait implies an unusual and new venture for the painter. The basis for the faces was probably traditional portraiture, but for the other parts of the composition the painter in all likelihood used a French sample picture, perhaps suggested by his commissioner. A composition of Adam and Eve by Jean Francois Troy (1679–1752) painted in 1730 is a case in point. This work shows the moment of the Fall of Adam and Eve in a style similar to the Rococo genre but with real emotion. Regards the content of this painting, it portrays the travesty of the biblical scene from the perspective of the Age of Enlightenment. As to its philosophical background, the scene is an enlightened transformation of the free will of the first human couple who acted independently of God's wish.  \nMillitz was Martin van Meytens' pupil at the Academy of Fine Arts in Vienna. He lived and worked in Vienna from 1749 and then worked in Pozsony (Bratislava) between 1778 and 1784. He executed several commissions for mainly Hungarian aristocratic families.","short_description":"An unusual representation by the master of Pozsony (Bratislava) painted while Millitz was studying in Vienna: the double nude composition was born under the influence of the new philosophical ideas of the Age of Enlightenment.","type":"Painting (portraiture)","holder":"Hungarian National Gallery","dates":"c. 1770","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 90 cm; w: 68.3 cm","method_for_datation":"By stylistic analysis","obtention":"Purchased from a private owner in 1980.","bibliography":"Buzási, E. (ed), *Cat. Nr. 31. Alte ungarische Bildnisse* (*Cat. No. 31 Old Hungarian Paintings*), századi magyar művészetben (exhibition catalogue), Tata–Szombathely, 1988.  \nBuzási, E., *Cat. Nr.* *I–19. A modell. Női akt a 19* (*Cat. No. I–19 The Model: The Nude Female Figure in 19th-century Hungarian Art*), századi magyar művészetben (exhibition catalogue), (ed. Gy. Imre), Budapest, 2004.","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Zsuzsanna Boda","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","Bratislava","Enlightenment","figural decoration","Francois Troy","Johann Michael Millitz","Martin van Meytens","Paradise","Portrait","Pozsony","Vienna"],"materials":["Oil on canvas"]},"d1d8cb50-1251-5dab-a6ce-97b1c120592b":{"name":"Petar Zrinski  (Vrbovec, Croatia, 6.6.1621–Wiener Neustadt, 30.4.1671)","description":"A descendant of a noble and distinguished Croatian family, Count Petar Zrinski excelled in battles against the Turks. After the death of his elder brother Nikola (d. 1664) – Croatian *ban* (viceroy) and a most prominent Hungarian poet of his time – Petar became *ban* from 1665 to 1671. He translated – from Hungarian to Croatian – Nikola's poem *Adrianskoga mora Syrena* (The Siren of the Adriatic Sea). He was married to Ana Katarina Frankopan (d. 1673) with whom he had a son, Ivan Antun, and three daughters: Judita Petronila and Veronika who became nuns, and Jelena (1643–1693), who married first Franjo Rákóczy and later Emerik Tököly.  \nPetar Zrinski along with other distinguished noblemen – his brother-in-law Franjo Krsto Frankopan, Franjo Nadasdy and Erasmus Tattenbach – were accused and tried for conspiracy against the Absolutist rule of Emperor Leopold I Habsburg. Found guilty, execution of the conspirators took place at Wiener Neustadt on 30 April 1671. On the eve of his death, Petar wrote a famous goodbye letter in Croatian to his wife Katarina, beginning with the words “My dear heart …” After his death the huge Zrinski estates in Croatia were confiscated and plundered.  \nThe portrait shows Petar Zrinski dressed as a wealthy nobleman, with the Zrinski coat of arms in the upper left-hand corner. Painted for the monastery in Svetice near Karlovac, Croatia, this portrait together with the portrait of Emperor Leopold I, are by an unknown Pauline artist. Pairing up the two portraits – *Petar Zrinski* and *Emperor Leopold I* – suggests that both were produced before the conspiracy and trial, some time before 1670.","short_description":"A portrait of the Croat nobleman, Count Petar Zrinski, who excelled in battles against the Turks and was executed for treason by Emperor Leopold I.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"Gallery of Donors, Pauline monastery in Svetice","dates":"Before 1670 (?)","location":"Zagreb, North-West Croatia","dimensions":"H: 107 cm; w: 59 cm","place_of_production":"Croatia (?)","method_for_datation":"A painted inscription at the bottom of the work states “*Monastery Szveticzensis fundationem 1627. factam, Comes / Petrus Zrinius ratificat 1640. 19 Iuny. Eidémq(ue) forum Ecclesiae / Vicinum imperpetuat 1646*”, indicating that the painting was for the Pauline monastery in Svetice, Croatia. Further confirmation of the date and origin of the work relies on documentation in the Museum inventory.","provenance":"Private owner, Zagreb","obtention":"Bought for the Museum from a private owner in 1964.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 195–196.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 245.  \nŠimat, M., *Portreti Nikole i Petra Zrinskih, ikonografska emisija značaja i pretenzija* (Portraits of Nikola and Petar Zrinski: Iconographic Emission of Importance and Pretensions), Zagreb, 2000, pp. 55–81.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["ban (viceroy)","Croatia","Leopold I Habsburg","Ottoman","Pauline monastery","Portrait","Zrinski family"],"materials":["Oil on canvas"]},"d367a154-49f9-5be0-a44e-c1259f9e26e2":{"name":"*Anna Maria Victoria Jabornigg-Gamseneck*","description":"A portrait of a finely dressed and learned noblewoman in an ermine pelisse, she sits on a chair by a table on which are geometrical implements, several books and some sheets of paper.  \nThe painting is thought to be a portrait of Maria Victoria Jabornigg Gamsenegg, the first wife of Josip Ignac Sigismund Hilleprand-Prandau, son of Petar II Anton.  \nAttributed to Ephraim Hochhauser who studied at the Vienna Academy and made his name painting portraits of the aristocracy, perhaps the identity of the sitter in this case is less important than the context. The woman holding compasses in her hand sits in front of sheets of drawing paper, a ruler and protractor. At the time, geometry was an acceptable form of entertainment for amateurs and seen as part of a good education. With a little freedom of thought, we might link these items with the laying out of the Baroque *parterre* garden in front of Valpovo Manor.  \nThe History Gallery of the Hungarian National Museum in Budapest has an identical portrait, which according to researchers represents Maria Christina the beloved daughter of Empress Maria Theresia, and attributed to the court painter Martin van Meytens who was a great favourite of the Empress. Since Petar II Hilleprand-Prandau was in the diplomatic service of the Austrian Court, it is possible that a portrait of the Empress's daughter found its way to Valpovo Manor.","short_description":"A portrait of a finely dressed and learned noblewoman, which according to the Prandau family archive, is a portrait of Anna Maria Victoria – the first wife of Josip Ignac – son of Petar II Anton.  \nThere is an identical portrait in the History Gallery of the Hungarian National Museum by Martin van Meytens, which according to researchers shows Maria Christina, daughter of Empress Maria Theresia.  \nPerhaps the identity of the sitter in this case is less important than the context, for the woman holding compasses in her hand sits amidst sheets of drawing paper, a ruler and protractor. At the time, geometry was an acceptable form of entertainment for amateurs and seen as part of a good education. With a little freedom of thought, we might link these items with the laying out of the Baroque *parterre* garden in front of Valpovo Manor.","type":"Painting (portrait)","holder":"Gallery of Fine Arts, Osijek","initial_owner":"Valpovo, family of Baron Hilleprand-Prandau later of Count Normann-Ehrenfels","dates":"Third quarter of the 18th century; about 1770","location":"Osijek, Slavonia","dimensions":"H: 145 cm; w: 122 cm","place_of_production":"Vienna","method_for_datation":"From family archives.","provenance":"Austria","obtention":"Confiscated after the Second World War.","bibliography":"Balen, B., *Portreti 18. st. u GLUO* (18th-century portraits at GLUO), Monograph, 1987.  \n*Tri stoljeća umjetnosti u GLUO* (Three Centuries of Art at GLUO), Monograph, 1987.","author":"Branka Balen","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["education","Enlightenment","Hilleprand-Prandau family","Portrait","science","scientific instrument","scientific object","women"],"materials":["Oil on canvas"]},"d40510a8-3d84-5ac4-9290-1028f6789eac":{"name":"Portrait of Sultan Abdülaziz (1830–1876)","description":"Portrait of the Sultan Abdülaziz. In 1867 the sultan made a trip to Europe. He was invited by Napoleon III to visit the World's Fair Exhibition in Paris. He also visited London and met Emperor Franz Joseph in Vienna.","type":"Drawing","holder":"Austrian National Library","dates":"1867","location":"Vienna","copy_editor":"Daniel de la Vega"},"d435d9f4-9833-55f4-b40f-d413ab1c10be":{"name":"*Portrait of Domenico Scarlatti*","description":"Court Maestro to the exiled Polish queen Maria Kazimiera, and responsible for the Vatican's *Capella Giulia*, Domenico Scarlatti (1685–1757) was hired in 1714 as *Kappelmeister* by the Marquis of Fontes, Ambassador to King D. João V, at the Court of Pope Clement XI.  \nScarlatti's arrival in Portugal was a result of the high praise he had received from the King of Portugal's brother, Prince D. António who had attended one of his concerts in Rome. Scarlatti arrived in Portugal in around 1720 to become Princess Maria Barbara and Prince D. Jose's music teacher. Meanwhile the Pope had consented to the upgrade of the Royal Chapel to a Patriarchal Chapel and Scarlatti was invited to become *Kappelmeister* of the orchestra and choir of the Patriarchal Seminar Chapel.  \nThe Neapolitan Scarlatti's contribution to the Portuguese music scene was immense, he introduced Italian Opera, and the new musical and artistic patterns in vogue all over Europe at the time.  \nIn 1729 Scarlatti moved to Madrid to become once again Princess Maria Bárbara's music master, who by this time had married the Prince of Asturias, son of King Philip V and future King Philip VI of Spain. He remained in Spain until his death in 1757.  \nUnder the patronage of King D. João V, Domenico Scarlatti lived with his family in Spain where he enjoyed all the preconditions necessary to enhance his musical career and ensure his notoriety grew among his European musical peers*.*  \nThe art of portraiture peaked in the 18th century, fuelled by commissions from the European monarchs. Artists such as Louis Michel Van Loo, court painter to King Philip V of Spain (grandson of Louis XIV) between 1738 and 1752, or Jean Ranc (1674–1735) gained notoriety. The latter also painted the Portuguese Royal family following H. Rigaud.  \nSo it was that the Spanish artist Domingos António Velasco painted this portrait of Scarlatti in the Van Loo style in around 1739. Velasco depicts the maestro standing in front of an opulently painted curtain, his body twisted to the right and his hand resting on a wooden box. The light falls on the musician's face and hands, and he is dressed in a golden yellow and grey-blue ceremonial court vestment, adorned with the prestigious St James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","short_description":"*Kappelmeister* of the Patriarchal orchestra and choir, and music master to Princess Maria Barbara the daughter of the King D. João V and the Queen of Spain, this portrait of Domenico Scarlatti is by the Spanish painter Domingos António Velasco. The artist depicts Scarlatti dressed in a ceremonial court vestment, adorned with the prestigious Order of St. James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","type":"Portrait","holder":"Patudos House, Alpiarça Museum","owner":"Casa dos Patudos, Museu de Alpiarça","initial_owner":"José Relvas Collection","dates":"c. 1738–1739","location":"Alpiarça, Santarém","dimensions":"H: 131.1 cm; w: 109.5 cm","place_of_production":"Spain","method_for_datation":"Iconographic and stylistic analysis","provenance":"Bequeathed to Mariano Hernandez by José Relvas in Madrid, 1913; then left to the Municipality of Alpiarça.","obtention":"Bequeathed to Mariano Hernandez by José Relvas in Madrid in 1913. In his will, José Relvas donated the palace and collection to the Municipality of Alpiarça in order to create a museum.","bibliography":"Teixeira, José de Monterroso, *O Triunfo do Barroco*, Centro Cultural de Belém, Lisbon, 1993 p.p.56/63,223/224","workshop":"Workshop of Domingo António de Velasco","author":"Cristina Correia","translator":"Manuel Silva Pereira","translation_copy_editor":"Mandi Gomez","keywords":["Casa dos Patudos","ceremonial court vestment.","late Baroque/Rococo painting","music","musician","Order of St. James","Patriarchal Choir","portraiture"],"materials":["Oil on canvas"]},"d4c7f9c0-dc66-5391-8685-09943014060f":{"name":"Gjorche Petrov","description":"Gjorche Petrov (1865–1921) was a prominent member of the Internal Macedonian Revolutionary Organization (VMRO). He was born in Prilep on 2 March 1865. He obtained his elementary education in his native town and attended gymnasium in present day Bulgaria. He worked as a teacher in several Macedonian towns. He worked out, together with Gotze Delchev, the Statute of VMRO. The aim of the organization clearly expressed in Article 1 of the Statute was attaining full political autonomy of Macedonia and the Adrianopole Region. The structure of the organization was also defined as consisting of village, regional and district committees and lead by the Central Committee. Becoming one of the leaders of the Internal Macedonian Revolutionary Organization he shared Gotze Delchev’s conviction that the uprising was not supposed to begin before all regions in Macedonia were fully prepared for it in terms of training of the troops and providing arms.","type":"Photograph","holder":"Museum of Macedonia","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"d6484564-de31-5ad5-b6c7-ba70506e3e5f":{"name":"*The Gourmet*","description":"Jacob van Schuppen studied painting with his father – Pierre Louis van Schuppen a painter and engraver in Antwerp – and his uncle, Nicolas Largillière, one of the period's most respected portrait painters. This beginning determined both his career and his preferred genre. Van Schuppen worked both in Paris and at the Lorraine princely court in Luneville as a portrait painter. In 1705, he became a member of the Paris Academy, arriving in Vienna in 1716 as a successful and notable portraitist in the service of Prince Eugene of Savoy. Having been settled in the imperial city for only a short time, he became court painter in 1723. In 1725, he approached the emperor with a plan for a French-style art academy, which he directed from 1726. Vienna's Imperial and Royal Court Academy of Painters, Sculptors and Architecture (Academy of Fine Arts Vienna) was unprecedented in Central Europe and remained the most important institution of its kind in the German-speaking territories. As a painter, van Schuppen was primarily an excellent portraitist. His large-size portraits, representing the aristocracy and contemporary writers and artists, effectively reflect the personality and character of the sitters.  \n*The Gourmet*, although for a long time registered as a work of a German master, is an excellent example of van Schuppen's art, holding the characteristic features of his work. Like his other paintings, the motifs of both genre painting and still life are present.  \nThe objective approach of Dutch and Flemish art, fine colouring and French elegance come together in this painting; the basic motif – a man uplifting his glass to demonstrate his aspirations in seeking happiness in drinking and smoking: the minor pleasures of life – is a favourite and frequent characteristic of 17th-century painters. Although known primarily as a portraitist, van Schuppen nevertheless approached genre painting in a similar way, as can be seen in this painting and others in Hungarian collections.","short_description":"Jacob van Schuppen, from the Netherlands, was a pupil of his uncle Nicolas Largilliere. From 1716 he lived in Vienna, and from 1726 directed the Academy of Fine Arts in Vienna, breathing new life into the institution, which was renamed the Imperial and Royal Court Academy of Painters, Sculptors and Architecture. *The Gourmet*, showing a man enjoying the finer things of life, is both a portrait and a genre painting.","type":"Painting (Genre painting/portraiture)","holder":"Dobó István Castle Museum","dates":"1720s","location":"Eger, Észak-Magyarország / North Hungary","dimensions":"H: 118 cm; w: 90 cm","method_for_datation":"by stylistic analysis","provenance":"The Esterházy Collection, Pottendorf","obtention":"Initially from the Esterházy Collection in Pottendorf, in 1867 Endre Pánthy acquired the painting. From 1906, it was in the Lyceum school’s substantial collection in Eger as part of the Endre Pánthy legacy. It was then transferred to the Dobó István Castle Museum in Eger.","bibliography":"Schreiden, P., “Jacques van Schuppen 1670–1751”, *Wiener Jahrbuch für Kunstgeschichte*, XXXV, 1982, pp. 1–106.  \nNémeth, I., “Cat. Nr. C 172”, *The Metamorphosis of Themes: Secular Subjects in the Art of the Baroque in Central Europe,* exhibition catalogue, (ed. M. Mojzer), Budapest, 1993.  \nLengyel, L., (ed) “Cat. 252”, *Az Egri Képtár. Dobó István Vármúzeum*, Eger, 2008.","author":"Zsuzsanna Boda (after István Németh)","copy_editor":"Terézia Bardi","translator":"Etelka Rozgonyi","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","genre painting","Jacob van Schuppen","senses","Still life","Vienna’s Imperial and Royal Court Academy of Painters"],"materials":["Oil on canvas"]},"d6720426-2881-5b4a-8e11-89649a430aa6":{"name":"*Loie Fuller: the serpentine dance*","description":"Mary Louise Fuller was an American dancer who lived in Europe for many years. As an artist, she was inspired by her travels and by new inventions - the dance of the veils (the \"serpentine\" dance) mixes Arab influences with light tricks using electricity. Loie Fuller was an important influence in the Art Nouveau and Symbolist movements, and helped train other great artists such as Isadora Duncan. The \"serpentine dance\" was imitated by many artists, and inspired the first cinematographers, such as the Lumière brothers, who dedicated a short film to it.","type":"Photograph","holder":"National Library of France","dates":"19th century","provenance":"France","translator":"Flaminia Baldwin"},"d6bf4415-f421-5f22-a960-431f5321ca7c":{"name":"Shah Jahan and Dara Shikoh","short_description":"Dara Shikoh was the favourite son and designated heir of the Mughal emperor Shah Jahan (r. 1627–58). However, Dara never acceded to the throne, for in 1659 he was killed during the war of succession that ensued when his father fell ill in 1657. Both men are heavily bejewelled, wearing mainly pearls, emeralds and rubies. Shah Jahan, with a partially greyed beard and wearing a fur-collared jacket, offers a large ruby (or spinel) to Dara. The European-style angels hovering above symbolize imperial majesty, while the globe on which father and son stand more precisely denotes Shah Jahan’s perceived status as King of the World (which is the English translation of the title ‘Shah Jahan’).","type":"Album folio","holder":"The Chester Beatty Library","dates":"Hegira c. 1059–60 / AD 1650","location":"Dublin","dimensions":"33.3 x 20.9 cm","provenance":"India","keywords":["Allegory","angel","arabesque","arms","border decoration","floral decoration","jewel","jewellery","miniature painting","Portrait","portraiture","royal","symbolism","textile"],"materials":["coloured pigments and gold on paper"]},"d6e29c37-877d-59fc-ba89-0136adddb6e7":{"name":"Wedding portrait of King Aleksandar and Queen Draga of Serbia","description":"At the end of the 19th and during the first decade of the 20th century Pirot kilims served as unavoidable decor in public buildings and in important public manifestations. An official wedding photo of King Alexander Obrenović of Serbia and Queen Draga, shows a royal couple standing on the Pirot kilims, used as floor coverings in this solemn occasion as distinguished national products. The official photograph, taken on 4 August 1900 by the court photographer Milan Jovanović, was issued on a poster by the bookstore of Sreten J. Djordjević and printed by the State Printing House of the Kingdom of Serbia.","type":"Poster","holder":"Museum of Applied Art","dates":"1900","location":"Belgrade","dimensions":"H: 28.2cm, W: 22.6cm","method_for_datation":"Through historical research","provenance":"Belgrade","obtention":"Donated by Rajko Sikimić from Belgrade in 1996","bibliography":"Bujić, M. *et al.*, “Obrenovići u kolekcijama Muzeja primenjene umetnosti”, in A. Marušić and A. Bolović (eds), *Obrenovići u muzejskim I drugim zbirkama Srbije II*, Gornji Milanovac: Muzej rudničko-takovskog kraja, 2014: 181–206.","author":"Draginja Maskareli","keywords":["Kilim","Obrenović dynasty","Pirot","poster","Şarköy"],"materials":["Print"]},"d81a90e8-c3be-5aa0-8a9a-b3efa68184af":{"name":"Portrait Album – Ottoman State Officers","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in 19th century. Vassilaki Kargopoulo was of Greek descent. His first studio was opened in 1850 near the Russian Consulate. Between the years of 1859 and 1860, he began to attract the attention of customers from all sections of society. He focused on Ottoman clothing and street vendors in 1860.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"d86bffa6-0320-50d5-b0a4-c47134d7d642":{"name":"Water pumping equipment in Kağıthane, Istanbul","description":"During the 19th century, new technologies radically transformed both travel and communications. Cendere Hamidian Water Pump Station was built by Abdülhamid II in 1902 at an altitude of 34 metres above sea level. With its function, architectural design and mechanical equipment, the station is a unique monument to the history of the architecture industry in the Ottoman Empire. It pumped to Balmumcu and Beşiktaş – in the direction of Tophane, moving water coming from 20 different pipes in Kağıthane using steam pump machines.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"d9278f88-7c6f-5ba2-a99d-94b0d6496626":{"name":"Portrait Album – Ottoman State Officers","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Born in Costantinople in 1851, Nicolas Andriomenos was an Ottoman Greek who learned photography in the 1870s from Cosmi Abdullah. At that time, Cosmi operated a studio of his own in Beyazıt, but turned the business over to Andriomenos in late 1879, after which its new proprietor soon made it into one of the city's most prestigious portrait studios.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"d9708463-f720-5673-ac88-cf01adf12b47":{"name":"*Portrait of a Greek Wearing a Fustanela*","description":"It may depict a notable of Aighion, Andreas Londos (1786–1846) who entertained Lord Byron on his first visit to Greece. The picture is similar in style, setting and pose to that entitled ‘Un Grec de Janina’ in Dupré’s *Voyage à Athènes et Constantinople*, 1825. Louis Dupré (1798–1837) was one of the most talented painters who travelled to Greece. He arrived in 1819. The French artist who was an ardent philhellene published in 1825 a set of coloured lithographs of views and studies of costumes from Greece, entitled *Voyage a Athènes et Constantinople*.","type":"Painting","holder":"Benaki Museum","dates":"c. 1830","location":"Athens","author":"Tsigakou 1984, 195"},"da83b646-c418-524e-8eff-75e69c1f77d9":{"name":"Danilo I, Prince of Montenegro (1871–1939) and Princess Jutta of Mecklenburg-Strelitz","description":"Danilo I, Prince of Montenegro (1871–1939) with his wife, Princess Jutta von Mecklenburg-Strelitz. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Photograph","holder":"Austrian National Library","dates":"1899","location":"Vienna","copy_editor":"Daniel de la Vega"},"dcf06086-9092-5d9d-bf04-d94e167662b6":{"name":"Turkish women","alternate_name":"*Vues d'Égypte et Types Orientaux*","description":"The Zangaki brothers were a pair of photographers working in Egypt who sold \"Orientalist\" photos to Western toursits, allowing them to immortalise their trip to the \"Orient\". This photograph shows two Turkish women, probably mother and daughter, in formal dress.","type":"Photograph","holder":"National Library of France","dates":"1890-1895","location":"Paris","translator":"Flaminia Baldwin"},"deb4b3a7-5e57-5235-b533-346c36e88be2":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"dfe6e123-1970-5707-8279-08002d40fd1f":{"name":"Ottoman Clothing Album","description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"e189b316-270d-52f6-bc71-843ad7287741":{"name":"Bookcover","short_description":"A pair of Qajar lacquered binding depicts Fath ʽAli Shah (r. 1797–1834) on the front cover, in his famous majestic pose clad in elaborate jewelled regalia and wearing his grander imperial crown, the Taj-e Kiyani, commissioned upon his accession in 1798. The back cover depicts a court scene, landscape, court and decoration. The king shown here is Mohammad Shah Qajar (r. 1834–1848), son of Fath ‘Ali Shah. Few minor differences in number of people, their cloth design and the objects, can also be noticed. The inner cover is decorated in a reversed composition. The main panel is adorned with a central scalloped medallion, two small pendants above and below and corner-pieces containing red and yellow rose bushes on green ground. The parts of the central field between the centre and corner-pieces are filled with gold painted flower and leaf motifs. The panel is framed with three borders; the middle border has a red ground with red and yellow rose bushes arranged between two borders with gold flower and leaf motifs on black ground. Although the patron of the cover has not been identified, the painting suggests that it could be the cover of a *muraqqa’* (album) or royal documents which was either commissioned by the Shah himself or by a prince or wealthy court official. In addition, although the binding is unsigned and undated, the quality of workmanship suggests that it was painted by one of the fine painters in the court ateliers. The spine has been removed and the gap has been closed.","type":"Bookbinding","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1300 / c. AD 1900","location":"Kuala Lumpur","dimensions":"43.8 x 28.5cm","provenance":"Iran","bibliography":"Aqa-Oqlu, *Persian bookbindings of the fifteenth century*, USA: Ann Arbor University of Michigan Press, 1935.  \nAkimushkin, Oleg, Gray, Basil, *The arts of the book in Central Asia, 14th – 16th centuries*, London: Shambhala UNESCO, 1979.  \nSarre, Friedrich Paul Theodor, *Islamic bookbindings*, London: Kegan Paul, 1923.  \nScheper, Karin, *The technique of Islamic bookbinding methods, materials and regional varieties*, Leiden: Brill, 2015.","materials":["lacquer"]},"e396b7b2-cb07-51d7-86f1-b131b11dbfe2":{"name":"Portrait of a lady of the court playing the tambourine","description":"This painting is one of the four half-length portraits painted by Pierre Désiré Guillemet in 1874-1875 depicting a young woman of the Ottoman Court. Her dress has been emphasized by means of a neutral background. She is wearing a *dört etek* (four-skirted) robe, made of *savai* fabric. Part of her undershirt with embroidered borders is visible from her large sleeves and around the edges of the robe. Her robe has a floral pattern with lively colours and her belt has a clasp with a two large stones in a silver setting. Her chestnut-coloured hair flows down to her shoulder. She wears two strands of pearls around her neck and a gold earing with pearls and gems. On her head she wears a cap of blue fabric decorated with small white flowers, plumes and toile.","type":"Painting","holder":"Pera Museum","dates":"1870–1875","location":"Istanbul","copy_editor":"Daniel de la Vega"},"e50ae40d-d2e5-50ff-9f8d-f861d8f298d4":{"name":"*Woman from Constantine*","description":"This painting belonged first to the collection at St. Martin's Church, Cologne, then to the Duchess of Reggio. It can be found in the catalogue written by the art historian Léonce Bénédite on Chassériau (see vol. 2, p. 495; cf. André Dezarrois, *Théodore Chassériau, sa Vie et son Œuvre*). The artist used women from the Jewish community in Constantine as models for woman's face and dress, following Dehodencq's example from his time in Morocco. This explains her resemblance to Rachel's portrait, which is also kept in the museum.","type":"Painting","holder":"Musée National des Beaux-Arts","dates":"1846","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"e532dd30-df15-5462-88cf-6f2eaa8cf7bd":{"name":"Portrait of David Roberts, Esq., R. A.","description":"This engraving shows a portrait of David Roberts (1796 – 1864), first completed in the 1840s by Charles Baugniet. Roberts is shown seated on an ancient plinth or capital, holding a drawing board and a pencil. A classical temple structure appears in the background on the left. David Roberts was a Scottish painter especially known for a prolific series of detailed lithograph prints of Egypt and the Near East produced during the 1840s from sketches he made during extensive tours of the region (1838–1839). These, and his large oil paintings of similar subjects, made him a prominent and highly influential Orientalist painter. Charles-Louis Baugniet (1814 - 1886), was a Belgian artist famous for the lithographing of portraits of prominent European figures.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1844","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"e5c4e1fa-cda0-5a71-9b74-c7a6f465f4ad":{"name":"Portrait of Hammouda Pacha Bey","description":"This oil on canvas is a portrait of Hammouda Pacha Bey before the dress code reform, in traditional dress with a cashmere shawl and dagger in his right hand. Hammouda Pacha Bey, nicknamed the builder of modern Tunisia, was a qualified and military man and was known as a firm but fair ruler.","type":"Portrait; painting","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"e608c729-04c2-56e1-b2e3-0064a245a0ed":{"name":"*Portrait of Historian, Márton György Kovachich*","description":"Messerschmidt was born in south-west Germany. After studying in Munich and Graz, he matriculated at the Academy of Fine Arts in Vienna in 1755. Having graduated, he was employed at the Imperial Arms collection. During the period 1760–69 his work followed the artistic style of the Late Baroque court, at that time under the determining influence of Balthasar Ferdinand Moll. From 1769, Messerschmidt's first Neo-Classical works appear and to which he applied the experiences of his study trip to Rome in 1765. In 1770–72, Messerschmidt began to work on his so-called *Character Heads*, obviously connected with certain paranoid ideas and hallucinations from which, at the beginning of the 1770s, the master began to suffer. After an unsuccessful application to the office of a leading professor at the Academy, in 1777, he settled down in Pozsony (Bratislava) where he dedicated himself primarily to his *Character Heads* and in addition made other portraits as well.  \nThe bust of Márton György Kovachich (1743–1821), a historian, a custodian of the Buda university library, and one of the most eminent scholars of the Enlightenment in Hungary, was the last of these commissions in Messerschmidt's oeuvre. Kovachich commissioned the portrait directly from the artist in Pozsony (Bratislava), a fact corroborated by a letter from Kovachich dated 1 May 1783, at which time the portrait was already standing in his room in Buda. Like the *Character Heads* the bust is made in the early Neo-Classical style preferred by Messerschmidt since 1769–70. His works of this period have an accentuated plainness, but nevertheless have a vigorous modelling and structure. The portraits have a timeless, monumental character enhanced by their firm portraiture, one marked by the face-on portrayal of his subject. These stylistic characteristics of the Neo-Classical aesthetic are, however, coupled with an exact portrayal of the sitter's features, so that Messerschmidt's portraits remain very close to a realistic appraisal of human individuality.","short_description":"Messerschmidt moved to Vienna and later to Pozsony (Bratislava) from Bavaria. He made his famous *Character Heads* in Pozsony (Bratislava) when he was mentally ill. All of them portray the features of the artist. The bust of the historian, Kovachich, was made by the artist at a time when he his mental health was good.","type":"Sculpture","holder":"Museum of Fine Arts","initial_owner":"Márton György Kovachich, University of Buda, Studio of Kovachich, Buda","dates":"1782","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 44 cm","place_of_production":"Buda","method_for_datation":"By historical documents","provenance":"University of Buda, Studio of Kovachich, Buda","obtention":"Purchased from a private collection in 1896","bibliography":"Pötzl-Maliková, M., *Franz Xaver Messerschmidt*, München, 1982, pp. 239–240.  \nPötzl-Maliková, M., “Cat. Nr. 187” in *Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.  \nKrapf, M., “Cat. Nr. 66” in *Franz Xaver Messerschmidt 1736–1783,* exhibition catalogue, (ed. M. Krapf), Wien, 2002.","author":"Zsuzsanna Boda (after Maria Pötzl-Maliková)","copy_editor":"Terézia Bardi","translator":"Tamás Sajó","translation_copy_editor":"Mandi Gomez","keywords":["Bratislava","Buda","education","Enlightenment","library","metalwork","Neo-Classicism","Pozsony","Pressburg","teaching","university"],"materials":["Tin cast"]},"e7547eb9-bf91-59b1-a040-daa53056b7e6":{"name":"*Maria Eleonora Regina Johanna Juliana Pejačević* born *Erdödy de Monyorokerek*","description":"Countess Eleonora, depicted in a garden offering incense into an urn that stands in front of a statue of Cupid, has just married Count Karlo III Pejačević who is 25 years her senior; she is his second wife. Her dress is of fine, expensive material decorated with pearls. Her grey, powdered hair is also dressed with pearls.  \nMarija Eleonora was born into the Erdödy family, members of which played a very important role in the history of Croatia.  \nThe Pejačević family, originally from Bulgaria, was one of the aristocratic families to whom the Habsburg Crown granted land in Slavonia after its liberation from the Ottomans.  \nThe painter of this portrait, J. G. Weickert, belonged to the generation of Austrian Rococo painters, the work of which already demonstrated components of the Neo-Classical style, which is especially visible in this portrait. For example, the pastel colours and charming grace of the countess' slender and vivacious figure, still in the Rococo style, have been infiltrated by undefined changes of tone, a degree of measure and a breath of melancholy underlined by the ambient Neo-Classical architecture.  \nThis is more than the portrait of a person: the content of the painting shows the countess herself in a symbolic act of throwing incense into an urn in front of a statuette of Cupid, an act supplicating happiness in marriage. Considering that the countess was 19 years old and that she had just married a man 25 years her senior, there were definite reasons to eternalise this act.  \nIn style, the portrait heralds the new age of the Enlightenment.","short_description":"A portrait of Countess Maria Eleonora Pejačević, who by birth and marriage, belonged to two important noble families in Croatia. The painting is by the Austrian painter, J. G. Weickert, who was working during the Rococo period but whose paintings already show influences of the Neo-classical style. In this painting, the Neo-classical style is especially apparent, while it also announces the new spirit of the Enlightenment.","type":"Painting (portrait)","holder":"Gallery of Fine Arts, Osijek","initial_owner":"Family of the Pejačević Counts, Našice","dates":"1789","location":"Osijek, Slavonia","dimensions":"H: 222 cm; w: 149 cm","place_of_production":"Vienna","method_for_datation":"Signed “Weickert pinxit 1789”.","provenance":"From the Pejačević Counts, Našice","obtention":"Donation of the Pejačević family from Našice, 1945","bibliography":"Balen, B., *Portreti 18. st. u GLUO* (18th-century portraits at GLUO), Monograph, 1987.  \nŠvajcer, O., *Domaći i strani slikari XVIII. i XIX. stoljeća u GLUO* (Home-born and foreign painters of the 18th and 19th Centuries, GLUO), 1987/88.","author":"Branka Balen","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Enlightenment","fashion","jewellery","mythology","Neo-Classicism","Pejačević family","Portrait","women"],"materials":["Oil on canvas"]},"e7be577c-7197-59de-94eb-bd3d5d7cdba0":{"name":"Portrait of emperor Shah Jahan, his three sons, and Asaf Khan","short_description":"In this royal family portrait, Emperor Shah Jahan (r. 1628–58), sitting in haloed profile upon a gold-footed throne under a high white canopy, accepts a jewelled gift from his father-in-law, Asaf Khan. At his right are his three eldest sons—Dara Shikoh (1615–59), Shah Shija (1616–59), and the ill-fated Awrangzeb (r. 1618–1707), whose death effectively marked the end of the great Mughal Empire. All figures are resplendent in turbans decorated with jewels, pearl necklaces, different types of daggers (*khilanum*, *katar*, and *kard*), lavishly embroidered sashes, and gilded swords. An illuminated carpet lies underfoot.","type":"Folio","holder":"Aga Khan Museum","dates":"ca. 1628-40","location":"Toronto, Ontario","dimensions":"35.5 x 24.3cm","provenance":"India","obtention":"Former Prince Saddrudin Aga Khan Collection","bibliography":"Canby, Sheila R., *Princes, Poets and Paladins: Islamic and Indian Paintings from the Collection of Prince and Princess Sadruddin Aga Khan*, London: Trustees of the British Museum, 1998. ISBN: 9780714114835.  \nWelch, Anthony and Welch, Stuart Cary, *Arts of the Islamic Book: The Collection of Prince Sadruddin Aga Khan*, London / Ithaca, NY: Cornell University Press, 1982. ISBN: 9780801498824.","keywords":["family-tree","figures","folio","human-figures","illuminated","lanscape","Portrait","work-on-paper","works-on-paper"],"materials":["and gold on paper","Ink","Opaque watercolour"]},"e80567bb-4a41-5dd5-a8c2-8530ecf7b427":{"name":"Abdelaziz Thâalbi (Abdelaziz al-Thalibi)","description":"Born in Tunis in 1876, Abdelaziz Thâalbi (Abdelaziz al-Thalibi) was a Tunisian politician. In 1920, he became the founder of the political party Destour, and participated in all the first fights of the nationalist movement. This activism caused him to be sent into exile in 1912, not for the first time, with six other nationalist politicians. In 1920 he wrote and published the manifesto La Tunisie Martyre with Ahmed Sakka, for which he was arrested on 31 July and taken to Tunis. However, feeling threatened there, he fled and left Tunisia once again in 1923. Destourian militants in Tunisia kept calling for his return, which finally happened in July 1937, 14 years after being forced into exile. However, upon his return he entered into conflict with Neo-Destour politicians, led by Bourguiba. He died on 1 October 1944, and his funeral was an opportunity for the Neo-Destour movement, as well as all the fringes of the nationalist movement to gather, and pay tribute to one of the founding fathers of Tunisian nationalism","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"e87a28c8-480d-590e-ba3c-b84ef6e8d476":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861), riding a horse. When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali Pasha, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"ea69f41d-1b91-5ee4-8097-8aba9db33c0f":{"name":"*Le consul Joseph Raffo* (painting)","description":"Giuseppe Maria Joseph Raffo, the subject of this painting, was born in Tunis in 1795 and is depicted here in full uniform with the air of an important Turkish dignitary. He entered service as a secretary to Bey Hassine, and later served as Tunisia's Minister for Foreign Affairs under his rule as well as that of his successors, despite being a Sardinian subject all the while. He made a fortune by taking over a tuna farm in the Cap Bon region in the form of private concession. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1840","location":"Le Bardo, Tunis","provenance":"Palais de Carthage","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"eca99cf6-1929-5d7d-bf2a-e8ec044b0d68":{"name":"A Jewish family","description":"The Jewish community, which had gone through various waves of migration since the beginning of the Islamic period, had, by the 19th century, become an important part of Tunisian society.","type":"Photograph","holder":"National Library of France","dates":"1897","location":"Paris","translator":"Flaminia Baldwin"},"ed505641-7fab-598f-a27b-c58fb38cc49e":{"name":"Portrait of the Ottoman Sultan Ahmed I.","description":"This miniature painting executed in gouache on paper is a portrait of the Ottoman Sultan Ahmed I (AH 1012–26 / AD 1603–17) and once formed part of an album that contained both Ottoman Turkish and Persian miniatures, apparently assembled in the AH 12th / AD 18th century. The youthful ruler, best known as the founder of the Blue Mosque in Istanbul, is seated on a large, richly decorated throne beneath a cusped arch. He is leaning against a decorated bolster wearing a white turban enhanced by two tall plumes issuing from bejewelled sockets. His green and gold-brocade caftan has large, gold globular buttons down the front. The garment is secured by a jewel-studded gold belt, which incorporates three cusped, circular units at the front. A bejeweled dagger handle can be seen protruding from Sultan Ahmed’s belt on the right. He wears a red-orange overcoat with small gold buttons down the front; the coat is lined with ermine. A gold-coloured slipper protrudes from underneath his garments. In his left hand, the fifth finger of which is enhanced by a gold ring with circular stone, Sultan Ahmed holds the *mandil*, a ceremonial handkerchief with gold detailing. In his right hand he holds a volume of poetry bound in the so-called *sefine* format (with the vertically oriented pages bound at the top, narrow end). The gilt binding shows a delicately drawn, central medallion enclosed within an elongated, arched cartouche.  \nAbove the portrait of the sultan runs a cursive inscription contained within two elongated cusped cartouches, written in white against a blue background and enhanced by white floral detailing, it reads: ‘Hasrat Sultan Ahmad \\[Ahmed\\] ibn Sultan Muhammad \\[Mehmed\\] Khan’. A tiny inscription on the lower left-hand side of the work names the painter ‘al-fakir Süleyman’. The portrait is surrounded by a green inner frame and an orange outer frame with additional ruled frames in blue, red, gold and green in between and around the outside of the outer border.","short_description":"This miniature painting shows the Ottoman Sultan Ahmed I, best known as the founder of the Blue Mosque in Istanbul. It has been suggested that this portrait was executed in the court workshops of the Topkapı Saray in Istanbul during the early AH 11th / AD 17th century.","type":"Painting, gouache, gold on paper","holder":"National Museums of Scotland (NMS).","dates":"Hegira first half of the 11th century / AD first half of the 17th century","location":"Edinburgh, Scotland","dimensions":"29 x 19.9 cm (with frame), 19 x 12.7 cm (without frame).","method_for_datation":"It is assumed that this portrait was painted during or just after the lifetime of Sultan Ahmed I (r. 1012–26 / 1603–17).","method_for_provenance":"It has been suggested that this portrait was executed in the Court workshops of the Topkapı Saray in Istanbul during the early 11th / early 17th century.","provenance":"Istanbul, Turkey.","obtention":"Purchased from M. Richard, Tehran, in 1888.","bibliography":"Scarce, J., *Domestic Culture in the Middle East: An Exploration of the Household Interior*, Edinburgh, 1996, p.87.  \nSourdel-Thomine, J., and Spuler, B., “Die Kunst des Islam”, *Propyläen Kunstgeschichte*; 4, Berlin 1973, Plate 416.  \n*Türkische Kunst und Kultur aus osmanischer Zeit*, exhibition catalogue, Recklinghausen, 1985, p.67, cat. no. 1/29.","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Ahmed I","Al-fakir Suleyman"],"materials":["Gouache and gold on paper."]},"ee0cbe27-f7a7-56db-b5c5-18038a38b0c8":{"name":"Omar Pasha (1806–1871)","description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"eefedc43-2cbd-5fa9-9062-25f5724872cf":{"name":"*Self Portrait*","description":"The portrait painter, Ádám Mányoki, was one of the most prominent figures of Baroque art in Hungary. His career began in Hanover and Hamburg and then, in the first decade of the 18th century, he worked for Frederick William at the Berlin court. From 1707 to 1712, he was court portraitist to Prince Ferenc Rákóczi II in Hungary, where he worked for a number of years before carrying out other assignments for the prince in the Netherlands and Berlin.  \nHe painted the *Self Portrait* rendered with a captivating candour and self-assurance in Berlin. He used a trick of the self-portraitist that had been popular since Rembrandt: the soft velvet hat with its upturned rim casting a warm, brown shadow over the upper half of his face. The painting reveals a synthesis of the influence of Antoine Pesne, a French portraitist of the Prussian court, and of Mányoki's studies in northern Germany. The choice of colours and some formal details are clearly traceable to Pesne's work, while some characteristic features of the composition are rooted in 17th-century Dutch and German painting, including Johann Heinrich Roos' self-portrait. Mányoki may have known Roos' self-portrait from an engraving by Philip Kilian and taken inspiration from it in the figure's posture and the shirt loosely opening in front.  \nFrom 1713, Mányoki was employed by August II the Strong, King of Poland and Elector of Saxony; from 1717 he was portrait painter to the court. Thereafter he received an increasing number of commissions in Leipzig to portray the professors of the university, the well-to-do burghers and merchants and their families. In the mid-1720s, Mányoki, intent on repatriation, returned to Hungary for a short time. However, a lack of patronage and inability to make a living meant he left for Dresden again, this time for good. He adjusted his later work in the main to the expectations of 18th-century German middle-class art collectors.","short_description":"The son of a Protestant clergyman in Szokolya, Mányoki studied art in Germany. Called back to Hungary by Prince Ferenc Rákóczi II in 1707, he remained there until 1712. Following the collapse of the struggle against the Habsburgs for independence led by the prince, he worked for the Polish-Saxon court in Dresden from 1713.  \nPainted in Berlin, the *Self Portrait –* rendered with captivating candour and self-assurance –represents an excellent “French-style” example of the artist's portrait painting.","type":"Painting (self portrait)","holder":"Hungarian National Gallery","initial_owner":"Ádám Mányoki","dates":"About 1711","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 87 cm; w: 61.5 cm","place_of_production":"Hungary","method_for_datation":"by historical documents and stylistic analysis","provenance":"Owned by Ádám Mányoki","obtention":"Originally owned by Ádám Mányoki, the painting is documented in the Galerie Schleißheim from 1775. It was bought by the Association of Friends of the Art Museums, and from 1931 was on permanent deposit in museums with which the Friends were associated. From 1974 it has been in the Hungarian National Gallery.","bibliography":"Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.  \nBuzási, E., “Cat. Nr. 17”, *In Europe's Princely Courts. Ádám Mányoki: Actors and Venues of a Portraitist's Career,* exhibition catalogue, (ed. E. Buzási), Budapest, 2003.  \nBuzási, E., *Ádám Mányoki (1673–1757). Monographie und Oeuvrekatalog,* Budapest, 2003, cat. A. 92.","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["burghers","King Frederick William","patronage","Protestants","Self-portrait"],"materials":["Oil on canvas"]},"ef67fa8c-4ff1-55bf-83f3-ae6118113aaa":{"name":"*Sorolla in Tetouan*","alternate_name":"*Sorolla en Tetuán*","description":"This picture was taken in Tetouan during a trip of the painter Joaquín Sorolla and his friends to Morocco in 1919. Sorolla's family and friends were portrayed with local people, a highlight of which is the Moor Selam and other characters and exotic animals, such as the monkey. Especially interesting is her daughter Helena who appeared in a Moorish costume.  \nThis travel appeared in the newspapers El Confidencial and ABC which also published this photograph.  \nThis family trip brought back memories and objects. The painter's daughter, Helena, had their little Moorish corner on the stairs of the house which is now the Sorolla Museum. A table, a chest, tambourines, fabrics, jewellery were bought back as souvenirs.","type":"Photograph","holder":"Sorolla Museum","dates":"February 1919","location":"Madrid","provenance":"Granada","author":"Covadonga Pitarch","copy_editor":"Anne Dowell"},"f02e2658-e5a5-5c73-8f21-a84aea27d4e2":{"name":"Osman Hamdi Bey (During the excavation of Lagina, together with French archaeologists Cammonard and Cartier)","description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1892","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"f03b716a-a1e0-58f0-b452-2c2a089e34f2":{"name":"Members of Court of Sultan Selim II Mounted as an Album Leaf","short_description":"From the late sixteenth century until the formation of the Republic of Turkey in 1922, the Ottoman sultans maintained a strong tradition of imperial portraiture. Influenced by European oil painting and Persian miniatures, Ottoman portraits provide important information about court ceremonies, changing fashions, and members of the court. The right side of a double-page composition, this painting was created as a pendant to a portrait of Selim II (r. Hegira 974-982/1566-1574) on the left, now in the collection of the Aga Khan Museum, Toronto. The musicians, servants, and courtiers, who are identified by their inscriptions, face left, toward the sultan, in a show of deference to their ruler. Taken together the pair of paintings depict a *majlis* scene reflecting the pleasure-oriented atmosphere of Selim’s court. It is possible that the figure of the court jester at far right is a self-portrait of the artist.","type":"Manuscript","holder":"Los Angeles County Museum of Art (LACMA)","dates":"AH c. 968-969 / AD c. 1561-1562","location":"Los Angeles","dimensions":"44.6 x 31cm","method_for_datation":"Less formal than official Ottoman royal depictions, this painting (and its pendant) was likely made prior to Selim’s ascension to the throne in 1566 and was probably produced during his time as a prince governing Kütahya. Several of the figures depicted with captions can be further identified as boon companions of Selim II, one of whom, Turak Çelabi, died in 1561-62, suggesting a terminus ante quem for the work.","method_for_provenance":"It is signed “Nigari, slave of Sultan Selim Khan.” Nigari was the pseudonym used by the famed Turkish navigator Haydar Reis, who was also well-known as a portrait painting under Sultan Suleyman and his son and successor Selim II.","provenance":"Turkey","obtention":"Collection of Major R. Hawkins (dates unknown), until unknown date (sale, Sotheby’s, London, May 3, 1977, lot 3, sold to); Edwin Binney, 3rd (1866-1934), collection of Edwin Binney, 3rd, Portland, ME, until 1985 (gifted to); LACMA, The Edwin Binney, 3rd, Collection of Turkish Art at the Los Angeles County Museum of Art.","bibliography":"Denny, Walter B., *Turkish Treasures from the Collection of Edward Binney, 3rd*, Portland, OR: Portland Art Museum, 1979: 22, cat. 11.  \nFetvaci, Emine, *Picturing History at the Ottoman Court*, Bloomington: Indiana University Press, 2013: 42.  \nKangal, Selmin (ed), *The Sultan's Portrait: Picturing the House of Osman*, Istanbul: Türkiye Is Bankasi, 2000: 227.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 218-219, cat. no. 112.  \nNecipoglu, Gulru, *The Age of Sinan: Architectural Culture in the Ottoman Empire*, London: Reaktion Books, 2005: 56.","author":"LACMA Staff","keywords":["court life","gold","ink","inscription","manuscript","Ottoman","painting","Portrait","watercolour"],"materials":["and gold on paper","Ink","opaque watercolor"]},"f0e2d598-8e69-5768-bd25-d9db967e1292":{"name":"Painting Entitled ‘al-Rihlah al-Hijaziyyah/ Sacred Pilgrimage Journey’","description":"According to a plaque below the images, the painting depicts the pilgrimage of ‘Abbas Hilmi II, the Khedive of Egypt, which he performed in 1909. His portrait is on the left; on the right is that of Mehmed V Rashad, the contemporary Ottoman sultan. To the left and right of the Ka‘bah, which occupies the centre of the painting, are depictions of the Mosque of the Prophet in Medina and the Dome of the Rock in Jerusalem. Many of the remaining images are based on photographs of the hajj published in the July 1953 issue of National Geographic.","type":"Painting","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1953","location":"London","dimensions":"Height: 181 cm; Width;278 cm","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-painting-entitled-al-rihlah-al-hijaziyyah-sacred-pilgrimage-journey-mss1190/","keywords":["Egypt","hajj","Mecca","Ottoman","pilgrimage"],"materials":["Oil on canvas","some titles in découpage"]},"f10531b4-c48a-52e3-ba7a-d83cfa1d0403":{"name":"Portrait of Cardinal Prospero Lambertini","description":"In 1739, Cardinal Prospero Lambertini, the Archbishop of Bologna sat for a grand portrait in the studio of the painter Giuseppe Maria Crespi. The following year, he became Pope Benedict XIV and asked the painter to insert the papal attributes into the portrait. The painting was sent to the Vatican Picture Gallery in Rome where it remains today.  \nThis portrait, often assumed to be a sketch, is actually a small-scale replica painted by the artist as a souvenir of the first version. The cardinal, with his round jolly face is depicted near his writing table rising to his feet with a pen in his hand. He is literally surrounded by books, a living presence in his studio. This atmosphere of cordiality and lively immediacy vanishes in the Vatican portrait, Crespi portrays the pope clad in gravity. Benedict XIV was a wise and learned man, with a deep knowledge of scientific culture. He was attached to his native town and worked hard to promote intense growth of the University of Bologna (Studio) and of other cultural institutions. He also strove to accelerate the completion of the cathedral.","short_description":"This painting is considered to be a small size replica of the official portrait of Cardinal Prospero Lambertini, Archbishop of Bologna, portrayed by Giuseppe Maria Crespi before he was pope (Benedict XIV), in 1740. After the election the painter added to the portrait the papal attributes and sent it to Rome. Now the picture is held in the Pinacoteca Vaticana. It is likely Crespi made a small replica before making the changes in order to keep a souvenir of the original portrait.","type":"Painting","holder":"Collezioni Comunali d'Arte","initial_owner":"Cardinal Prospero Lambertini","dates":"c. 1739","location":"Bologna, Emilia-Romagna","dimensions":"205 x 146,5 cm","place_of_production":"Bologna","method_for_datation":"We have no direct evidence about this particular picture. Luigi Crespi, son of the painter Giuseppe Maria, in his additions to the *Felsina Pittrice* (1796) tells the story of the official portrait, now in the Vatican Museums. Today, letters remain in the Vatican Archives between the painter and the Secretary of State of the Pope regarding the invoice to Rome.","provenance":"Bologna","obtention":"Purchased in 1960.","bibliography":"Arcangeli, F. *Natura ed espressione nell'arte bolognese-emiliana* (exhibition catalogue) (ed. F. Arcangeli), Bologna, 1970, p. 227.  \nSpike, T. in *Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy* (exhibition catalogue) (ed. T. Spike), Fort Worth, 1986, p. 166, n. 28.  \nViroli, G. in *Giuseppe Maria Crespi. 1665-1747* (exhibition catalogue) (eds. A. Emiliani and A.B. Rave), Bologna, 1990, p. 232, n. 117.  \nStanzani, A. in *Il Gran Teatro del Mondo* (exhibition catalogue) (ed. F. Caroli), Milan, 2003, p. 104, n. 1.15.","workshop":"Late baroque","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Benedict XIV","education","Giuseppe Maria Crespi","Italian portraits of the eighteenth-century","science","university"],"materials":["Oil on canvas"]},"f2d5cedb-276c-5bcc-adf8-742a01444f80":{"name":"A Woman from Cairo","alternate_name":"*Donna de Il Cairo*","description":"This photo from Enrico H. Giglioli's collection was collected by the Florentine naturalist while travelling the world between 1865 through 1868 as he advanced diplomatic and commercial affairs between the newborn Italian state and the other nations. The images seem to have been created spontaneously to show ethnocentric diversity. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum. The origins of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1880","location":"Rome","provenance":"Egypt","author":"Vito Lattanzi","copy_editor":"Anne Dowell"},"f36b7d3e-8e7a-5356-9555-d10076d72a09":{"name":"Muhammad Tawfiq Pasha (1852–1892)","description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"After 1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"f4070107-bd84-5299-8132-72ae7c8a76e8":{"name":"*Portrait of Felice Zacchia Rondanini*","description":"Domenico Guidi, nephew of the sculptor Giuliano Finelli, with whom he worked in Naples (1639–49), moved to the workshops of Algardi in Rome in 1649. He stayed there until the death of his master, from whom he learned the classicism that is a fundamental part of his style, although he was not as skilled in its execution.  \nThe bust was acquired by the Italian state from an antique market in 1907. It was initially attributed to the Berninian school on account of the elliptical shape enclosing the female figure and the “unfinished” back, a trait peculiar to Bernini on unseen surfaces. It was later attributed to 17th- and 18th-century sculptors (such as Bracci on account of the stylistic analogies with the sculptor's bust of Clement XII in the Borghese collection). It was finally attributed to Guidi, who was summoned by Bernini in 1668 to decorate the Ponte Sant'Angelo, although his style was more classical and less elaborate in form.  \nThe woman is probably Felice Zacchia Rondanini, daughter of Laudivio Zacchia who, once widowed, gave his life to religion and was made a cardinal in 1626. Algardi made a portrait of the father, having already made several busts for the Rondanini family. For his part, Guidi was responsible for the Rondanini tomb in S. Maria del Popolo, Rome in 1657. In 1683, in the same church, he sculpted the funerary monument to Vincenza Danesi, who some scholars connect to the Borghese portrait, although there is no documentation to support the theory. A ring is fixed under the cloak, which suggests it was originally intended to be placed in a niche, and the measurements coincide with the anchor points of the Danesi monument.  \nThe old lady wears a large veil forming a convex shape, on which shadows accentuate the face in the foreground, which is struck by light. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi was so well regarded by the French for his classicism that by the end of his career he was a synonym for French taste. Nonetheless, a sculptural group made for Louis XIV failed to please the king and it ended up in the same place as Bernini's: the gardens of Versailles.","short_description":"A portrait of an old lady who wears a veil. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi produced a few works for Bernini (such as the *Angel with a Lance* on Ponte Sant'Angelo) most of his collaborative work was, however, with Algardi.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"1683 (?)","location":"Rome, Latium","dimensions":"h: 60 cm (without stand)","provenance":"Antique market","obtention":"Acquired by the Italian State in 1907.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome 1954, n.10, pp. 15–16.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 378.  \nBershad, D. L., in *voce* “Guidi Domenico”, in *Dizionario Biografico degli Italiani*, Milan, 61, 2003, pp. 214–220.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Algardi","ancient art","Bernini","Bust","Classical model","classicism","marble","Portrait","women","workshop"],"materials":["Statuary marble"]},"f6a973df-a6b0-51b8-8bb0-fd4026b06319":{"name":"Photograph of Ion Ghica (sitting)","description":"In 1848, Ion Ghica was the envoy of the Wallachian revolutionaries to Istanbul, where he remained after the suppression of the revolution. He created connections among the Ottoman officials, being appreciated by Reshid-Pasha (Grand Vizier from 1854), and became a supporter of the Romanian Principalities’ union under Ottoman sovereignty. A former journalist, he devised the project (not realized) for an economic and literary periodical, published in all the languages spoken in the Empire. In 1854 he was appointed governor of the island of Samos, where he took measures against piracy and founded several schools (a middle school, an agricultural school, a marine school and a girls’ institute). His activity earned him the title of “prince”(bey) of Samos, which he received from sultan Abdülmecid in February 1856.","type":"Photograph","holder":"National Museum of Romanian History","dates":"c. 1850–1860","location":"Bucharest"},"fac6052d-8778-5973-8864-63b61123c63f":{"name":"*Portrait of Baroness Erzsébet Haller*","description":"*Portrait of Baroness Erzsébet Haller* depicts the daughter of Field Marshal Baron Sámuel Haller holding a brush and palette and beside her on a table with a marble top there is a small paint box. Between 1756 and 1767, Dániel Schmiddely painted a series of 14 portraits of which this is one. Today 12 are extant but the whereabouts of the other two is unknown. All of similar dimensions and compositional organisation, the paintings represent aristocratic young women and recognise contemporary requirements of high society manners and etiquette. The girls are depicted painting, drawing, playing the piano, standing by a globe or arranging a bouquet in a Rococo vase. These portraits, while seen as examples of a new representative genre, also bear witness to the artistic and intellectual education aristocratic society required from young aristocratic women at the time, hence they are depicted in the process of appropriating this education. The series, produced for the Convent of the Sisters of Notre Dame in Pozsony (Bratislava), represents the school's pupils in blue uniform. The religious order of Lorraine, under which this school operated, began its activity in the area in 1748 under temporary conditions. Schmiddely's paintings probably furnished the college and school that was finally built in 1754.  \nSchmiddely studied at the Academy of Fine Arts in Vienna. He then lived and worked in Pozsony (Bratislava) where he also undertook official commissions, and according to records, he was a professor of drawing at a college there. In view of this series of paintings, the college he worked at was that of the Sisters of Notre Dame.","short_description":"Schmiddely was a tutor in painting and drawing in Pozsony (Bratislava). The Portrait *of Baroness Erzsébet Haller* is part of a series of 14 portraits, others of which are in Slovakia and Bohemia. The paintings, depicting young women dressed in blue uniforms, refer to different aspects of a good education.","type":"Painting (portrait)","holder":"Hungarian National Gallery","initial_owner":"Pozsony (Bratislava), Convent of the Sisters of Notre Dame","dates":"c. 1755–56","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 95 cm; w: 76 cm","place_of_production":"Pozsony (Bratislava) (?)","method_for_datation":"By historical documents and stylistic analysis","provenance":"Pozsony (Bratislava), Convent of the Sisters of Notre Dame","obtention":"Purchased from a private collection in 1994","bibliography":"Buzási, E., “Cat. Nr. A 13”, *The Metamorphosis of Themes: Secular Subjects in the Art of the Baroque in Central Europe,* exhibition catalogue, (ed. M. Mojzer), Budapest, 1993.  \nStibraná-Vávrová, I., “A pozsonyi Notre Dame-zárda növendékeinek portréi a 18. század harmadik negyedéből” (“Pupil Portraits at the Convent of the Sisters of Notre Dame in Pozsony (Bratislava) from the Third Quarter of the 18th Century”), *Művészettörténeti Értesítő*, LI, 2002, pp. 51–68.","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Zsuzsanna Boda","translation_copy_editor":"Mandi Gomez","keywords":["Convent of the Sisters of Notre Dame","costume","education","Portrait","religious orders","religious schools","Rococo","women"],"materials":["Oil on canvas"]},"fb4db280-b1e8-5792-9924-ea1569ecf8e4":{"name":"*Petar II Anton Hilleprand-Prandau*","description":"Baron Petar II Anton Hilleprand-Prandau stands at the centre of the painting finely dressed and wearing a long wig. His left arm rests on a marble-topped table, while his right arm points to the manor house he had built in the background. The family crest is in the right upper corner.  \nPetar II was one of the most respected members of this distinguished family originally from Tyrol. He was born in Bozen, studied law in Ingolstadt and served with the Austrian Court. Granted the Valpovo estate in Slavonia in 1721, he died in Vienna in 1771.  \nCommissioned to mark a double jubilee, the painting celebrates the Baron's 75th birthday, and commemorates the right of the female line of the family to inherit the Valpovo estate.  \nAlthough much about the life and work of Hochhauser remains a mystery, we do know that he studied at the Vienna Academy under Jacob van Schuppen. We know that the court painter and favourite of Empress Maria Theresia, Martin van Meytens, was a great influence on him, and that he was well trained and kept to the best portrait traditions of the time, relying on the generally accepted and acknowledged conventions of Baroque portrait painting.","short_description":"A portrait of Baron Petar II Anton Hilleprand-Prandau, painted by Ephraim Hochhauser who studied painting at the Vienna Academy under Jacob van Schuppen. In his portraits, Hochhauser relies on the generally accepted and recognised conventions of Baroque portrait painting. Influenced by Martin van Meytens, court painter and favourite of Empress Maria Theresia.","type":"Painting (portrait)","holder":"Gallery of Fine Arts, Osijek","initial_owner":"Valpovo, family of Baron Hilleprand-Prandau, later of Count Normann-Ehrenfels","dates":"1750","location":"Osijek, Slavonia","dimensions":"H: 238 cm; w: 149 cm","place_of_production":"Vienna","method_for_datation":"From the signature and family archives.","provenance":"Petar II Anton Hilleprand-Prandau, Valpovo","obtention":"Confiscated after the Second World War.","bibliography":"Balen, B., *Portreti 18. st. u GLUO* (18th-century portraits at GLUO), Monograph, 1987.  \n*Tri stoljeća umjetnosti u GLUO* (Three Centuries of Art at GLUO), Monograph, 1987.","author":"Branka Balen","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Hilleprand-Prandau family","Portrait","women"],"materials":["Oil on canvas"]},"fba06fef-805f-5de9-8213-221cfe8fe3db":{"name":"Nephrite bowl with enamel picture","short_description":"This bowl features the enamelled portrait of Fath-Ali Shah Qajar, emperor of Persia (AD 1797–1834); it is signed by the artist, Ghülam Khanetzad, and dated AH 1233. Until his death in AD 1834, Fath-Ali Shah Qajar hoped to forge an alliance between Persia and Austria. This bowl was probably sent to Emperor Franz I in Vienna in connection with these efforts.","type":"Vessels","holder":"Kunsthistorisches Museum","dates":"AH 1233 /AD 1817","location":"Vienna","dimensions":"Height: 26.5cm, Width: 22.3cm","method_for_datation":"Date and signature","method_for_provenance":"Listed in the AD 1875 inventory of the imperial treasury in Vienna","provenance":"Iran","obtention":"Gift to emperor Francis I","bibliography":"Hein, Wilhelm, \"Ein persisches Lackkästchen“, *Alte und moderne Kunst, 1. Jh.*, 3 (1956): 6-7.","copy_editor":"Liz Cooper","keywords":["court life","Emperor Franz I","Fath-Ali Shah","floral decoration","furnishing","Ghülam Khanetzad","Habsburg","Persian-Austrian relations","Portrait","Qajar","Qajar art"],"materials":["emeralds","Gold","Nephrite","rubies","Stone"]},"fc0202a4-85ca-5193-af7d-ee6857a9426b":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911), Colonel Ali Fahmi Bey, Colonel Abdellal Hilmi Bey","description":"Portrait of minister Arabi (Urabi) together with two officers. In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"fc3b1ec9-a4c8-5bb0-8563-67addfda87dd":{"name":"Portrait of the Marquess of Cerralbo in a Turkish Garment","alternate_name":"Retrato de la marquesa de Cerralbo a la turca","description":"The Marquis of Cerralbo and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This vignetted bust shot albumen portrait of Inocencia Serrano y Cerver, marquise of Cerralbo, shows the playful and aesthetic use of typical Turkish costume in the Abdullah Frères studio, perfect to satisfy the European desire of exoticism.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"fe6fa089-3083-5936-9e90-9d863dea6475":{"name":"Osman Hamdi Bey (During the excavation of Mount Nemrut)","description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"feb66ca9-ced9-518b-8f58-1ac129aebdd4":{"name":"Lazar Sozich (2nd half of the 19th century – 1900)","description":"Portrait of Lazar Sozich. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"}}
+{"007d6f6b-4f84-5cd4-97d4-b1637e409355":{"name":"Emigrant family","short_description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. This photo belongs to a Turkish family who migrated from Crete to Turkey in 1925.","type":"Photograph","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1925","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["migration","population exchange"],"materials":["Photograph"]},"00c8cda2-d033-5a89-89e5-4f6a4483e3da":{"name":"The Hijaz Railway construction workers","short_description":"The Hijaz Railway was a narrow-gauge railway (1,050mm/3ft, 5 11⁄32 in track gauge) that ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. It got no further than Medina, 400 kilometres (250mi) short of Mecca, due to the interruption of the construction works caused by the outbreak of World War I.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – begining of the 20th century","location":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph The Hijaz Railways"],"materials":["Photograph"]},"01425452-ab97-5882-bfb1-7f4f896ba157":{"name":"Omar Pasha (1806–1871)","short_description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"1859","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Omar Pasha","Croatia","Bosnia","Ottoman empire","Herzegovina"]},"01a64f5c-ceca-5e43-b3af-115b31492d64":{"name":"Portrait of Abraham Salamon De Camondo","short_description":"The Camondo Family is a family of Spanish-Portuguese Jewish origin. Abraham Salomon Camondo, who was born in İstanbul in 1781, acted as the Ottoman government's banker before the establishment of the Ottoman Bank. He founded a bank called \"*Isaac et Compagnie Camondo*\" with his brother Isaac in 1815. The bank grew in a short time period into a reputable international financial institution. Camondo prospered greatly and became the prime banker to the Ottoman Empire until the founding of the Imperial Ottoman Bank in 1863. The bank had a close relationship with the business community and banks of London, Paris and the Vienna Stock Exchange. The bank had also funded defence needs of Ottoman Empire during the Crimean War.","type":"Photograph","holder":"The Quincentennial Foundation Museum, Zulfaris Synagogue Museum","dates":"19th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"01a88113-685d-5186-bbb9-828a46816c90":{"name":"Portrait decoration","short_description":"This medallion featuring a portrait of the Shah is the highest Persian decoration; it was only presented to allied sovereigns and sometimes to other members of ruling dynasties. When the Shah visited Vienna for the World Fair in AD 1873 he presented it to the then 15-year-old Crown Prince Rudolf.","type":"Portrait decoration","holder":"Kunsthistorisches Museum","dates":"Hegira 13th century / AD 19th century","location":"Vienna","dimensions":"99.5mm x 62.3mm","method_for_provenance":"Documented in the inventory of museum records","provenance":"Iran","obtention":"Diplomatic gift","bibliography":"Haag, Sabine (ed), *Starke Köpfe, Porträt(s) des Kunsthistorischen Museums*, Wien: Kunsthistorisches Museum, 2010: Nr. 106.","dynasty":"Qajar, Nasir ad-Din Shah (AH 1264–1313 / AD 1848–1896)","author":"M. Alram","copy_editor":"Liz Cooper","keywords":["Habsburg","Nasir ad-Din","Nasir ad-Din Shah","numismatics","Persia","Persian-Austrian relations","Portrait","Portrait decoration","Qajar art","Qajar medals","universal exhibitions","World fairs"],"materials":["Goldframed medallion framed by gemstones, decorated by a wreath of leaves and a ray star with inserted diamonds"]},"02c575a0-6154-582b-a588-2ae094079d0d":{"name":"*Calligrapher Rıfat Efendi*","short_description":"Feyhaman Duran was particularly interested in portrait painting and went to Paris in 1910 through the patronage of the Egyptian Prince Abbas Halim Pasha to further his studies in this genre. He greatly profited from the teaching of Paul Richet, professor of anatomy in the School of Fine Arts in Paris. He also attended the Julian Academy where he learned a great deal from Jean-Paul and Albert Laurens. In 1913-14 he worked in the Cormon studio in the School of Fine Arts. Although devoting most of his time to portrait painting, Feyhaman Duran also did paintings of flowers and nudes, but he was definitely most interested in the portrayal of people, and he had very little time for non-figurative painting.","type":"Painting","holder":"Sabancı University, Sakıp Sabancı Museum","dates":"Beginning of the 20th century","location":"Istanbul","dimensions":"41 x 33 cm","provenance":"Istanbul","artist_birthdate":"1886","artist_birthplace":"Istanbul","artist_deathdate":"1970","artist_deathplace":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Feyhaman Duran","orientalist painters"],"materials":["Oil on canvas"]},"036f240e-d388-502f-b085-dcd2a8068418":{"name":"Rashid Pasha Mustafa Mehmet (1802–1858)","short_description":"Portrait of Rashid Pasha. He was born in 1800 in Istanbul and joined the Ministry of Foreign Affairs at the age of 20. He served as Ottoman Ambassador in Paris and London. In 1837 he became Minister of Foreign Affairs of the Ottoman Empire. In 1838 he lost his position, but still negotiated as a Turkish diplomat in London, Paris and Berlin. In 1846 he became Grand Vizier and initiated a number of reforms.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"03762b34-622e-5cca-85b2-11ca849dd5d2":{"name":"The Hijaz Railway delegations","short_description":"The Hijaz Railway ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. The main purpose of the railway was to establish a connection between the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj annual pilgrimage. Another important reason was to improve the economic and political integration of the distant Arabian provinces into the Ottoman state, and to facilitate the transportation of military forces.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph The Hijaz Railways"],"materials":["Photograph"]},"059dc6e6-50b6-57db-9d8b-cf35da18b989":{"name":"Pitcher","description":"A massive pitcher made of blue cast glass with handle. The entire object is covered with decoration made according to designs of Czech artist Vladislav Titelbah (1847-1925). The image of a Serbian medieval ruler from the Nemanjić dynasty, Stefan the First Crowned, is centred under the pitcher's pour spout. Ornamentation designed by Vladislav Titelbah, a Czech born artist encircles the open rim and base.  \nVladislav Titelbah's opus contains over 9,000 watercolours, drawings, sketches and graphics inspired by Serbian folklore, national and mythology themes. He depicted rural interiors, persons, and scenes. During the 19th century, at the time of Serbian national awakening, his work had an important role. Today, his works are classified as first-class sources for the interpretation of Serbian visual culture and art of the 19th and the beginning of the 20th century.","type":"Glass","holder":"Museum of Applied Art","dates":"1900s","location":"Belgrade","dimensions":"Height: 35cm, Diameter (rim): 9.9cm, Diameter (base): 13.3cm","method_for_datation":"By stylistic analysis and research of historical material and documentation","method_for_provenance":"By stylistic analysis","provenance":"Austro-Hungarian Empire, Hrastnik","obtention":"Purchased in 1982","bibliography":"Djurić, J., *Staklo u Srbiji XIX veka* (Glass in Serbia in the 19th Century), exhibition catalogue, Belgrade: Muzej primenjene umetnosti (Museum of Applied Art), 1985: 65, 90.  \nJovanović Češka, T., *Srbija u srcu Čeha, Vladislav Titelbah (1847-1925) i njegovo vreme. Iz zbirki Istorijskog muzeja Srbije* (Serbia in the Heart of a Czech, Vladislav Titelbah (1847-1925) and his time. From the Museum's collections), exhibition catalogue, Belgrade: Istorijski muzej Srbije (Historical Museum of Serbia), 2015.","workshop":"Glass Manufacture Hrastnik; Decoration made by workshop of Uroš Čavić Velika Kikinda","author":"Biljana Crvenković","copy_editor":"Valerie Pulsifer","keywords":["Cast coloured","Painted decoration"],"materials":["Cast coloured glass with painted decoration"]},"06623ef3-6331-5463-b5c0-79f3249d4f5d":{"name":"Painting of Ahmed Pacha Bey","short_description":"This oil on canvas portrait by the Swiss artist Charles Gleyre (1806–1874) depicts Ahmed Pacha Bey, the ruling prince of Tunisia at the time (1837–1855). He is dressed in official uniform, with red trousers with a gold strip and a black overcoat with gold epaulets, and is wearing the *muchir*'s insignia round his neck, and the Ordre du Sang, the Nichan al-Dam, and the Grand Croix de la Légion d'Honneur medals on the left of his chest. His torso his divided in two by a shimmering red sash of honour, his black and gold sword hangs off his belt on the left-hand side, and he is wearing a red chechia on his head. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"19th century","location":"Le Bardo, Tunis","dimensions":"L. 232 cm, l. 157 cm","provenance":"Palais du Bardo","artist_birthdate":"1806","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Oil on canvas","Ahmed Pacha Bey","Charles Gleyre"],"materials":["Canvas, wood, coloured pigments, gold leaf"]},"08086d2e-5ac6-53f2-810f-71dc4434785f":{"name":"Portrait of the young dervish Nur 'Ali Shah (ca. 1748-1798)","short_description":"Half a century after his death, the dervish Nur ʿAli Shah (Hegira ca. 1161-1212 / AD ca. 1748-1798) enjoyed great popularity in Persia. Countless carpets from Kerman as well as various miniatures and oil portraits bear witness to this. It seems that this popularity was closely connected with the revival of Sufi traditions in the 19th century. All the portraits known so far can be traced back to two portraits painted by Ismaʿil Jalayer (d. Hegira 1284-1289 / AD 1868-1873) around 1865.  \n  \nThe leaf originally belonged to an album made for Dr. Joseph Désiré Tholozon (Hegira 1235-1315 / AD 1820-1897) who was Nasir al-Din Shahʼs (r. Hegira 1264-1313 / AD 1848-1896) personal physician. He might have received the album from the shah in 1889 when he retired. This folio bears the number 50 and must have been the last leaf of his album, which itself was taken apart and probably sold in the early 20th century. Individual leaves formerly belonged to the collection of Jean Pozzi and are now in the Musée dʼArt et dʼHistoire in Geneva (Switzerland).","type":"Portrait","holder":"Museum Rietberg","initial_owner":"Joseph Désiré Tholozan (1820-1897); 1920s: Salomon Family, Paris; 1990s-ca. 1994: private collection, Paris; ca. 1995-2013: private collection, Belgium","dates":"Hegira 1297-1306 / ca. AD 1880-1889 (miniature and border)","location":"Zurich","dimensions":"Overall dimensions 31 x 18.8cm","place_of_production":"Probably Tehran (miniature and border)","method_for_datation":"By comparison with similar dated works.","method_for_provenance":"By comparison with objects that once belonged to Joseph Désiré Tholozan that are now in the Musée dʼart et dʼhistoire in Geneva, Switzerland. Information of previous owners was provided by the gallery, where the object was bought in 2013.","provenance":"Iran","obtention":"Acquisition with funds of Regula Brunner-Vontobel","bibliography":"Langer, Axel, “Stories from the Edge: The reconstruction of Islamic painting and calligraphy albums with the help of borders”, in Esther Tisa Francini, with the collaboration of Sarah Csernay (eds), *Pathways of Art: How Objects Get to the Museum* , exh. cat., Zurich: Scheidegger & Spiess, 2022: 297-310.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Opaque watercolour and gold on paper"]},"0b6eceea-2f90-5eb6-9483-03f0734b34dc":{"name":"Misrata [Libya]. In the Home of Gabrielli, Agent of the Society of Maritime Services [Società dei servizi marittimi]","short_description":"In 19th and early 20th century Africa, the nature of the relations between European men and African women varied dramatically according to the different power relations between the partners. In colonial situations, the legal subordination of the colonised people put African women in particularly weak positions vis-à-vis European men, generally resulting in very exploitative relationships. In countries that were not under European rule, more balanced relationships could develop.  \nThis picture shows a mixed family in Libya before the onset of Italian colonialism. The setting of the picture suggests that the Libyan woman enjoyed respect and status within the family: the woman and her children are sitting on chairs, surrounded by persons who appear to be domestic servants, and the Italian man is standing behind her, looking at their children.","type":"Photograph","holder":"Italian Geographical Society (SGI)","dates":"1911","location":"Rome","artist_birthdate":"1857","artist_deathdate":"1943","author":"Patrizia Pampana, Giulia Barrera","copy_editor":"Anne Dowell"},"0cd36a65-5e7b-5bb2-8525-edcaea12dea2":{"name":"Omar al-Mukhtar (1861–1931), leader of anticolonial resistance in Libya","short_description":"In 1923, the head of the Senussi Muslim order Mohamed Idris charged Omar al-Mukhtār (1861-1931) with the task of leading Libyan anti-colonial resistance. Omar al-Mukhtār was leader of the Libyan anti-Italian guerrillas, until he was captured and executed by the Italians in 1931.  \nIn 1911-12, Italy successfully waged war against Turkey for the colonial conquest of Libya. However, during WWI Italy lost control of most of the Libyan territory. After the war, it took Italy about ten years to re-establish its hold on Libyan inland areas.  \nThanks to his military genius, to the wide popular support he enjoyed and the financial help provided by the Senussia, Omar al-Mukhtār was able to keep the Italians in check for years, even when the army of the invaders was ten times larger than the guerrilla forces. The Italians were able to capture him only after deporting part of the population of the Cyrenaica mountains (Gebel Akhda) in concentration camps on the coast.","type":"Photograph","holder":"Italian War History Museum","dates":"Unknown (1920s?)","location":"Rovereto","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"0cdaaac9-facc-525a-b1f1-756e4b6df842":{"name":"Silvio Benigno Crespi and his family in the courtyard of Villa Pia (Villa Crespi), Orta San Giulio (Novara)","short_description":"Silvio Benigno Crespi was one of the children of Cristoforo Benigno Crespi, the industrialist who built a Moorish-style villa (known as villa Pia or villa Crespi) built on the lake d’Orta.  \nThis picture was taken in the courtyard of Villa Crespi. It shows Silvio Benigno Crespi (standing, on the right); sitting on the extreme left is his wife Teresa Ghiglieri; at the centre their first-born child Benigno and their other six children.  \nThe picture gives a hint of the lifestyle of this stock of cultivated, enlightened and successful industrialists.","type":"Photograph","holder":"Private collection","dates":"1920s/1930s","author":"Ignazio Galella","copy_editor":"Anne Dowell"},"0d5820f1-3545-5a87-813f-427001d4dd48":{"name":"*Eliza Bedeković* née *Novak*","description":"Baroness Bedeković (d. about 1850) married Franjo Bedeković Komorski (1755–1827), a prominent figure in Croatian political life, at the end of the 18th century or the beginning of the 19th century. Elected to the Lower House of the Hungarian-Croatian parliament in Buda in 1790, by 1808 Bedeković was Administrator of Križevci County and, from 1809 to 1825, Grand Sheriff of Bekeš County. From 1825 to his death, he was Grand Sheriff of Križevci County. During his many terms in office, he was a noted Croatian patriot.  \nThis portrait, probably painted in Vienna at the end of the 18th century, is probably by Johann Baptist Lampi the Elder. Lampi had returned to Vienna from St. Petersburg in around 1797, the year this portrait was finished. Lampi's portraits of this period show meticulous attention to detail in the fine materials and jewellery – details of which abound in this portrait of Baroness Bedeković.","short_description":"This outstanding portrait of Baroness Bedeković – wife of Franjo Bedeković – is probably the work of Johann Baptist Lampi the Elder. Lampi’s portraits of this period show meticulous attention to detail in the fine materials and jewellery – details of which abound in this portrait.","type":"Painting (portrait)","holder":"Croatian History Museum","dates":"Around 1795–1797","location":"Zagreb, North-West Croatia","dimensions":"H: 68 cm; w: 55 cm","place_of_production":"Vienna (?)","method_for_datation":"The date and possible authorship of this painting were established by study of historical information on the Bedekovićs, stylistic analysis and comparison of other known works by J. B. Lampi the Elder.","obtention":"Bought for the Museum in 1900 from a private owner in Zagreb.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća* (Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 62–63;  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 287.","artist_birthdate":"31 December 1751","artist_birthplace":"Romeno, Southern Tyrol","artist_deathdate":"11 February 1830","artist_deathplace":"Vienna","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["Bedeković family","fashion","Portrait","women"],"materials":["Oil on canvas"]},"0e467a26-3229-554d-8707-115f086aa0be":{"name":"Portrait of Claudius Rich","short_description":"Rich was the East India Company’s first Resident in Baghdad. He was a talented linguist. In his spare time he explored ancient sites, producing the first proper plans of Babylon and Nineveh. He hosted important travellers to Iraq, searching for sites of Biblical relevance. In 1821 he died during a cholera outbreak in Shiraz. His collection formed the nucleus of the British Museum’s collection.","type":"Painting","holder":"The British Museum","dates":"1825","location":"London","provenance":"United Kingdom","keywords":["Bible","travelling","archaeology","archaeological excavation","exploration","collecting","collector","museums"]},"0e6e6bac-3e5d-5bc0-b143-7f8c186c37a6":{"name":"A Portrait of a European, after Jacques de Gheyn's print 'Terra'","short_description":"This miniature painting depicted an image of a European soldier made by Mughal artist around 17th century. The original image is based on a European print by Dutch printmaker Jacques de Gheyn (1565–1629). This painting which is made with gouache on paper technique showing a European with fair skin colour in European style of clothes holding a long object, probably a weapon such as a spear or gun. At the margin of the painting inscribed the word ‘awwal’, possibly indicating the grade of the painting and at the back with Mughal seals impressions. The fondness to European prints was common in Mughal court. Emperors such as Akbar and later Jahangir were among the collectors of European prints.","type":"Miniature painting","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 995-1010 / c. AD 1595-1610","location":"Kuala Lumpur","dimensions":"21.9 x 16.7cm","provenance":"Indian subcontinent","bibliography":"Chapman, Caroline, Gibson, Melanie, Manginis, George, McSweeney, Anna, Phillips, Charles & Iain Zaczek, *The Complete Illustrated Guide to Islamic Art and Architecture*, London: Lorenz Books, 2010: 212-213.  \nDe Guise, Lucien, *Jewels without Crowns: Mughal Gems in Miniatures*, Kuala Lumpur: IAMM Publications, 2010.  \nGallop, Annabel Teh, Porter, Venetia, *Lasting Impressions: Seals from the Islamic World*, Kuala Lumpur: IAMM Publications, 2012.","dynasty":"Mughal","materials":["Gouache on paper"]},"10e20816-215a-59c8-b59d-b15f4c933e82":{"name":"Mahmud II Sultan of Turkey (1784–1839)","short_description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mahmud II, Sultan of Turkey","Egypt","Janissary","Konya","Ibrahim Pasha","Muhammad Ali","Greece"]},"117f9344-faa8-5cdb-8423-bab797cf66a2":{"name":"*Portrait of Paul V Borghese*","description":"The piece is signed on the left “MARCELLI PROVENZALIS CENTEN. OPUS” and has the inscription “PAVLVS. V. BURGHESIVS. ROMANVS. P. O. M. ANN. MDCXXI. PONT. XVI.” on the bottom. The mosaic was commissioned from the artist by Cardinal Scipione Borghese, nephew of the Pope. The meticulous fine-detail in the work, such as the fur trim on the *camauro* (a cap traditionally worn by the Pope) and the *mozzetta* (a short elbow length cape worn by Catholic clergy), is impressive. The expressive rendering combines the nature of the individual and the solemn pose in keeping with the position of successor to Peter in perfect equilibrium. The papal coat of arms of the Casa Borghese, recognisable by the eagle and the dragon, appears in the top right.  \nThe work is mentioned as extraordinary in the biography of Marcello Provenzale, and he was included amongst the greatest artists of his time by Giovanni Baglione in 1642. For his rare ability to produce mosaics with tiny tiles, usually done on cartoons prepared by important painters, Provenzale was deemed by his contemporaries to be greater than the masters of the classical age. During the pontificate of Paul V, he received numerous commissions for the Vatican Basilica, where he completed the mosaic for the Clementina Chapel using a design by Cristoforo Roncalli, also known as Pomarancio, and the ones in the cupola. He made extensive contributions to the restoration of the famous 14th-century Giotto mosaic the *Navicella*. He was one of the preferred artists of Scipione Borghese, who commissioned numerous works from him, many of which are kept today in the museum, and he lived as a *protégé* at the residence of the princely Roman family.","short_description":"Portrait of the reigning Pope executed by a trusted artist of Cardinal Scipione Borghese, who lived in the cardinal’s palace as his protégé. The strong realism and the highly unusual and difficult technique, of which Provenzale was very proud, represent typically Baroque characteristics.","type":"Mosaic","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Scipione Borghese","dates":"1621","location":"Rome, Latium","dimensions":"h: 65 cm; w: 54 cm","method_for_datation":"Inscription","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I dipinti*, I, Rome, 1955, n.107, p. 62.  \nStaccioli, S., in *Opere in mosaico, intarsi e pietra paesina*, exhibition catalogue, Rome, 1971, n.3, pp. 12–13.  \nGonzález Palacios, A., “Provenzale e Moretti: indagine su due mosaici”, in *Antichità viva*, 4, 1976, pp. 26–33.  \nFratarcangeli, M., in *Barock Kunst und Kultur im Vatikan im Rom der Päpste. 1572–1676*, exhibition catalogue (Bonn, Berlin), 2005, n.124, p. 239.","artist_birthdate":"1577","artist_birthplace":"Cento (Ferrara)","artist_deathdate":"1639","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["coat of arms","glass","marble","mosaic","patronage","Portrait","Realism","tesserae","tile"],"materials":["Glass and marble tiles"]},"11ee08c6-3f50-5b88-b216-58be546fc86a":{"name":"*Antonis Benakis at the Sporting Club in Alexandria*","short_description":"A black and white photos from a photo album showing snapshots of a polo game at Alexandria Sporting Club and naming Antoni Benakis as the leading rider. Phototographer unknown.","type":"Photograph","holder":"Benaki Museum","dates":"1888–1920","location":"Athens","dimensions":"30,5x24,2 cm (album)","author":"Maria Dimitriadou","keywords":["photo","Greeks","Egypt"],"materials":["Photograph"]},"1313c11f-d35a-5fba-85ac-6b580ca2b754":{"name":"Headdress ornament","short_description":"A headdress ornament with the portrait of Fath Ali Shah (1797-1834) in painted enamel. It is shaped as a half-shaped moon combined by the rising sun that was the emblem of the Persian order of honour founded by the Shah in 1807. The bejewelled imperial crown refers to later oil paintings of him, since in the early years of his reign he is usually portrayed in the traditional royal turban topped by an aigrette.","type":"Jewellery","holder":"Benaki Museum","dates":"Hegira 1211-1249 / AD 1797-1834","location":"Athens","dimensions":"Height 7 cm","provenance":"Iran","dynasty":"Qajar","keywords":["costume","Fath Ali Shah","gold","Headdress ornament","Iran"],"materials":["Gold, gems, pearls, painted enamel"]},"14edc45d-6bf0-507b-a305-757f6f034ef5":{"name":"Portrait of Emperor Shah Jahan","short_description":"The bearded emperor Shah Jahan, with a nimbus around his head, stands facing proper left, holding a flower in his raised left hand, his right clasping the hilt of his sheathed sword, which is pointed toward the ground. He wears a *jama* (a kind of frock with skirt). A *kamarband* (sash with ends pendant) girdles the waist, and a *dupatta* (scarf) falls over the left shoulder, the end dropping to the waist line. A dagger (*kataar*) is stuck in his sash on his waist. On his feet are heelless slippers. *Pajamas* are worn under the *jama*. The emperor also wears a jeweled *pagari* (turban) with the *sarpes* (plume), encircled by a dark halo. The *sarpes* appears to be jeweled. He wears the following jewelry: a *mala* (necklace); a *bhuja* band (armlet); and a *kangana* (bracelet). A tannish-gold thin border with dark-tan floral drawings surrounds the painting. The page background is decorated in a floral motif with feral feline heads in shades of tan and gold.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Hegira c. 1059 / AD c. 1650","location":"Saint Louis","dimensions":"Image: Length: 21cm x Width: 12.4cm; Sheet: Length: 34cm x Width: 21.8cm","method_for_datation":"This miniature painting depicts Emperor Shah Jahan (1592–1666). This border originally belonged to the Persian dictionary Farhang-i-Jahangiri (1608), which was later cut up and its borders added to many Mughal miniatures, such as this one.","method_for_provenance":"This miniature painting depicts Emperor Shah Jahan (1592–1666) in formal court attire. This painting is one of only four full-length standing portraits of Shah Jahan known.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","dynasty":"Mughal","keywords":["Asia","drawing","emperor","gold","India","Indian","ink","opaque watercolor","Paper","Portrait","Shah Jahan","watercolor","watercolour"],"materials":["Ink, opaque watercolor, gold on paper"]},"16145c6c-e484-5568-ab55-c93317ec5964":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","short_description":"Portrait of Carol I, King of Romania (1839–1914) in uniform with Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Carol I, King of Romania","Karl von Hohenzollern-Sigmaringen"]},"161d25a6-f2f3-5bd7-9bce-84afb082e31e":{"name":"The Hijaz Railway Delegations","short_description":"The Hijaz Railway ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. The main purpose of the railway was to establish a connection between the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj annual pilgrimage. Another important reason was to improve the economic and political integration of the distant Arabian provinces into the Ottoman state, and to facilitate the transportation of military forces.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph The Hijaz Railways"],"materials":["Photograph"]},"17b041f8-8464-54a0-bfab-c18e51639102":{"name":"A rare photo showing important guests at the inauguration of Luxor–Aswan Railway Line","short_description":"A group of guests at the inauguration of the Luxor–Aswan Railway Line upon disembarking at the Station of Aswan. One of the rare photos for the inauguration of the Luxor–Aswan railway line, with `Adli Yakan Pasha; Muhammad Najib al-Gharabli Pasha; Husayn Rushdi Pasha; Tharwat Pasha; Fathallah Barakat Pasha; Morkos Hanna Pasha; al-Dagwi Bek, director of Aswan; and Mahmud Shakir Bek, deputy undersecretary of the Ministry of Transportation in attendance, in 1926.","type":"Photograph","holder":"Bibliotheca Alexandrina","dates":"1927","location":"Alexandria","copy_editor":"Daniel de la Vega"},"183b1889-44b1-5781-a76f-71957bab4067":{"name":"Muhammad ‘Ali Pasha (1769–1849)","short_description":"Portrait of Muhammad 'Ali Pasha. Although born in Greece, he was the founder of modern Egypt. From Albanian origin, he came to Egypt as an Ottoman officer and began the modernisation of the Egyptian state.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Muhammad 'Ali Pasha","Egypt","Greece"]},"183b5543-14a1-5a82-b3dd-50b7597cdf96":{"name":"*Father Martin Stredonius with a View of Brno from the East*","description":"The scene glorifies the Jesuit priest and teacher Martin Středa (known as Stredonius, practicing in Gliwica in 1587; moving to Brno in 1649). Set in 1645, when the Swedish besieged the city of Brno during the Thirty Years' War, the painting depicts Středa's miraculous ascension to heaven at the very moment the attackers withdrew. The final and largest cannon ball aimed at Brno is said to have landed at Father Středa's feet where it remained, motionless. A besieger holding a cannon ball is shown in the bottom left-hand corner, while the focal point of the picture is the priest accepting holy wisdom through the Virgin Mary, expressed by a reflection of divine light. Středa is wearing a medallion with a portrait of the emperor, which accentuates his role as a defender not only of Brno but also of the whole Habsburg empire. In the top right-hand corner appear Jan Kapistrán (Capistranus) and another church father. Capistranus preached in Brno in 1451 and was also believed to possess supernatural powers. The *veduta* of Brno shows the fortified character of the city, with Špilberk castle.  \nGeneral Ludvík Raduit de Souches, commander of the Brno defense during the Swedish siege complies: “It appears that the bravery of the city defense was strengthened by fervent prayers and continuous fasting on the part of Father Středa, through which he transmuted power from heaven to defend and ensure the safety of the besieged. The enemy eventually saw that, having mobilised all their military efforts and set all kinds of traps, the spirit of the city was strong and unbreakable, and that it involved supernatural protection …”  Stredonius is said to have had the power of being in two places at once and of levitating during meditation. He wrote a biography of the martyred priest Jan Sarkander, a document that played a major part in the dissemination of the latter's cult and eventual canonisation as patron saint of Moravia and counterpart to St. John of Nepomuk.  \nThe cult of Martin Středa was promoted through prints of a similar composition. (Brno City Archive).","short_description":"The scene glorifies the Jesuit priest Martin Středa. It is set in 1645, when the Swedish besieged the city of Brno during the Thirty Years' War, depicting Středa's miraculous ascension to heaven at the very moment that the attackers withdrew. The *veduta* shows the fortified character of the city of Brno.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Order of Jesuits, Brno","dates":"c.1678?","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 232 cm; w: 137.5 cm","place_of_production":"Olomouc","method_for_datation":"The picture is thought to have been commissioned by the Brno Jesuit Václav Škodovský. The authorship, originally ascribed to M. Willman, was determined by Dr. Vlasta Kratinová, curator of the Moravian Gallery collections. Lublinský produced several paintings for Brno clients at the time, such as *The* *Allegory of Justice* (Old Brno Abbey) and *The Guardian Angel* for Count Dietrichstein (Church of St. Thomas).","provenance":"Private collection, Brno","obtention":"The picture was donated to the Brno Picture Gallery – which came into existence as part of the Francis Museum, Brno – by Provincial Councillor Franz Georg Eberle in 1821, shortly after its establishment. The painting also featured in the museum’s first exhibition held in the Episcopal courtyard.","bibliography":"Jan Tenora, *Život sluhy Božího P. Martina Středy z Tovaryšstva Ježíšova*, Brno, 1898.  \nMilan Togner, *Antonín Martin Lublinský*, Olomouc, 2004, p. 228, cat. 6. 1. 20.  \nPetra Zelenková, „Protegam Urbe istam (Budu štítem tomuto městu)“. Panna Marie a páter Martin Středa jako ochránci Brna na dvou augsburských mědirytinách ze 17. století, in: Lubomír Konečný – Jiří Kroupa – Michaela Šeferisová-Loudová, *Orbis Artium. K jubileu Lubomíra Slavíčka*, Brno 2009,  \ns. 341–352.","artist_birthdate":"c.1630","artist_birthplace":"Lesnica","artist_deathdate":"1690","artist_deathplace":"Olomouc","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Jesuits","Madonna","Thirty Years' War","veduta"],"materials":["Oil on canvas"]},"184eef10-6e1e-5cd3-9d3c-79a146221593":{"name":"Amelia del Valle y Serrano","description":"The Marquis of Cerralbo (politician, historian, and collector of art and antiques) and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This albumen portrait of Amelia del Valle y Serrano is delicate and quiet, with outstanding deep chocolate colour which reveals the quality of the photographic technique and the good condition of the object.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","dimensions":"21,3 x 13,7 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Portrait","women","souvenir","memorabilia"],"materials":["Paper; albumen print"]},"185ba5fa-c953-5b73-a895-436fd368117e":{"name":"Ottoman Clothing Album","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"190def5c-0fc3-5e3c-8e0e-0783372b1471":{"name":"Portrait of the Crown Prince Abbas Mirza (AH 1203–1248 / AD 1789–1833)","short_description":"This painting was originally conceived as architectural decoration, as it was intended to fill niches or partitions in royal palaces. It depicts two main themes; life size portraiture of Abbas Mirza and a battle scene. The portraits were characterised by their high level of details and bright palette (primarily pink, royal blue, turquoise and translucent green). Among the interesting feature of this painting is the background scene which shows a long line of troops standing against a forest background. The troops are depicted wearing European style costume; this reveals the importance of the modernization of the army of Abbas Mirza, which is a common theme in many Abbas Mirza’s portraits. However, one particular interest here is the single soldier looking directly at us, who is larger in size than the soldiers and thus of a more important status. It is believed that this soldier is a self-portrait of the artist who is believed to be Muhammad Hassan (Hegira 1233 / AD 1818).","type":"Oil painting","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1233-35 / c. AD 1818-20","location":"Kuala Lumpur","dimensions":"211.5 x 109cm","provenance":"Iran","bibliography":"Islamic Arts Museum Malaysia, *Symbols of Power and Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015: 35 – 37.  \nBasil William Robinson, “Qajar Painted Enamels”, in R. Pinder-Wilson (ed.), *Paintings from Islamic Lands*, Oxford: Oriental Studies IV., 1969: 187-204.","dynasty":"Qajar","materials":["Oil on canvas with wooden frame"]},"198dcaff-0328-5a80-a4ea-d7ac0774b16b":{"name":"*The Ancestral Gallery of the Eltz Family*","description":"The Eltz family were of ancient German nobility. They came originally from the town of Eltz in Moselland, their family lineage uninterrupted from the first decade of the 13th century. A branch of the counts of Eltz acquired estates in Slavonia in 1736, when Philipp Karl, archbishop and elected prince of Mainz, bought the Vukovar estate. Throughout the following decades, the family brought from Germany to Croatia family portraits and the *Ancestral Gallery*, consisting of 10 large paintings. The composition is the same for them all – four to six figures representing two generations of the family (father, mother, the eldest son and his wife) shown with the Eltz family's coats of arms combined with that of their wives. The lower areas of the paintings have long texts about the lives of those depicted. The elder generations of the family are sometimes dressed quite fantastically, while depictions of the later generations seen in the final painting in the Gallery (shown here) present a detailed study of the fashion of the period  \nThe *Gallery*, commissioned and painted during the second half of the 18th century, is probably the work of Georg Joseph Melber, a painter based in Mainz. In 1752, Melber painted portraits of Anselm Kasimir Eltz and his wife Maria Johanna (in the Gallery of Fine Arts in Osijek). These portraits are distinctly similar to the paintings of the Ancestral Gallery.","short_description":"The Eltz family belonged to ancient German nobility. A branch of the counts of Eltz acquired estates in Slavonia in the 18th century bringing from Germany to Croatia the *Ancestral Gallery*. *The Gallery*, comprising 10 paintings, dates to the last quarter of the 18th century.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"The Eltz family, Vukovar, Croatia","dates":"Second half of the 18th century","location":"Zagreb, North-West Croatia","dimensions":"H: 76 cm; w: 118 cm","place_of_production":"Mainz (?)","method_for_datation":"The date and possible authorship of the painting was established by studying the inscriptions, and comparing the painting with other known works of Georg Joseph Melber.","provenance":"The Eltz family, Germany","obtention":"Received from the Commission for the Collection and Preservation of Cultural Monuments and Antiquities in 1952.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 85–90.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 248.","artist_birthdate":"Unknown–July 9, 1786, Mainz","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["Ancestral gallery","coat of arms","Eltz family","fashion","Heraldry","Portrait"],"materials":["Oil on canvas"]},"19adb7d5-92bf-5c8a-8b63-f8d677d0e713":{"name":"Danilo I, Prince of Montenegro (1871–1939)","short_description":"Danilo I, Prince of Montenegro (1871–1939) was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1890","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Danilo I, Prince of Montenegro","Jugoslavia","Vienna","Austria"]},"1a28e275-5d29-5396-afed-1d35fe8bd656":{"name":"*Portrait of Sultan Ibrahim Adil Shah II of Bijapur*","short_description":"This impressive three-quarter-profile portrait of Ibrahim Adil Shah at about 19 years of age is a unique masterpiece in every way. Portraiture was only in its infancy in Mughal India at this point, and such a monumental depiction from the Deccan must undoubtedly be attributed to the direct influence of printed European models.","type":"Miniature pasted on an album leaf","holder":"The David Collection","dates":"Hegira c. 1000 / AD c. 1590","location":"Copenhagen","provenance":"India, Deccan, Bijapur","dynasty":"Deccan Sultanates","keywords":["Europe","India","Leaf","painting"]},"1c651cdc-3180-5289-952f-daeae5e69f65":{"name":"Emigrants who immigrated to America","short_description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. This photo depicts some Muslim migrants who immigrated to America.","type":"Photograph","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1922–1925","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["migration","population exchange"],"materials":["Photograph"]},"1c78b924-ed6f-5a33-8922-4aa69a219c71":{"name":"Portraits of Jahangir and Shah Jahan","short_description":"This album painting shows portraits of two Mughal emperors; the upper portrait shows Jahangir (r. 1605–27) in a *jharoka* window-scene, while the lower, larger portrait depicts his son, Shah Jahan (r. 1627–58) in greater dimensions, a golden nimbus or halo encircling his head. Most famous today for commissioning the Taj Mahal, Shah Jahan was also a connoisseur of gemstones. In this portrait, he is richly adorned with necklaces, bracelets, and pendants of pearls, emeralds, rubies, and other jewels. He wears an orange turban decorated with strings of pearls, rubies, and emeralds and a sapphire turban-ornament (*sarpech*) of black aigrette feathers. His gold belt glitters with diamonds and a large opal. In his sash is tucked a dagger or *katar*, and his right arm leans on a sword. He is holding his imperial seal on his left hand, a sign of his sovereignty.","type":"Folio","holder":"Aga Khan Museum","dates":"1628","location":"Toronto, Ontario","dimensions":"55.1 x 34.5cm","provenance":"India, Agra","obtention":"Former Prince Saddrudin Aga Khan Collection","dynasty":"Mughal","keywords":["Album","figure","folio","human-figure","illuminated","Portrait","work-on-paper","works-on-paper"],"materials":["Opaque watercolour, gold, ink, paper"]},"1c7eb8dd-c27a-55e4-b4bd-256860c07387":{"name":"Types of Cairo","short_description":"The historical photos, belonging to Enrico H. Giglioli's collection, were collected by the Florentine naturalist during his travel around the world in 1865–68 on the Magenta's steam corvette, with the purpose to start diplomatic and commercial relations. The \"genre\" images seem to be created \"ad hoc\" to represent human diversity along the different ages. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum, and are very important for the history of anthropological science and history of photography. The origins in terms of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1913","location":"Rome","dimensions":"Photo n.10: format 8,6 x 5,5 cm","provenance":"Egypt","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Woman","photograph","anthropology","ethnology","geography","travel","exploration","scientific expedition","ethnography","museums","model","genre picture","portrait","representation of the other","costume","material culture","collection","Egypt"],"materials":["Albumen"]},"1deb708b-ab5d-5f99-8702-421204b044cf":{"name":"Berber woman (Nailiya) lying down","description":"The image depicts a Nailiya, a woman of the Berber tribe of the Ouled Naïl, in the south of Algeria. She is lying on her side like an odalisque, wearing a colourful silk dress and the rich jewels used to perform their traditional dance. The Nailiyat were independent women, free to marry men of their choosing. They moved to the cities in the North to earn money as dancers, in order to maintain their families in their community of origin. All this was not fully understood by Europeans. With the emergence of sex-tourism these women were forced to introduce sexual content in their originally hieratic performance, and finally they were even considered as prostitutes by the French administration, which in turn led to them being repudiated in their villages. Early photography contributed to forge this image of the Nailiyat in the European imagination.","type":"Photograph","holder":"National Museum of Anthropology","dates":"1856–1858","location":"Madrid","dimensions":"12 x 17 cm","copy_editor":"Anne Dowell","keywords":["Photography","Orientalism","Algeria","Women"],"materials":["Albumen print, cardboard"]},"1e2c6043-b6b2-543a-9e30-6ef03d18caa0":{"name":"*Portrait of Ferdinand Laffert, Royal Commissioner*","description":"The *Portrait of Baron Ferdinand Laffert* mixes official characteristics with a more personal style. The Baron was among the newcomers that gained estates after the Turks were ousted from Hungarian soil, and became the new landlord of a settlement in Ócsa, in Pest county near Buda, Hungary in 1693. He published one work during his lifetime, the *Publicus installationis actus in s. regni Hungariae coronae conservatorem excell., ac illustr. dni. comitis Georgii Leopoldi Erdődy de Monyorókerék ...* *Anno ab InItIo regnI HVungarIae, Ita & eXorDIo saCrae Coronae, Svpra septIngentos trIgesIMo. Posonii* in 1730.","short_description":"An official portrait of Baron Ferdinand Laffert who was among the newcomers that gained estates after the Turks were ousted from Hungarian soil, and became the new landlord of a settlement in Ócsa, in Pest county near Buda, Hungary in 1693.","type":"Painting (portrait)","holder":"Budapest History Museum","dates":"1727","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 94.5 cm, w: 74.5 cm","method_for_datation":"By historical data","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 28.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["book","Bratislava","Count Leopold Erdődy","Ócsa","Ottoman","Pest","Portrait","Pozsony","Pressburg","Turks, Turkish Wars"],"materials":["Oil on canvas"]},"1f4778d6-1457-56dc-8745-6fecef3643f8":{"name":"Hussein Avni Pasha (1819–1876)","short_description":"Portrait of Huseyn Avni Pasha, who was murdered in 1876 by Hasan Bey. In 1874 Huseyn Avni Pasha became Grand Vizier. He served in this position until 25 April 1875. From 25 August 1875 until 1 October 1875, he served as War Minister. Starting 11 April 1876, he served again as War Minister and played a major role in toppling Sultan Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Huseyn Avni Pasha","Sultan Abdülaziz","Ottoman army"]},"2014af0a-f0bc-59a2-9a32-22eb77035668":{"name":"Ferdinand I, Czar of Bulgaria (1861–1948)","short_description":"Portrait of Ferdinand I (1861–1948) as Duke of Bulgaria. Ferdinand I was born as the son of the Austrian General August von Sachsen-Coburg and Gotha. In 1887 he became ruler of Bulgaria after the abdication of Alexander I von Battenberg. In 1908 he made himself Tsar of Bulgaria. Because he joined the German and Austrian monarchy in WWI and lost the war, he had to abdicate on 3 October 1918 and to emigrate to Germany and Slovakia. In 1948 Ferdinand I of Bulgaria died in Coburg, Germany.","type":"Photograph","holder":"Austrian National Library","dates":"After 1887","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ferdinand I, Czar of Bulgaria","Sachsen-Coburg and Gotha"]},"204ad655-e0e1-593a-b96e-0e6675438945":{"name":"A Druse Bride from Lebanon","short_description":"The bride wears a tantur, a head ornament worn along with a white veil by the women from Antilibano. The photo belonging to Enrico H. Giglioli's collection was collected by the Florentine naturalist on his world travels in 1865 to 1868 as he advanced diplomatic and commercial affairs between the newborn Italian state and the other nations. The images seem to have been created spontaneously to show ethnocentric diversity. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum and are important for the histories of anthropological science and photography. The origins of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome can be traced back to the 1875 foundation of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1881","location":"Rome","dimensions":"13,7 x 20,8","provenance":"Egypt","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Woman","photograph","anthropology","ethnology","geography","travel","exploration","scientific expedition","ethnography","museums","model","genre picture","portrait","representation of the other","costume","material culture","collection","Lebanon","Druze"],"materials":["Albumen"]},"20742252-5d4f-565f-8b1e-0849b9510ddd":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","short_description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861). When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"c. 1850","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Abdul-Mejid, Sultan of Turkey","Egypt","Syria, Palestine","Hungarian refugees"]},"213b0fb4-e0c5-55f3-9d6e-bd61b0fcc5ae":{"name":"Ottoman Clothing Album","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"21983581-bf0c-5102-8ca7-8f1af359caf4":{"name":"Muhammad Tawfiq Pasha (1852–1892)","short_description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"1879","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Muhammad Tawfiq Pasha","Egypt","Arabi (Urabi) revolution","Great Britain"]},"21d2fd52-ed06-5897-a1ce-fe2e55d7e878":{"name":"*Sultan Süleyman II in profile*","short_description":"This portrait of the Ottoman Sultan Süleyman (AD 1494/5– 1566) is generally attributed to Titian’s circle, mainly because of the inscription on the back of the painting. No original portrait of Süleyman by Titian has survived, but inventories document four portraits by him, among them two tentatively identified as portraits in profile. Comparison with other recorded portrait-types of Süleyman shows that its genesis is connected with a prototype disseminated by Paolo Giovio (AD 1483–1552) after AD 1543, when he commissioned a number of copies of portraits of sultans for his portrait collection at Como. This year marks the *terminus post quem* for this painting.","type":"Painting","holder":"Kunsthistorisches Museum","dates":"After AD 1543","location":"Vienna","dimensions":"98cm x 85cm","method_for_datation":"Inscription on the back of the painting \"Tiziano\" and stilistical analysis as well as historical context.","method_for_provenance":"The painting is recorded in the Inventory of the Imperial Gallery dated AD 1772 (number 130): \"Ein Türcken Kopf\". Probably the same painting recorded in the inventory of the collection of Archduke Ferdinand II of Tirol AD 1596.","provenance":"Italy, Venice","obtention":"The painting is recorded in the Inventory of the Imperial Gallery dated AD 1772 (number 130): \"Ein Türcken Kopf\". Probably the same painting recorded in the inventory of the collection of Archduke Ferdinand II of Tirol AD 1596.","bibliography":"Bischoff, Cäcilia, \"Sultan Süleyman\", in Sylvia Ferino Pagden (ed), *Der späte Tizian und die Sinnlichkeit der Malerei*, exh. cat., Wien: Kunsthistorisches Museum, 2007: 167-168.  \nDeiters, W., \"Is Titian painting the Sultan?” in Robert Born, Michal Dziewulski and Guido Messling (eds), *The Sultan's World*, exh. cat., Brussels/ Krakow: Hatje Cantz Verlag, 2015: 182-183.  \nHaag, Sabine, Sandbichler, Veronika, Klarer, Mario, *Piraten und Sklaven im Mittelmeer*, exh.cat. Schloss Ambras, Innsbruck: Haymon, 2019.  \nSandbichler, Veronika, \"Süleyman der Prächtige,“ in Veronika Sandbichler (ed), *Türkische Kostbarkeitenaus dem Kunsthistorischen Museum*, exh. cat., Wien: Kunsthistorisches Museum, 1997: 47-49.","dynasty":"Venetian","author":"Francesca del Torre, Wencke Deiters","copy_editor":"Liz Cooper","keywords":["collection","Italy","Museum","Ottoman","Ottoman-Venetian relations","Paolo Giovio","Portrait","Renaissance","Süleyman","Titian"],"materials":["Oil on canvas"]},"21fbb370-0706-50de-a10a-ae6eb3f6cb65":{"name":"Portrait Album – Ottoman State Officers","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah","Joaillier"],"materials":["Photograph"]},"2398d928-c319-50b3-8b82-b2185dea28d6":{"name":"*Lady Layard*","short_description":"Lady Layard, wife of the famous excavator of Assyria, Austen Henry Layard, here poses in ‘Assyrian’ jewellery. This was made for her using genuine ancient objects.","type":"Painting","holder":"The British Museum","dates":"1870","location":"London","provenance":"United Kingdom","keywords":["Assyrian revival","women","archaeology","exploration","travel","traveller"]},"25615117-b95e-51bc-bba3-33731c28624f":{"name":"Portrait of a young woman","description":"A young woman on the photograph poses in the interior, lying on the Pirot kilim. She is wearing an overcoat named *džube*, which belongs to traditional urban dress ensemble worn in Kosovo. For this occasion *džube* is turned into an evening dress and combined with modern accessories. The outfit was most probably worn at a costume ball, which was a popular practice at this time, related to the elements of traditional 19th century urban dress. The kilim on the photo is decorated with the *Crown Prince* (*prestolonaslednik*) ornament.","type":"Photograph","holder":"Museum of Applied Art","dates":"Around 1930","location":"Belgrade","dimensions":"H: 8.4cm, W: 11.4cm","method_for_datation":"By stylistic analysis","provenance":"Serbia","obtention":"Purchased in 1987","author":"Draginja Maskareli","keywords":["Kilim","photograph","Pirot","Şarköy"],"materials":["Photograph"]},"261e731d-c1f3-5549-9d76-8e6eb76876e3":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","short_description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Photograph","holder":"Austrian National Library","dates":"c.1893","location":"Vienna","copy_editor":"Daniel de la Vega"},"26e9ef4b-0b68-5435-8e38-53a259f9cdaf":{"name":"Portrait of Prosper Enfantin dressed in an imitation of the local style","short_description":"Prosper Enfantin (1796–1864) was one of the most active members of the Saint-Simonian movement (a socio-economic and political movement advocating a fraternal, socialist society based on economic prosperity). After being imprisoned in 1832 for founding a very politically-active community, Enfantin became fascinated by the Middle East, and in 1834 he left for Egypt with a few companions. He was also one of the proponents of the Suez Canal. In this image he is dressed in the local Egyptian style, wearing clothes he made himself.","type":"Portrait","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Saint-Simonianism","Prosper Enfantin"]},"275443d0-1d7d-5e19-a7ef-50820f9add5d":{"name":"*Convoy of pilgrims*","short_description":"The Hijaz Railway was a narrow-gauge railway (1,050mm/​3ft, 5 11⁄32 in track gauge) that ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. It got no further than Medina, 400 kilometres (250mi) short of Mecca, due to the construction interruption caused by the outbreak of World War I. The main purpose of the railway was to establish a connection between Constantinople, the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj (annual pilgrimage).","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph pilgrims","pilgrimage","travelling"],"materials":["Photograph"]},"27da4fd7-996d-5066-b357-ffc4082c83ad":{"name":"Dr Charles Nicolle","short_description":"This is a photograph of the Nobel Prize for Medicine won by Dr Charles Nicolle for his work on infectious illnesses during his time at l'Institut Pasteur from 1903 to 1936.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","materials":["Paper"]},"2cba4816-822e-5153-8c2f-a05c21e94c01":{"name":"Mulay ‘Abd al-Rahman, Sultan of Morocco (1789–1859)","short_description":"Portrait of Mulay 'Abd al-Rahman, Sultan of Morocco (1789–1859). In 1822 he became the successor of his uncle and tried to fight against the growing influence of the European powers in North Africa by supporting the Algerian resistance against the French occupation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mulay 'Abd al-Rahman, Sultan of Morocco","Austrian fleet","Arzila","Tetouan"]},"2efb58fe-14fe-59df-ad70-18b84374d4f5":{"name":"Edmund Count Szechenyi (1839–1922)","short_description":"Portrait of Count Edmund Szechenyi. He was born in 1839 in Bratislava and studied the work of fire brigades in London. In 1869 he founded in Budapest the first volunteer fire brigade, which was transformed into a professional fire brigade in 1870. From 1871–1874 he commanded the umbrella organisation of all fire brigades in Hungary. In 1875 he was sent by Emperor Franz Joseph to Istanbul to build up a fire brigade in the Ottoman capital. As head of the fire brigade he became the first Christian Pasha in the Ottoman Army and stayed in Istanbul until his death in 1922.","type":"Print","holder":"Austrian National Library","dates":"c.1880","location":"Vienna","copy_editor":"Daniel de la Vega"},"2f2d6f96-e497-5489-ae20-7c7ca9950d9b":{"name":"*Mulay Hassan, Sultan of Tunis, died 1550*","short_description":"This portrait of Mulay Hassan, the Sultan of Tunis, is based on either a painting in the Uffizi Galleries or its now-lost prototype that was once in the collection of portraits assembled by Paolo Giovio. All of the portraits in the collection seem to be based on a portrait of the sultan by Cornelisz Vermeyen, the Netherlandish artist who had accompanied Charles V on his Tunisian campaign in AD 1535. The latter was the emperor’s response to the capture of the city by the Ottoman admiral, Hayreddin Barbarossa, which had forced the emperor’s ally, Mulay Hassan, to flee to Spain.  \nFrom the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble in AD 1676. The small paintings come from a variety of sources and depict both famous historical and contemporary personalities.","type":"Painting","holder":"Kunsthistorisches Museum","dates":"Undated","location":"Vienna","dimensions":"Height: 13.8cm, Width: 11cm","provenance":"Austria?","obtention":"Part of the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble/commission in AD 1676","bibliography":"For the whole series, see: Kenner, Friedrich, *Die Porträtsammlung des Erzherzogs Ferdinand von Tirol, in: Jahrbuch der Kunstsammlungen des Allerhöchsten Kaiserhauses*, vol. 14, 1893: 37-186; vol. 15, 1894: 147-252; vol. 17, 1896: 101-274; vol. 18, 1897: 135-261; vol. 19, 1896: 6-146. For the work discussed see: vol. 19: 137-139, cat. no. 26.  \nSee also: Ladner, Gerhard, *Die Porträtsammlung des Erzherzogs Ferdinand von Tirol*, Vienna: Verlag der Kunsthistorischen Sammlungen, 1932: 41, cat. no. E26.","dynasty":"Austrian?","author":"Guido Messling","copy_editor":"Liz Cooper","keywords":["Ambras Castle","collection","Ferdinand II: portrait","Hafsid","Mulay Hassan","Portrait","portrait collection","Renaissance","sultan","Wunderkammer"],"materials":["Paper on cardboard"]},"2f43e6b1-762a-5338-b352-7d38a498d393":{"name":"Insignia with the Portrait of Muhammad Shah Qajar (r. 1834–48)","short_description":"This lavishly embellished portrait of Muhammad Shah Qajar with its fine enamelling and diamond-set turban ornament, arm bands and collar, offers an exquisite example of the skill of the royal Qajar artists during his reign. The *nasta’liq* inscription within the two medallions read: Al-Sultan ibn Sultan, Al-Sultan Muhammad Shah Qajar.","type":"Jewellery","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1235-40 / c. AD 1835-40","location":"Kuala Lumpur","dimensions":"10 x 8cm","provenance":"Iran","obtention":"Swiss private collection","bibliography":"Islamic Arts Museum Malaysia, *Symbols Of Power And Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015.","dynasty":"Qajar","materials":["Gold and diamond","granulation, soldering, hinges, rivet, stone setting, enamelling, bending, handwritten on the enamel surface"]},"2fa5a8ab-1373-5032-9bc1-fd24f3282bbf":{"name":"*Qaytbay, Circassian Mamluk, Sultan of Egypt, died 1495*","short_description":"Quait Bey was a Mamluk Sultan who ruled Egypt and Syria from AD 1468 until his death in AD 1496. His reign marked a final cultural flowering in Egypt, which coincided with its growing conflicts with the Ottoman Empire. This portrait is probably based on a now-lost prototype once in the collection of Paolo Giovio, which also served as the model for a painting now in the Uffizi Galleries and a woodcut by Tobias Stimmer.  \nFrom the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble in AD 1676. The small paintings come from a variety of sources and depict both historical and contemporary personalities.","type":"Painting","holder":"Kunsthistorisches Museum","dates":"c. AD 1580","location":"Vienna","dimensions":"Height: 13.9cm, Width: 10.7cm","provenance":"Austria?","obtention":"Part of the collection of more than 900 portraits that Archduke Ferdinand II of Tyrol (AD 1529–95) began to assemble/commission in AD 1676","bibliography":"For the whole series, see: Kenner, Friedrich, Die Porträtsammlung des Erzherzogs Ferdinand von Tirol, in: *Jahrbuch der Kunstsammlungen des Allerhöchsten Kaiserhauses*, vol. 14, 1893: 37-186; vol. 15, 1894: 147-252; vol. 17, 1896: 101-274; vol. 18, 1897: 135-261; vol. 19, 1896: 6-146. For the work discussed see: vol. 19: 135-136, cat. no. 24.  \nSee also: Ladner, Gerhard, *Die Porträtsammlung des Erzherzogs Ferdinand von Tirol*, Vienna: Verlag der Kunsthistorischen Sammlungen, 1932: 41, cat. no. E24.","dynasty":"Austrian?","author":"Guido Messling","copy_editor":"Liz Cooper","keywords":["Ambras Castle","collection","Ferdinand II","Mamluk","Portrait","portrait collection","Qaytbay","Renaissance","sultan","Wunderkammer"],"materials":["Paper on cardboard"]},"316c3ae7-9ea6-5cac-b035-f8104f24c1ed":{"name":"*Mohamed Sadok Pacha Bey* (painting)","short_description":"This 1861 oil on canvas by B. de Moynier shows the Mohamed Sadok Pacha Bey in front of the throne in the great hall of the Palais du Bardo, his right hand on the Tunisian constitution (which he has just proclaimed), his left holding his sword. He is dressed in official uniform, with red trousers with a gold stripe and a short black coat with a gold belt and epaulets, in addition to the Nichan al-Amen medal and a green sash with a double red stripe. On his chest the Nichan al-Dam, the Légion d'Honneur and the Nichan al-Iftikhar (classe majeur) medals can be seen, as well as a Légion d'Honneur and Nichan al-Iftikhar on a sling. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1861","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Oil on canvas","B. de Moynier","Mohamed Sadok Pacha Bey"],"materials":["Canvas, wood, coloured pigments, gold leaf"]},"3277a1c4-6310-5adb-8af8-8874fed7d747":{"name":"*Marija Terezija Oršić (nee Wintershofen)*","description":"By birth from a Styrian baronial family, Maria Theresia Wintershofen was extremely well educated. She married Count Antun Oršić (1670/6–1706), a descendant of an old Croatian baronial family who was a cavalry captain and first served in the War of Spanish Succession and then fought against the Turks in Hungary. Maria Theresia and Count Oršić married when they were both very young, before 1695. Soon after, in 1700, he sued her for adultery and for allegedly casting spells on him. Granted a divorce, he took away their three children.  \nAn unknown, probably Croatian painter has bestowed on this portrait of Maria Theresia something unusual and mysterious, somehow reflecting her strange destiny. The portrait magnificently illustrates various details of female aristocratic dress at the end of the 17th century, notably the influence of French fashion seen in the cap (*fontange)* which is highly decorative and made of ruffled white lace and red ribbons threaded with silver*.* The colourful dress she wears was typical of the 17th century, richly endowed with pearls and lace. She also wears a small watch, hung on a red ribbon from her waist, accentuating her high social position.","short_description":"By birth from a Styrian baronial family, Maria Theresia Oršić was very well educated. Maria Theresia and Count Oršić married when they were both very young, before 1695. Soon after, in 1700, he sued her for adultery and for allegedly casting spells on him. Granted a divorce, he took away their three children. The portrait magnificently portrays various details of female dress at the end of the 17th century.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"Kulmer family, Šestine near Zagreb","dates":"1695–1700","location":"Zagreb, North-West Croatia","dimensions":"H: 98.5 cm; w: 77 cm","place_of_production":"Croatia (?)","method_for_datation":"Established through study of the clothes of the subject and her biography.","obtention":"Donated to the Museum by Countess Josipa Kulmer from Šestine near Zagreb in 1854.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća* (Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 146–147.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 286.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["costume","divorce","education","fashion","jewellery","Oršić family","Ottoman","Portrait","timekeeping","witchcraft","women"],"materials":["Oil on canvas"]},"33c78378-09b9-5e76-bb0d-85f0948fe81c":{"name":"Inocencia Serrano y Cerver, Marquise of Cerralbo, and Amelia del Valle y Serrano, in Oriental garment","description":"The Marquis of Cerralbo and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This albumen portrait of Inocencia Serrano y Cerver, Marquise of Cerralbo, and her daughter Amelia del Valle y Serrano is delicious thanks to the typical Turkish costume, the apparently easy pose and the scenography and the absolute harmony with the idea of aesthetic orientalism.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","dimensions":"13,7 x 21,3 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Portrait","women","souvenir","memorabilia","orientalism"],"materials":["Paper; albumen print"]},"35b961a6-875c-5ccf-a80f-d6f917ccd48e":{"name":"Jozef Zachariasz Bem (1795–1850)","short_description":"Portrait of Jozef Zachariasz Bem as Turkish Pasha. Jozef Bem was born in the Austrian part of Poland. He fought as a Napoleonic officer against the Russians. In 1830 he participated in the Polish uprising against the Russians in Warsaw. In 1848 he was one of the leading Generals fighting with the Hungarian army against the Habsburg troops. After several defeats in 1849, he fled with 6,000 Hungarian-Polish soldiers to the Ottoman Empire. After converting to Islam, he became a Turkish General. In 1850 he suppressed an Arabic pogrom against the Christian population of Aleppo.","type":"Print","holder":"Austrian National Library","dates":"Before 1850","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Jozef Zachariasz Bem","Aleppo","Syria","Hungary"]},"36d58a55-2db8-5fb1-a95f-93e3fa5513d2":{"name":"Ottoman Clothing Album","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"36e1b6b4-30ae-5caf-b227-73b35b67c02b":{"name":"Fuad I, King of Egypt (1868–1936)","short_description":"Portrait of Fuad I, King of Egypt (1868–1936). In 1917 Fuad I succeeded his brother Hussein Kamil as Sultan of Egypt. In 1922, after Egypt had achieved independence from the Ottoman Empire, he became King of Egypt with the help of the British government.","type":"Photograph","holder":"Austrian National Library","dates":"After 1922","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Fuad I, King of Egypt","Hussein Kamil"]},"370bd873-8035-59b2-bc6d-9c176b57e9d5":{"name":"Ibrahim Pasha (1789–1848)","short_description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ibrahim Pasha","Syria","Greece"]},"3879757a-f06b-5c78-885b-5bf3ddf848b8":{"name":"*Convoy of pilgrims*","short_description":"The Hijaz Railway was a narrow-gauge railway (1,050mm/​3ft, 5 11⁄32 in track gauge) that ran from Damascus to Medina, through the Hijaz region of Saudi Arabia, with a branch line to Haifa on the Mediterranean Sea. It was a part of the Ottoman railway network and was built to extend the line from the Haydarpaşa Terminal in Istanbul beyond Damascus to the holy city of Mecca. It got no further than Medina, 400 kilometres (250mi) short of Mecca, due to the construction interruption caused by the outbreak of World War I. The main purpose of the railway was to establish a connection between Constantinople, the capital of the Ottoman Empire and the seat of the Islamic Caliphate, and Hijaz in Arabia, the site of the holiest shrines of Islam and the holy city of Mecca, the destination of the Hajj (annual pilgrimage).","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph pilgrims","pilgrimage","travelling"],"materials":["Photograph"]},"3a9203b3-ee28-58a5-9738-28760f62fc9b":{"name":"Photograph","short_description":"This photograph is taken from a family photograph album. Most of the photographs in it are printed on platinum paper, which was introduced in 1879.  \nThroughout most of the 19th century women had few legal rights to property, money, children, or even, after marriage, their own bodies. However, there were great changes in attitudes during the last decade of the century. The traditional role of women was questioned and some women openly defied convention. They educated themselves by reading widely and took up what were seen as 'un-ladylike' activities such as smoking and cycling. The free movement of the bicycle was seen as a symbol of equality and personal freedom.","type":"Photograph","holder":"Victoria and Albert Museum","dates":"1898","location":"London","dimensions":"Height: 27.5 cm album, Width: 80 cm album open","provenance":"United Kingdom","author":"Victoria and Albert Museum","keywords":["Photographs","women"],"materials":["Platinum print"]},"3abe2459-c22d-5b5d-907a-4be0147c9eec":{"name":"Seated Berber woman (Nailiya)","description":"The image depicts a Nailiya, a woman of the Berber tribe of the Ouled Naïl, in the south of Algeria. She is sitting among rich cushions, wearing a colourful silk dress and the jewels used to perform their traditional dance.  \nThe Nailiyat were independent women, free to marry men of their choosing. They moved to the cities in the North to earn money as dancers, in order to maintain their families in their community of origin. All this was not fully understood by Europeans. With the emergence of sex tourism these women were forced to introduce sexual content in their originally hieratic performance, and finally they were even considered as prostitutes by the French administration, in turn leading to being repudiated in their villages.  \nEarly photography contributed to forge this image of the Nailiyat in the European imagination.","type":"Photograph","holder":"National Museum of Anthropology","dates":"1856-1859","location":"Madrid","dimensions":"17 x 12 cm","copy_editor":"Anne Dowell","keywords":["Photography","Orientalism","Algeria","Women"],"materials":["Albumen print, cardboard"]},"3b50b4cf-8492-533e-8f06-4e7806420158":{"name":"Tsar Nikolai and his family visit Queen Victoria","short_description":"Alix de Hesse-Darmstadt, who became the last Empress of Russia under the name Alexandra Romanova, was the granddaughter of none other than Queen Victoria of England. Nikolai II and his wife Alexandra stopped off in England on the way to Paris for their official trip in 1896, to introduce their first child (Olga) to her great-grandmother, Queen Victoria.  This photo is more of a family portrait than an official image.","type":"Photograph","holder":"National Library of France","dates":"1896","location":"Paris","translator":"Flaminia Baldwin","keywords":["Diplomacy","Russia","England","Nicholas II","Victoria"]},"3c582e3e-a495-54db-b958-c92ae0736f0c":{"name":"Portrait miniature of the Qajar ruler, Fath ‘Ali Shah","short_description":"This miniature portrait of Fath ‘Ali Shah was signed by Baqir, a versatile enamel painter, who produced high-quality work for the Qajar dynasty. He signed the miniature portrait as ‘the slave born in the household Baqir’, which stressed his role as a craftsman in the royal workshop. In this miniature Fath ‘Ali Shah is portrayed as a relatively young man, with a short beard and continuous eyebrows. He is richly dressed and wears several necklaces, armbands and a tall astrakhan hat decorated with an aigrette, possibly booty from the Mughal treasury in Delhi. To the left of the portrait there is a teardrop-shaped cartouche, which bears the inscription: ‘Fath ‘Ali Shah Qajar’.","type":"Miniature painting; gold; enamels","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"Early 19th century","location":"London","dimensions":"6.2 x 4.4cm","method_for_datation":"Date and provenance are based on the signature of the artist whose work is known, and by the subject of the portrait himself.","provenance":"Iran","bibliography":"Piotrovsky, M.B., and J.M. Rogers (eds), *Heaven on earth. Art from Islamic Lands*, exhibition catalogue, Munich: Prestel, 2004: no.127, p.177.  \nRobinson, B.W., “Qajar painted enamels”, in R. Pinder-Wilson (ed.), *Paintings from Islamic lands*, Oxford 1969: 186-204.  \nVernoit, S., *Occidentalism*, London: The Nasser D. Khalili Collection of Islamic Art, volume 23, 1997: cat.53, p.96.","dynasty":"Qajar","keywords":["crown","Enamel","gold","Iran","miniature","Portrait","Qajar"],"materials":["Gold sheet, painted with opaque and translucent enamels"]},"3d283460-a96d-52c9-8396-14cc20cc6366":{"name":"A young algerian girl","short_description":"Between the late 19th century and the 1930s, it became fashionable in the West to take photographs of children, either for publication as postcards or with \"anthropological\" aims. This photograph highlights the striking contrast between the hardships of poverty and the young girl's smile.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"4015cd67-07da-50de-ad09-a73de96638ef":{"name":"Abdul Baha Abbas (1844–1921)","short_description":"Born in Tehran, Abbas left Iran because of religious persecution. He travelled widely in Egypt, Europe and the United States. In 1913 he settled in Haifa where he founded the religious sect of Baha'i.","type":"Photograph","holder":"Austrian National Library","dates":"1897","location":"Vienna","copy_editor":"Daniel de la Vega"},"40b694ae-445b-54d8-b559-e424f0a605c7":{"name":"*Alexander Karatheodori Pasha (1833–1906)*","short_description":"Portrait of Alexander Karatheodori Pasha. He was born in 1833 in the Greek quarter, Phanar, in Constantinople and served as leading diplomat (Premier Plénipotentiaire) of the Ottoman Empire at the 1878 Congress of Berlin. With the consent of the Ottoman government, Austro-Hungarian troops occupied Bosnia-Herzegovina.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"1878","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Alexander Karatheodori Pasha","Congress of Berlin","Bosnia"]},"41d110ef-ea08-56b4-9331-39d56114f999":{"name":"Portrait of Archduke Maximilian","short_description":"Portrait of the Archduke Ferdinand Maximilian, who was commander of the Austrian Navy. In 1855 he visited parts of the Ottoman Empire including Smyrna, Palestine and Egypt.","type":"Painting","holder":"Austrian Military Museum / Institute of Military History","dates":"1850","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ferdinand Maximilian","Smyrna, Palestine","Egypt"]},"42a12e5a-4f49-5af5-9a9c-e5db696bbced":{"name":"Portrait of a Lady","description":"The decoration of the cabinet represented in this painting is clearly influenced by Islamic art in the details of the arches and the motifs in Neo-Mudéjar style. This decoration is related to the different publications about the Alhambra or the drawings by Carderera, in which the designers and artists found new inspiration for their works.","type":"Painting","holder":"National Museum of Decorative Arts","dates":"1841","location":"Madrid","provenance":"Madrid?","artist_birthdate":"8 March 1806","artist_birthplace":"Seville","artist_deathdate":"9 April 1857","artist_deathplace":"Madrid","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Women","Neo-mudejar style","Applied Arts"],"materials":["Oil on canvas"]},"42a328aa-1821-5971-b533-2606dafaee02":{"name":"The excavation of Mount Nemrut","short_description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Osman Hamdi Bey","orientalist Turkish painters","archaeological excavations"],"materials":["Photograph"]},"43466c72-e5b9-5030-8983-576a5a27f879":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","short_description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Print","holder":"Austrian National Library","dates":"c.1914","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Edmund Count Szecheny","Budapest","Hungary","Istanbul, Ottoman empire","fire brigade"]},"43b2594e-92cf-584f-b624-afc4b94a968d":{"name":"Giovanni Miani (1810–1872)","short_description":"Portrait of Giovanni Miani (1810–1872). Born in Northern Italy, he was an intellectual who was forced by Austrian authorities to seek exile in the Ottoman Empire. He lived in Athens, Smyrna and Egypt and was one of the European explorers who tried to find the sources of the Nile.","type":"Print","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Giovanni Miani","Italy","Egypt","Nile"]},"453156d3-f141-581a-96a5-4ef8c83cbae1":{"name":"Dr Charles Nicolle","short_description":"Pictured here is Dr. Charles Nicolle, a French microbiology doctor born in Rouen on 21 September 1966, in his research laboratory. His name is strongly linked to l'Institut Pasteur, which he directed from 1903–1936, playing the role of administrator, researcher, school headmaster, and advocate for the teaching of hygiene and illness prevention. In 1928 he received the Nobel Prize for Physiology. He died in 1936 and is buried at the Institut Pasteur, where his tombstone is engraved with olive and apple tree branches crossed over, the symbols of Tunisia and Normandy.","type":"Photograph","holder":"Musée de la Médecine","dates":"Early 20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Doctors of Tunisia","hospital","vaccination"],"materials":["Paper"]},"4541475a-b5b3-51f1-9463-7a0141b6de58":{"name":"Mohamed Daghabi","short_description":"Born in El Hamma to the Beni Zid tribe (near Gabès), Mohamed Daghbagi (1885–1924) became a deserter in 1915, after the battle of Dhibat between the French troops and the Tunisian resistance. In 1920 he rose to fame through his role in an armed group which took part in various conflicts. He then took refuge in Tripolitaine, and was arrested in 1922 and given back to the French. He was executed in El Hamma on 1 March 1924.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["French protectorate","resistance","occupation"],"materials":["Paper"]},"459c2899-4ce2-5ffd-a17b-a43ffa91c9bc":{"name":"*Milos Obrenovic, prince of Serbia*","short_description":"Milos Obrenović (1783-1860) was Prince of Serbia from 1815 to 1839, and again from 1858 to 1860. He participated in the First Serbian Uprising, led Serbs in the Second Serbian Uprising, and founded the dynasty of Obrenović. Under his rule, Serbia became an autonomous duchy within the Ottoman Empire. He is credited with starting the process of re-establishing Serbian statehood, as well as shaping the domestic and foreign policies of the modern Serbian state. Prince Milos ruled autocratically, permanently refusing to share power. During his rule, he was the richest man in Serbia and among the richest in the Balkans. In the portrait that was painted by Pavel Djurkovitch in Kragujevac, prince Milos is dressed in Oriental costume and has on the top of the head a turban. It is a typically Oriental piece of costume and this was of significance for the attitude and dignity of the Serbian sovereign at the beginning 19th century, who was by all means respecting an Ottoman empire and his Sultan.","type":"Painting","holder":"The National Museum","dates":"1824","location":"Belgrade","dimensions":"71,5 x 58 cm","provenance":"Kragujevac, Serbia","artist_birthdate":"1772","artist_birthplace":"Sremski Karlovci, Vojvodina (nowadays Serbia)","artist_deathdate":"1830","artist_deathplace":"?","author":"Petar Petrovic","copy_editor":"Daniel de la Vega","keywords":["Self representation","Orientalism"],"materials":["Oil on canvas"]},"47de166a-64f2-5809-807d-457eb735b800":{"name":"Stefan Petrovic Knicanin (1809–1855)","short_description":"Portrait of Stefan Petrovic Knicanin. The Serbian officer Stefan Petrovic Knicanin supported the Austrian Emperor during the 1848 revolution. In 1849 he returned to Serbia and fostered good relations between Serbia and Austria. He died in 1855 in Belgrade.","type":"Print","holder":"Austrian National Library","dates":"1849","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Stefan Petrovic Knicanin","Serbia"]},"48a64aba-b279-5473-911b-51ced2c8a938":{"name":"Portrait Album – Ottoman State Officers","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"49a80737-c924-5479-8273-7392e3cd1db8":{"name":"Gjorgij Pulevski","short_description":"Gjorgji Pulevski was a prominent figure of the Macedonian Enlightenment. He was born in Galichnik in 1822 and died in Sofia in 1893. In 1873, during his stay in Belgrade, he published the ”Dictionary of Four Languages,” which included Macedonian, Albanian, Greek and Turkish words. His “Dictionary of Three Languages” was issued in 1875. Gjorgji Pulevski was the founder of the Macedonian Literary Society, established in Sofia in 1888. It was one of the independent associations of Macedonian emigrants that made contributions to the awakening of the Macedonian national spirit.","type":"Photograph","holder":"Museum of Macedonia","dates":"1880s","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["Enlightenment"],"materials":["Paper"]},"49ea5362-039b-5261-908a-c40c047fa0bb":{"name":"Turkman Prisoner","short_description":"The Turkoman prisoner is a common subject in Iranian art. The motif was copied and subtly interpreted in both drawings and paintings, which were probably intended for placement in albums. The prisoner depicted here, as in all such representations, is fettered by a *palahang*, a device made from a forked branch, to which one wrist is attached by an additional band of wood or metal. A crossbar at the back of the prisoner’s neck completes the restraint. As is typical, the prisoners’ physiognomy and clothes denote his Turkman ethnicity. He wears a sleeveless outer robe over a long-sleeved tunic, with an elaborately knotted sash; his head is covered by a peaked cap. Characteristically, he carries a sheathed sword, a dagger, a quiver with arrows, a bow and case, a flail, and a whip. Not surprising, given his extensive armaments, he does not seem humbled by his captivity; rather, apart from the introduction of the shackling yoke, such prisoner figures are often nearly indistinguishable from contemporaneous paintings of similarly clothed and armed Uzbek princes or warriors. Based on the Persian poetry by Amir Shahi of Sabzavar (d. 857/1453), which surrounds the painting, it is possible to suggest a less literal meaning for this prisoner imagery. The verses give voice to the torments of unrequited love, a common theme in classical Persian poetry. Claiming to haunt the street of the beloved by night, the lover moans, \"Happy is that prisoner who has someone to come to his rescue,\" which is inscribed, almost like a caption beneath the bent leg of the captive.","type":"Manuscript","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira second half of 10th century / AD second half of 16th century","location":"Los Angeles","dimensions":"21.5 x 14cm","method_for_datation":"The motif of the Turkman prisoner first appears in Persian painting around the middle of the sixteenth century. The LACMA painting is very similar to one in a Persian-made album in the Topkapi Palace Library, Istanbul, H. 2156, which has margins dated between Hegira 980 / AD 1572 and Hegira 982 /AD 1575. This strong similarity suggests that a tracing was made from the Topkapi version, perhaps datable to the 1560s to early 1570s, which was reversed and used as pounce to produce the LACMA painting.","method_for_provenance":"The motif of the Turkman prisoner is known primarily in Safavid painting; a few instances occur in Mughal India.","provenance":"Iran","obtention":"Collection of Roland Yazhari, Portland, Oregon, until 2000 (sold to); LACMA, gift of the Ancient Art Council, Iran Trip 2000.","bibliography":"Komaroff, Linda, \"A Turkman Prisoner or Prisoner of Love?\" in Alireza Korangy and Daniel J. Sheffield (eds), *No Tapping around Philology: a Festschrift in Honor of Wheeler McIntosh Thackston Jr.'s 70th Birthday*, Wiesbaden: Otto Harrassowitz, 2014: 379.  \nKomaroff, Linda, *Collecting Islamic Art at the Los Angeles County Museum of Art: A Curatorial Perspective*, Los Angeles: Art Catalogues; LACMA, 2017: 18-20.  \nRizvi, Kishwar, \"Between the Human and the Divine: The Majālis al-ushshāq and the Materiality of Love in Early Safavid Art,\" in Walter Melion, Michael Zell, and Joanna Woodall (eds), *Ut Pictura Amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500-1700,* Leiden: Koninklijke Brill NV, 2017: 233.","dynasty":"Safavid","author":"LACMA Staff","keywords":["gold","ink","inscription","Iran","Manuscirpt","painting","Portrait","Safavid","watercolour"],"materials":["Ink, opaque watercolor, and gold on paper"]},"4cb14496-4bb6-5ace-9b66-d5e561825dc3":{"name":"Antonio del Valle y Serrano, Marquis of Villa-Huerta","description":"The Marquis of Cerralbo and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This vignetted bust shot albumen portrait shows the elegance and the character of Antonio del Valle y Serrano, marquis of Villa-Huerta and stepson of the marquis of Cerralbo.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","dimensions":"16,6 x 10,9 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Portrait","souvenir","memorabilia"],"materials":["Paper; albumen print"]},"4dcb750e-6c2b-5848-924b-43fb6905059d":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","short_description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega","keywords":["International Exhibitions","exposition","fair"],"materials":["Paper"]},"4ed1534b-d859-5994-b88b-5db059e74f6c":{"name":"*Ferdinand III as King of Hungary*","description":"The history of the painting is connected to the Diet of Sopron in 1625. In November 1625, the 18 year-old Habsburg heir was crowned King of Hungary in Sopron as Ferdinand III. Participating envoys reported that for the occasion the interior decoration of the Franciscan Church of Sopron consisted of the heraldic red, white and green of Hungary. The prospective ruler was also dressed for the ceremony in this vein: in the attire of a Hungarian nobleman, as seen in this portrait. The young king's first official portrait, the painting is an important document of the coronation, its authenticity seen in the faithful depiction of the Hungarian Holy Crown, rarely seen at the time. Such a detailed depiction, correct even in the colours used, would have been possible only by observation. As an object deprived of “publicity”, the crown was on display during coronation ceremonies only. This means that the artist must have attended the crowning ceremony. The portrait is attributed to the Flemish painter Justus Sustermans – court painter of the Medici in Florence – by analogy of his contemporaneous works, and by the fact that he had visited the Habsburg court on an earlier occasion and worked on commissions for the imperial family. There is probably more than one version of *Ferdinand III as King of Hungary*, this one becoming part of the collection of a notable Spanish art collector, connoisseur and collector of portraits, Marquis Leganés, Don Diego Da Messia. Leganés was busy at the time arranging the marriage of Ferdinand III and the Infanta, Maria Anna, sister of Philip III King of Spain, which was schedule for the spring of 1626.","short_description":"The history of the painting is connected to the Diet of Sopron in 1625. Participating envoys reported that for the occasion the interior decoration of the Franciscan Church of Sopron consisted of the heraldic red, white and green of Hungary. In this commemorative painting, the first official portrait of the 18 year-old Ferdinand III as King of Hungary, he is dressed in these colours. An important detail of the painting is the accurate depiction of the Hungarian Holy Crown, seen in every detail and accurately depicted enriched by the same colours.","type":"Painting (portrait)","holder":"Hungarian National Gallery","initial_owner":"Leganés Collection, Madrid","dates":"1626","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 201 cm; w: 126 cm","place_of_production":"Vienna / Madrid","method_for_datation":"By historical data and stylistic analysis","provenance":"Leganés Collection, Madrid (probably commissioned by Don Diego Da Messia, Marquis Leganés, Spanish art collector and connoisseur)","obtention":"Leganés Collection Madrid; purchased from a European private collection","bibliography":"Buzási, E., “III. Ferdinánd mint magyar király (Justus Sustermans ismeretlen műve az egykori Leganés gyűjteményből)” (“Ferdinand III as King of Hungary: a still unknown painting by Justus Sustermans from the late Leganés collection”), *Annales de la Galerie Nationale Hongroise*, Budapest, 1991, pp. 149–158.","artist_birthdate":"1597","artist_birthplace":"Antwerp","artist_deathdate":"1681","artist_deathplace":"Florence","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["collection","collector","costume","Hungarian Holy Crown","Leganés collection","Princely portrait"],"materials":["Oil on canvas"]},"4efddfdd-e8a3-5895-9f9c-d7247e51a06f":{"name":"Portrait of an unknown scholar","short_description":"This portrait depicts a calligrapher or scholar, wearing a white turban and with a red beard dyed with henna. Crouched in the corner of a simple room, lost in thought, he holds the mouthpiece of his water pipe. To his left, on top of a chest, a few personal objects include a pair of spectacles, a silver pocket watch, pencil cases, a book and a small glass vase with a bunch-flowered narcissus (*Narcissus tazetta*).  \n  \nWe know almost nothing about the painter, Mirza Aqa, mentioned in the poem accompanying this portrait. The qualities of this work are due in particular to the pictorial technique used by the painter. The faithful, almost rough rendering of the face gives the figure a strong, penetrating presence. The play of perspective, light and shadow, and the realism shown by the painter can be found in other contemporary Qajar painters.","type":"Portrait","holder":"Museum Rietberg","dates":"Hegira 1280 / AD 1863/64","location":"Zurich","dimensions":"Height: 24cm, Width: 15.5cm","method_for_datation":"By comparison with similar dated works.","method_for_provenance":"By comparison with stylistically similar works.","provenance":"Iran","obtention":"Acquisition","bibliography":"Langer, Axel, “Portrait d’un érudit, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 244-245.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Opaque watercolour and ink on paper"]},"5034d37c-081e-5b69-8d00-457af42ac16a":{"name":"El Sayyid Muhammad Idris al-Mahdi al Senussi (1889–1983), from 1916 Chief of the Senussi Muslim order","short_description":"El Sayyid (or Sidi) Muhammad Idris al-Mahdi al Senussi (1889-1983), the grandson of the founder of the Senussi Sufi order, became head of the Senussi order in 1916. He took the title of Emir and ruled as King of Libya from 1951 through 1969. In 1920 Italy reached an agreement with him and invited him to Rome, where he met King Victor Emmanuel III. Idris’ relations with the Italian government later deteriorated, and he went into exile in Egypt and encouraged anti-Italian guerrilla from there.","type":"Photograph","holder":"Italian Institute for African and Oriental Studies","dates":"1920","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"50b3f8f9-ce03-5830-9814-d4eedeb46a2e":{"name":"*Ivan III Adam Ratkay*","description":"The Ratkays were a noble family originating from Hungary whose family name is spelled in several different ways: Rathkay, Rattkay, Ratkay. In 1502, the Ratkays gained possession of the castle and estate of Veliki Tabor in north-west Croatia. From thereon they called themselves “Ratkay de Nagy Tabor”. Marriage connects the Ratkays to the Croatian nobility.  \nIvan III (Veliki Tabor, Croatia, 1640–Mexico, 1683) was a page at the court of Emperor Leopold I. He studied philosophy and theology in Graz before becoming a Jesuit, and was ordained in 1676. In 1678, he departed via Genoa, Seville and Cadiz for Mexico, landing in Vera Cruz two years later. From 1681, he lived among the Tarahumara Indians as a missionary, dying there from the effects of a native poison in 1683. He wrote journals of his travels in Latin, documenting his journey to Mexico and New Mexico, which he enriched with a map of Tarahumara with missionary settlements and Spanish fortresses (thereby making him one of the first Croatian cartographers). The family died out at the end of the 18th century.  \nThe painting consists of a portrait, four scenes from his life as a Jesuit, and a family coat of arms, all in separate painted frames. This painting is unique in the Museum collection in that it depicts the short life of the missionary in a series of smaller scenes arranged around the central oval with the portrait of Ivan III. It was painted by an unknown artist in the first decades of the 18th century.","short_description":"From a noble family, Ivan III had been a page at the court of Emperor Leopold I. He studied philosophy and read law before becoming a Jesuit. In 1678, he departed for America landing in Vera Cruz two years later. Working as a missionary among the American Indians, he died there from the effects of a native poison in 1683. He wrote journals of his travels in Latin and drew a map of the territory where he worked, making him one of the first Croatian cartographers.","type":"Painting (portrait)","holder":"Croatian History Museum","dates":"First quarter of the 18th century","location":"Zagreb, North-West Croatia","dimensions":"H: 141 cm; w: 117 cm","method_for_datation":"The date and origin of the painting were established by the inscription and from study of the information about the person depicted.","obtention":"Unknown; in the Museum collection since before 1920.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća* (Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 164–165.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 417.  \n*Ratkaji Velikotaborski* (The Ratkays of Veliki Tabor), Grad Veliki Tabor, 1993, pp. 31, 51.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["education","Jesuit","Mexico","native","Portrait","Ratkay family","religious mission","travel journal","travelling"],"materials":["Oil on canvas"]},"5213376b-6aff-55de-afcc-32cf7bfb66d1":{"name":"Portrait of Paul Draneht","short_description":"Paul Draneht (1815-1894) was born in Nicosia (Cyprus) as Pavlos Pavlidis. He was the child of a Greek Christian Orthodox family who fled Cyprus due to the clashes between Greeks and Turks, and took refuge in Egypt. Muhammad (Mehmet) Ali Pasha (the Khedive of Egypt) sent him to study in France. Trusted by the Khedive (who awarded him the titles of Bey and Pasha), Paul Draneht participated in the negotiations regarding the opening of the Suez Canal.  \nHe became superintendent of the Egyptian Opera Theatre and commissioned the opera Aida to the Italian composer Giuseppe Verdi. The Aida opened in Cairo on 24 December 1871.","type":"Painting","holder":"Alexis Zervudachi Collection","dates":"1880s–90s","artist_birthdate":"1866","artist_deathdate":"1938","author":"Massimiliano Cremona, Ignazio Galella","copy_editor":"Anne Dowell"},"532b4aae-3420-5fef-ba89-4653325f00d7":{"name":"*A young and an old Turk*","short_description":"Carol Popp de Szathmari was born in Transylvania, but later settled in Bucharest, Wallachia, where he worked as court painter of princes Alexandru Dimitrie Ghica, Gheorghe Bibescu and Alexandru Ioan Cuza. During the reign of prince Carol of Hohenzollern, he was also court photographer. He is the author of five photographic albums with images of people and places from Bucharest and other regions in Romania, among which there are depictions of people belonging to the ethnic minorities of Romania, such as the Turks. He travelled twice to Istanbul, in 1860 and 1864, as member of prince Alexandru Ioan Cuza’s suite. During the Crimean War (1854-1855) he photographed the Russian and Turkish armies that occupied Wallachia and then went to Crimea, where he took more than 200 photos of the fights.","type":"Photograph","holder":"National Museum of Romanian History","dates":"Second half of the 19th century","location":"Bucharest","provenance":"Romania","artist_birthdate":"11 January 1812","artist_birthplace":"Cluj, Romania","artist_deathdate":"3 July 1887","artist_deathplace":"Bucharest, Romania"},"54f5684d-16ac-5378-a06c-a89a79ec2891":{"name":"*Portrait of Marcello Sacchetti*","description":"Pietro Berrettini, also known as Cortona, was one of the key figures in Roman Baroque art, both as a painter and an architect.  \nThe subject of this portrait, Marcello Sacchetti, was made depositary general and secret treasurer of the Apostolic Chamber in 1623 thanks to his relationship with Maffeo Barberini, who had just become Pope Urban VIII. The artist painted this portrait after 1623 but before 1629, the year that Sacchetti died. A date around 1626 is generally accepted.  \nThe relationship between painter and patron was important, not just because Berrettini was given some major commissions by the Sacchetti family between 1627 and 1629, but for its exemplary nature.  \nWell integrated in Roman social and cultural circles, the nobleman Sacchetti introduced Berrettini to the most important collectors, allowing him to obtain new and interesting commissions and to consolidate his relationship with the powerful Barberinis.  \nSacchetti, a banker and businessman, is painted by the artist in a pose that successfully transmits the refinement of the gentleman, dressed in dark colours with collar and cuffs in fine white lace, with a pleasing spontaneity. Leaning casually against a fine console of richly decorated gilded wood, with the family coat of arms at the centre, through his deep gaze, he emits with proud nobility a psychological strength filled with feeling.  \nThe style is enhanced by an atmosphere rendered through the use of light and dark built up with intense brushstrokes, effortlessly achieving a perfection of form, reinforced by the chosen pose, a dazzling silk handkerchief in his hand.  \nThe painting may be one of a cycle of seven “Standing portraits of the Sacchetti” mentioned in a 1639 inventory. In 1644, the canvas is mentioned in an inventory by Antonio Barberini. It is not known how it became part of the Borghese collection, where it was documented in 1833 and where it was enlarged to serve as a pendant to the *Portrait of Monsignor Clemente Merlini* by Andrea Sacchi. The painting was restored and returned to its original dimensions in 1931.","short_description":"Pietro da Cortona was commissioned by Sacchetti, one of the most important collectors in Rome, on numerous occasions for his family homes. The nobleman is shown in a spontaneous pose beside a valuable table, showing his refined taste.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c.1626","location":"Rome, Latium","dimensions":"h: 133 cm; w: 98 cm","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, II, Rome, 1959, n.162, pp. 110–111.  \nGuarino, S., in *Pietro da Cortona 1597–1669*, exhibition catalogue (Rome), Milan, 1997, cat. 25, pp. 320–321.","artist_birthdate":"1596","artist_birthplace":"Cortona (Arezzo)","artist_deathdate":"1669","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["collection","collector","patronage","Portrait"],"materials":["Oil on canvas"]},"55817e68-2681-5c06-a3a1-71fdbd06edc2":{"name":"Photograph of a diplomatic visit to England","description":"This photograph depicts the diplomatic delegation that accompanied Sultan of Morocco Mulay al-Hasan I’s Ambassador Hajj Muhammad al-Zebdi on an official visit to Britain at the invitation of Queen Victoria.","type":"Photograph","holder":"General Library and Archives","dates":"Early 20th century","location":"Tetouan","dimensions":"H: 18cm, W: 24cm","keywords":["Diplomacy","photograph","visual document","international relations","European powers"]},"562cd119-0bf1-544d-a90a-b4094899b356":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","short_description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"c. 1882","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Urabi","Arabi","Egypt"]},"5686a4e1-e33b-5ad7-8f7a-20b3b101f2ca":{"name":"Petar (Pezia) Petrovich (2nd half of the 19th century – 1900)","short_description":"Portrait of Petar (Pezia) Petrovic. He was Chief of the Albanian Mirdita tribes fighting against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"568aa288-3d05-5bf2-9461-11f5d3c78666":{"name":"*Portrait of Charles of Bourbon*","description":"The Portrait of Charles of Bourbon (Charles III of Spain), one of a pair together with a portrait depicting Queen Maria Amalia of Saxony, now lost, is one of the first creations of the Royal Tapestry Factory in Naples.  \nFounded by the young King in 1737, soon after his arrival in Naples, the tapestry factory, together with a factory for the carving of semiprecious stones, was one of the first established by order of Charles of Bourbon. This decision must have been influenced by the young Charles’ interest in the Medici factories that were still operating in Florence. This interest developed when the future King stayed in the city in 1732, as the future successor to Gian Gastone de’ Medici.  \nIn fact, a small group of Florentine weavers and carvers of precious stones was responsible for giving life to the first two royal Bourbon factories in Naples, located near the church of San Carlo alle Mortelle. The factory, which was also composed of a local workforce, with the aim of promoting the development of new artistic techniques in the Kingdom of Naples, was under the direction of the Florentine Domenico del Rosso. And it was to the Florentine weaver that Charles entrusted his portrait and that of his consort; as with other items produced during the initial phase of the factories, these works were intended to celebrate the King and their patron. Production of the tapestry was completed in 1741, as indicated by the presence of the signature and date on the bottom right-hand edge of the tapestry: “DOM.CO D. L. ROSSO 1741”. The artist who provided the preparatory study for the tapestry is unknown; however, there is speculation that it may have been Giovan Battista delle Piane, who was a court portrait painter during these years; or Francesco Solimena, based on the tapestry’s extraordinary expressiveness and the intensity of the light and the colours in its original state.","type":"Bourbon manufacturing","holder":"Museum of Capodimonte","owner":"Museum of Capodimonte","dates":"1739–1741","location":"Naples","dimensions":"H: 237cm, W: 174cm","method_for_datation":"Signed and dated: “DOM.CO D. L. ROSSO 1741”","method_for_provenance":"Inventories","provenance":"Naples","obtention":"Bequest of Alfonso d’Avalos to the National Museum of Naples (the Italian State) in 1862","bibliography":"Giusti, Paola, *1737‒1759: Le Manifatture Reali al tempo di Carlo di Borbone*, in *Carlo di Borbone. Un sovrano illuminato per Napoli*, Naples: arte’m, 2016: 39.  \nMartino, Linda, *Museo di Capodimonte*, Milan: Touring Club Italiano, 2002: 221 (illustrated).  \nSiniscalco, Margherita, *Civiltà del '700 a Napoli. 1734‒1799*, vol. 2, Florence: Centro Di, Firenze, 1980: 97 (illustrated).  \nSpinosa, Nicola, *L’Arazzeria napoletana*, Naples: Libreria Scientifica Editrice, 1971.","workshop":"Royal Tapestry Factory in Naples (1737–1806)","author":"Maria Rosaria Sansone, Giovanna Garraffa","translator":"Judith Forshaw, Giovanna Garraffa","translation_copy_editor":"Mandi Gomez","keywords":["Charles III of Spain","Charles of Bourbon","Domenico Rosso","Don Carlos","Florentine weavers","Francesco Solimena","Giovan Battista delle Piane","Neapolitan Church of San Carlo delle Mortelle","Portrait","Royal Tapestry Factory in Naples","Tapestry"],"materials":["Wool and silk"]},"56f05326-4b1d-5eff-9a58-a822374155ee":{"name":"Portrait Of Binjamin Uziyel","short_description":"In 1911, when the Ottomans had to leave Tripoli, Binjamin Uziyel, who served in the consulate there, did research on a project of setting up sugar factories in Turkey after going to Genoa. He presented it to the Istanbul Chamber of Commerce by preparing a detailed report about setting up sugar factories in Turkey and ways to use the sugar beet.","type":"Photograph","holder":"The Quincentennial Foundation Museum, Archive of Turkish Jews","dates":"19th century","location":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Jewish community in Istanbul in 19th century","trade","sugar","commodities","markets"]},"582a237b-27f7-5d01-9b51-c2c6abbdd759":{"name":"Metal plate from India","short_description":"The object is a metal plate from India portraying Jahangir Shah, the fourth Mughal emperor of India, and his wife, Nur Jahan. Against a black metal background, Jahangir wears traditional Mughal courtier clothes decorated with gold bands and is armed with a long sword at his waist. He holds his last and most favourite wife, whom he married in 1611.  He gazes at her, and the expression of his face in profile, along with his hand on her arm, clearly represents his admiration for the Empress. The empress is armed with a dagger on her hip, decorated with a golden head of a lion. She holds a fan in her right hand, engraved with her title in gold. In her left hand, she holds a pipe, connected to the hookah on the other side of Jahangir. At the top, the metal plate is engraved with the Persian words, \"Lady Nur Jahan and the Emperor Jahangir.\" It is remarkable that Nur Jahan is mentioned prior to the Emperor.","type":"Metalwork","holder":"MKG Museum for Applied Arts","dates":"Hegira 977-1036 / AD 1569-1627","location":"Hamburg","dimensions":"Height: 122cm, Width: 80cm","method_for_datation":"Dated through the inscription.","method_for_provenance":"Unknown.","provenance":"India","obtention":"Catalogued in 2019.","dynasty":"Mughal","copy_editor":"Caitlin Link","keywords":["Jahangir","Mughal","Nur Jahan"],"materials":["Bronze"]},"5838d2ce-d94c-553a-ba3e-9f697d70d8a3":{"name":"Photograph of Tell el-Hesi diggers","short_description":"Some members of F.J. Bliss’ workforce at Tell el-Hesi. What is most noteworthy here is that in the period up to 1938 men, women, and children all worked together on excavations.","type":"Photograph","holder":"The Palestine Exploration Fund (PEF)","dates":"1892–94","location":"London","provenance":"?","keywords":["archaeology"]},"59c09c6e-e0cc-5963-83cc-fd6b4aea8244":{"name":"Bakırköy Railway Station","short_description":"During the 19th century, new technologies radically transformed both travel and communications. The first railway in Anatolia was constructed between Izmir and Aydin. Ottoman railways were mainly built during the period of Abdülhamid II. The first railway in the Republic of Turkey was part of the İzmir-Aydın line, founded by a British company in 1860. The İzmir-Kasaba line was built in 1865, the Rumeli line in 1869-77, the Anatolia-Baghdad line in 1872 and the Mudanya-Bursa line in 1892.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph The Hijaz Railways"],"materials":["Photograph"]},"59e91077-81f0-5cb2-9fc1-2e7eb98c95ab":{"name":"Turkish woman","short_description":"The Zangaki brothers were a pair of photographers working in Egypt who sold \"Orientalist\" photos to Western tourists. This photograph for example, responds to Western stereotypes by depicting a Turkish woman lying nonchalantly by shisha pipe.","type":"Photograph","holder":"National Library of France","dates":"1890-1895","location":"Paris","translator":"Flaminia Baldwin"},"5be7c4c7-6d3d-5df5-96ec-e6d5e56acbcd":{"name":"*Portrait of Johann Lenner, City Judge of Pest*","description":"The carpenter, Johann Lenner, left Germany for Pest where his craftsmanship was required in the rebuilding of the city following the end of Ottoman rule. Lenner obtained nobility through his craftsmanship and became a city judge. After four years as city judge, he served in Pest as a councillor for the 10 years that followed. As a result of Lenner's work the city amassed a large sum of money with which it supported the foundation of a Piarist school in Pest in 1717. An inscription on the back of this painting reads *“Johann Lenner de Lennersberg primarius Juder Liberae Regiaque Civitatis Pesthiensis quo potissimum agente Scholae Piae Anno 1717”*.  \nThe half-length portrait represents Lenner standing. He is dressed in a dignified manner, wearing a wig and a cloak. This painting is one of the earliest examples in a series of official portraits of chief officials of the city of Pest.","short_description":"An early example of a representational portrait of a city official.","type":"Painting (portrait)","holder":"Budapest History Museum","initial_owner":"Unknown","dates":"1717","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 94 cm; w: 74.5 cm","place_of_production":"Pest","method_for_datation":"On the basis of the inscription on the back of the painting","provenance":"Unknown","obtention":"By purchase","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 24.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["carpenter","education","Oil painting","patronage","Piarist order","Portrait","school"],"materials":["Oil on canvas"]},"5d7ce667-91be-5456-a2b0-7cd880b231f3":{"name":"*Portrait of Ruđer Bošković*","description":"In this portrait world-famed Croatian scientist Ruđer Bošković (1711–1787) is 45 years of age as stated in the legend under the painting. Seen in his study, with his published works arranged on a shelf, he sits in an armchair, at his desk, dressed in the Jesuit uniform of black cassock and a cap. In his right hand, he holds compasses while his left hand rests on a planetarium; his face looks out to the observer. The colours have an overall brown tone and the portrait is faithful, though of only mediocre quality. Painted by an unknown Italian painter, Bošković was teaching mathematics in Rome at the time.  \nBeneath the portrait is an inscription in Latin:  \nP.ROGERIUVS BOSCOVICH S.I.IN COLLEGIO ROM.MAT. PROFES.  \nNATUS RAGUSIJ XV KAL. IVNIJ MDCCXI AETATIS ANNO XLV  \nBošković was a leading physicist, mathematician, astronomer, philosopher and writer. Born in Dubrovnik, he was educated at the Jesuit college there and then in Rome. In 1725, he entered the Society of Jesus and remained in it until its dissolution in 1773. He was a professor at many schools and universities throughout Italy and travelled throughout Europe. A member of many academies, he published numerous scientific works. He was an all-round intellectual that studied and taught archaeology, literature, philosophy and rhetoric, and, in addition, worked as a diplomat. At the end of his life, his mental health suffered, and he died completely exhausted from pneumonia in 1773.","short_description":"A portrait of the world-famed Croatian scientist, Ruđer Bošković (1711–1787), painted in the mid-18th century by an unknown artist. The portrait shows him sitting in his study surrounded by the many books he wrote and clad in the habit of the Jesuits. In his right hand, he holds compasses while his left hand rests on a planetarium. According to the legend at the bottom of the painting, the portrait dates to 1756 when Bošković was teaching mathematics in Rome aged 45.  \nThis leading physicist, mathematician, astronomer, philosopher and writer, born in Dubrovnik, educated at the Jesuit college there and then in Rome, entered the Society of Jesus in 1725 and remained in it until its dissolution in 1773.","type":"Painting (portrait)","holder":"Museum of Icons of the Serbian Orthodox Church Community","dates":"1756","location":"Dubrovnik, Dalmatia","dimensions":"H: 96 cm; w: 71.5 cm","place_of_production":"Rome or Lucca","method_for_datation":"According to a legend at the bottom of the painting, the painting portrays Bošković at the age of 45. Therefore, since he was born in 1711, the portrait dates to 1756.","obtention":"Donated by the Serbian Orthodox Church Community in Dubrovnik.","bibliography":"Dadić, Ž., *Ruđer Bošković*, Zagreb, 1987.  \nMartinović, I., “Najranija recepcija Boškovićeve filozofije prirode”, *Dubrovnik* 3, 1993, pp. 46–70.  \nGjukić-Bender, V., *Portraits of Famous people of Dubrovnik,* Dubrovnik, 1993.","author":"Vedrana Gjukić-Bender, Nela Tarbuk","translator":"Graham McMaster","translation_copy_editor":"Mandi Gomez","keywords":["astronomy","education","Enlightenment","Jesuit","Portrait","religious schools","science","scientific instrument","scientific object","scientist","teaching","university"],"materials":["Oil on canvas"]},"5e9e845e-5f4e-508c-91ed-f52d967dbf97":{"name":"*Family gathering in Alexandria*","short_description":"Black and white photo in a family album: A family gathering at the garden of Emmanuel Benaki’s mansion in Alexandria. His eldest daughter Alexandra Benaki was engaged to his partner Tom Davis in April 1889. In the center of the picture appear the bride and the groom, the sister of Alexandra Benaki, Penelope Benaki-Delta, as well as their mother, Virginia Benaki. Phototographer unknown.","type":"Photograph","holder":"Benaki Museum","dates":"1889","location":"Athens","dimensions":"33,3x24,1 cm (album)","author":"Maria Dimitriadou","keywords":["photo","Greeks","Egypt"],"materials":["Photo B/W"]},"5fafc343-ccfd-52d3-8bd4-f2f311ffa1cf":{"name":"*Bust of Clement XII*","description":"Pietro Bracci produced a large number of works, mainly portraits. He was one of the most important late Baroque sculptors of the 18th century in Rome, and was involved in the creation of the Trevi Fountain. He was trained in the Baroque tradition based on the work of Gian Lorenzo Bernini and classical equilibrium.  \nThere is no documentary evidence linking the bust to the sculptor, nor any explicit references in the work-log that Bracci was in the habit of keeping after 1725, but the attribution is generally accepted by scholars.  \nIt is dated around the time of the pontificate of Clement XII Corsini, which lasted from 1730 to 1740, although it is possible that the bust was made after his death.  \nThe ageing face of the pope is sculpted faithfully, reproducing the lines infused with deep expressiveness and intelligence, key characteristics of the artist's portraits. The pontificate's vestments are finely decorated and tied at the chest, while the fur-trimmed cloak and underlying *mozzetta*  \n(a short elbow length cape worn by Catholic clergy) are sculpted to achieve an elegant volume of folds that create a play of light and shadow.  \nThere are other busts of the pope, although full information is not available for all of them. Of particular interest is the one currently in Ravenna, which may have been intended for the pontificate's tomb in Laterano, and the bust of Clement XII, currently exhibited in the Galleria Nazionale di Arte Antica, which was acquired in 1927.  \nThe portrait of the pope in the Galleria Borghese was donated to the museum in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","short_description":"Pietro Bracci follows the Baroque tradition seen in Bernini's psychological portrait, *Cardinal Scipione Borghese*. Bracci was one of the sculptors involved in the creation of the Trevi Fountain.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1730–1740","location":"Rome, Latium","dimensions":"h: 76 cm","provenance":"Istituto dei Ciechi (Institute of the Blind) at the Baths of Diocletian","obtention":"Given to the Galleria Borghese in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.40 p. 43.  \nHonour, H., in *voce* “Bracci Pietro”, in *Dizionario Biografico degli Italiani*, Milan, 13, 1971, pp. 620–623.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p.76.","artist_birthdate":"1700","artist_birthplace":"Rome","artist_deathdate":"1773","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Bust","Classical model","marble","Portrait","talking portrait"],"materials":["Statuary marble"]},"60d2a3da-9b0d-5e19-af72-c7ddc1d18f65":{"name":"Portrait of an officer Dusan T. Urošević","description":"Portrait of Dušan T. Urošević, an officer, shows a Pirot kilim as a prop on the floor of the photographer’s studio in Niš. The border of the kilim is decorated with *Queen’s sleeve* (*kraljičin rukav*) ornament. As it was common in late 19th and early 20th century, the subject wasn’t portrayed in a real-life environment, but in carefully staged photographer’s studio setting. Besides the Pirot kilim and furniture, other props used in the studio were a curtain, a tablecloth, a vase with the flowers and a book.","type":"Photograph","holder":"Museum of Applied Art","dates":"1907","location":"Belgrade","dimensions":"H: 16.2cm, W: 10.5cm","method_for_datation":"By stylistic analysis and historical documents (name of the photographer printed on the cardstock mount)","provenance":"Niš","obtention":"Purchased in 1995","author":"Draginja Maskareli","keywords":["Kilim","photograph","Pirot","Şarköy"],"materials":["Photograph"]},"6215ebc8-8b3b-5484-8ac2-a702cc00efad":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","short_description":"Portrait of Carol I, King of Romania (1839–1914) on horseback/ Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega"},"629911e6-06d2-536a-9acd-824991f44ffa":{"name":"Ferdinand, King of Romania (1865–1927) / Ferdinand von Hohenzollern-Sigmaringen","short_description":"Portrait of Ferdinand I, King of Romania. After the death of King Carol I, Ferdinand (as the nephew of the deceased king) ascended to the throne. In 1916 he joined the *entente* and declared war against Austria and Germany. After World War I, Romania gained Transylvania, Bukowina and the Banat from Austria, and Bessarabia from Russia. Ferdinand died in Romania in 1927.","type":"Photograph","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Romania","Ferdinand I"]},"647bb6c0-14ae-506b-85c5-060226c34178":{"name":"Poet Nigar Hanım","short_description":"Nigar Hanım, who was born in Istanbul in 1856, studied in a French school. She also took private Turkish, Arabic and Persian classes. She started to write poems when she was a child. She had a very good command of the French language and French literature. Every Tuesday, she gathered reputable personalities at her place, where they discussed art and literature, listened to music and read poems. She collected her poems in *Efsûs I* (1877), *Efsûs II* (1891), *Nîram* (1896), *Aks-i Seda* (1900) and *Elhan-i Vatan* (1916). She also wrote a work of prose in 1901 entitled *Safahat-i Kalb*. A fine lyricism that expresses her unhappiness in her private life can be observed in her work. Among the Turkish poets, she was the most productive, writing very original pieces in the second half of the 19th century.","type":"Photography","holder":"Aşiyan Museum","dates":"Second half of the 19th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"65011066-4ed5-5528-a635-0088b486989b":{"name":"Portrait of Cardinal Sembratowicz","description":"Sylwester Sembratowicz (1836–98) had been metropolitan Archbishop of Lviv (in Polish Lwów or Lvov), of the Greek-Catholic denomination, since 1885. In 1895, he became Cardinal. He was also a professor and Dean of the Theological Faculty at the Jan Kazimierz University in Lviv.  \nCardinal Sembratowicz is depicted sitting on a highly decorated armchair in the sacral interior, behind him is a lectern covered with embroidered drapery. Beneath his feet, we see a precious carpet, probably a Persian carpet of the Tabriz type. On the carpet’s softly painted surface it is possible to recognise an ornament of elaborately woven palmettes, with many colourful details that are joined with wavy tendrils, on a red ground. The border is dark-blue, filled with a row of palmettes. Persian carpets were very popular among wealthy inhabitants of Lviv in the 19th and 20th centuries. A very similar carpet, dating to the 19th century, is preserved in the collections of the National Museum in Kraków (inv. no. MNK XIX-12064). In spite of this carpet’s generous dimensions, the Janelli family took it with them into exile when forced to leave Lviv by the Soviet authorities in 1946.","type":"Painting","holder":"National Museum in Kraków","dates":"1896","location":"Kraków","dimensions":"H: 21cm, W: 300cm","provenance":"Ukraine, Lviv","obtention":"Donated before 1939","bibliography":"Kozakowska, Stefania, and Małkiewicz, Barbara, *Polish painting from around 1890 to 1945. Catalogues of the Collections of the National Museum in Kraków*, Kraków: National Museum in Kraków, 1998: 21‒2, cat. 14.  \nZięba, Andrzej A., “Sylwester Sembratowicz”, *Polski Słownik Biograficzny* (Polish Biographical Dictionary), vol. XXXVI/2, fasc. 145, Warsaw and Kraków: Polish Academy of Sciences, 1995: 212‒16.","artist_birthdate":"1865","artist_deathdate":"1944","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Aleksander Augustynowicz","carpets in art","Lviv (Lwów or Lvov)","Sylwester Sembratowicz","Tabriz"],"materials":["Oil on canvas"]},"65f0147e-2ea5-57c6-89c2-25c7b8e3c09c":{"name":"*Count Paar as Neptune*","description":"Count Josef Ignaz Paar, High Steward of Emperor Joseph I and curator of the Vienna-Academy, and his wife, Marie Anna of Valdštejn, the empress's lady-in-waiting, initiated the transformation of the Renaissance chateau in Budišov into a spectacular mansion in 1715. Only a few of the rooms with their Baroque interiors have survived: the *sala terrena* with chinoiseries and the Ancient (Golden) Room on the second floor, decorated with grotesque paintings and featuring scenes from the lives of ancient gods that also personify the elements. Crypto-portraits in the room beside it crown the elaborate decoration of the chateau, a typical example of the residences of court nobility at the time. The ground floor features hunting scenes with the god, Zeus, conveying the fate of the interconnection between earthly pleasures and tribulations. The paintings on the first floor depict the course of the world through the changing seasons, while on the second floor there are pictures from the lives of the high gods. The second large painting shows the countess Paar as *Amfitríté*. The Triptychon illustrate the Devise “*Omnia vincit amor*” – that love wins over all – and originally they decorated the wedding room, now known as “the room of elements”.  \nOnly a fragment of Prenner's, the court painter of Maria Theresa, work has survived. Walter Xaver of Dietrichstein commissioned him with the restoration of the Mikulov chateau; Prenner was also his artistic advisor. The artist worked for Jan Adam Questenberk (Rapoltenkirchen, Jaroměřice nad Rokytnou). As director of the Vienna court art collections, he captured their treasures in a series of engravings, *Theatrum artis poctoriae* and *Prodromus*.","short_description":"Crypto-portraits of the counts in the room crown the elaborate decoration of the chateau, an example typical of the residences of court nobility at the time. Count Paar was a High Steward of Emperor Joseph I and curator of the Vienna-Academy. Only a fragment of Prenner’s work, the count painter, has survived.","type":"Painting","holder":"Budišov State Chateau","owner":"Budišov State Chateau","initial_owner":"Count Josef Ignaz Paar","dates":"1740–1750","location":"Budišov State Chateau, Moravia","dimensions":"H: 180 cm; w: 210 cm","place_of_production":"Vienna","method_for_datation":"The authorship, mentioned in older literature, was confirmed by a find of the *Prenner 1721* signature on newly revealed paintings in the Budišov Church.","provenance":"Budišov Chateau","obtention":"The painting is what remains of the original Baroque interior in “the Room of Elements” (probably a wedding room) at Budišov Chateau, a relatively low-key town off the beaten track in the Czech-Moravian Highlands.","bibliography":"August Prokop, *Die Markgrafschaft Mähren in kunstgeschichtlichen Beziehungen*, Wien, 1904, p. 1300.  \nMarie Mžyková, Na okraj kryptoportrétů Paarů na zámku v Budišově, *Cour d´honneur* 3, 1998, pp. 49–51.  \nPetr Czajkowski, Malířská výzdoba v kostele a zámku v Budišově u Třebíče (na okraj činnosti malířů J. Drentwetta a J. A. Prennera v první třetině 18. století na Moravě), *Zprávy památkového ústavu v Brně*, 3, 1999, pp. 85–97.","artist_birthdate":"1683","artist_birthplace":"Wallerstein","artist_deathdate":"1761","artist_deathplace":"Vienna","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["crypto-portrait","mythology","Virgil"],"materials":["Oil on canvas"]},"65fd829c-bfae-5827-bf9b-ed418624bfa6":{"name":"Ferdinand I, King of Romania (1865–1927) / Ferdinand von Hohenzollen-Sigmaringen","short_description":"Street Scene with King Ferdinand of Romania in Vienna. After the death of King Carol I, Ferdinand (as the nephew of the deceased king) ascended to the throne. In 1916 he joined the *entente* and declared war against Austria and Germany. After World War I, Romania gained Transylvania, Bukowina and the Banat from Austria, and Bessarabia from Russia. Ferdinand died in Romania in 1927.","type":"Photograph","holder":"Austrian National Library","dates":"1914","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ferdinand I, King of Romania"]},"67e4f746-f9b3-5718-ba2d-1a3899a55af1":{"name":"Water Glass","description":"The tall glass is cylindrical in shape and rests on a low circular stem and base. It is decorated with an oval medallion on the front featuring a photographic portrait of King Alexander and Queen Draga Obrenović against a white background. The oval medallion is highlighted with a partially gilded ornament of stylized leaves and vine strips. Two thin gilded lines encircle the rim.  \nThis type of glass featuring a royal portrait had been appearing in Serbia since the mid-19th century. Portraits of the Obrenović dynasty were often applied to glass tableware. It is presumed that they were most likely produced as memorabilia. The glass with King Alexander and Queen Draga's portrait can certainly be interpreted in terms of promoting the last royal couple of the House of Obrenović.","type":"Glass","holder":"Museum of Applied Art","dates":"End of the 19th century","location":"Belgrade","dimensions":"Height: 18cm, Diameter (upper rim): 6.4cm, Diameter (base): 6.8cm","method_for_datation":"By stylistic analysis and comparative method using other objects made in the same period in the same place.","method_for_provenance":"By stylistic analysis","provenance":"Austro-Hungarian Empire, Vienna","obtention":"Purchased in 1954","bibliography":"Djurić, J., *Staklo, u Srbiji XIX veka* (Glass in 19th Century Serbia), exhibition catalogue, Belgrade: Muzej primenjene umetnosti (Museum of Applied Art), 1985: 83.","workshop":"Unknown Vienna manufacture","author":"Biljana Crvenković","copy_editor":"Valerie Pulsifer","keywords":["Blown glass","Commerce","gilded","Obrenović","photograph","Portrait","Tableware"],"materials":["Colourless, blown glass with applied photo decoration"]},"6857e440-8f5f-5412-a588-b0da5f2afb45":{"name":"*Bust of the Cardinal Scipione Borghese*","description":"In 1605 when Paul V became Pope, he immediately made his nephew Scipione a cardinal, despite his young age, quickly promoting him to a position comparable to secretary of state. This enormous power allowed the cardinal-nephew to create a splendid home and a marvellous art collection over a decade, in an unorthodox manner.  \nThe bust portrait of Scipione by Gian Lorenzo Bernini was sculpted for his first major patron in 1632, after a creative hiatus of nearly seven years as a sculptor, during which he developed a new concept in portraits, more representative of the vibrant Baroque style.  \nThe spontaneous and intense pose, the arrangement of the bust with the head turned in a slight movement, the attentive gaze and the mouth open in an expression of vague wonderment combine to create a highly expressive, almost colloquial relation with the viewer.  \nThe cloth folds in the *mozzetta* (a short elbow length cape worn by Catholic clergy) and the detail of the small unfastened button showing us the live body beneath the clothes are an integral and involving part of the piece.  \nThe marked confidence displayed by this excellent example of a Baroque style of which Bernini was a master gives an intimate and human dimension to the sitter, despite his official status.  \nWith the bust almost finished, a hairline fracture opened up in the marble around the forehead, due to the stresses of the sculpting tools. The sculptor was forced to produce a second version of the bust at very short notice. This shows how little attention Bernini paid to his choice of marble, something that was of fundamental importance for other sculptors, such as Michelangelo. Despite the crack, the Cardinal requested that both works be delivered to him, keeping both in the Galleria Borghese.","short_description":"Cardinal Borghese, the pope’s nephew, was a passionate collector and looked after the cultural policy of the papal court. He had a sensitive instinct for artistic quality and gave a boost to the birth of the Baroque. Bernini renders the Cardinal life-like; the transience of human feeling and the expression of inner emotions are part of the Baroque aesthetic.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Scipione Borghese","dates":"1632","location":"Rome, Latium","dimensions":"H: 82 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.36, pp. 37–39.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano, 1990, cat. 31, p. 88).  \nColiva, A., “Due Busti di Scipione Borghese”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, catalogo della mostra, Rome, 1998, pp. 276–289.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Due Busti di Scipione Borghese”, in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 216–233.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bust","collection","collector","marble","patronage","Portrait","talking portrait"],"materials":["Marble"]},"68850fe9-86ff-5692-8ae9-7d758c18ca87":{"name":"*Letta Asım Baloya Giderken* (*Letta Asım was about to go to a ball*)","short_description":"As a result of modernization efforts and the increase in relations with the West in the 19th century, there were significant changes in Ottoman social life. Instead of the traditional 18th-century entertainment which consisted of miniatures, in Tanzimat Period of the 19th century, theatre, opera, musical performances and ballrooms became popular in Istanbul. In public places, western-style dance and musical instruments began to be seen.","type":"Painting","holder":"Mimar Sinan Fine Arts Unıversity Painting and Sculpture Museum","dates":"1912","location":"Istanbul","dimensions":"178.5 x 96.5 cm","provenance":"Istanbul","artist_birthdate":"1886","artist_birthplace":"Istanbul","artist_deathdate":"1954","artist_deathplace":"New York","copy_editor":"Daniel de la Vega","keywords":["Women","women painters","Turkish women painters","Ottoman women painters","women condition","social change","dance","opera","theatre","ballet"],"materials":["Oil on canvas"]},"699fbe74-5142-545f-991c-73824a07527f":{"name":"Author Tevfik Fikret and his book of poetry *Rübab-ı Şikeste*","short_description":"Tevfik Fikret, who published his first book of poetry *Rubab-ı Şikeste* (broken instrument), dealt with love, piety, nature and a worldview that was self-enclosed to the environment. His poems influenced other Turkish poets and he is considered a pioneer of contemporary Turkish poetry. His work also has some seeds of the social opposition of the future.","type":"Photograph; book","holder":"Aşiyan Museum","dates":"1900","location":"Istanbul","copy_editor":"Daniel de la Vega"},"69f1c95c-2875-58ff-b85b-10d1c2d2ab83":{"name":"Marius Scalesi","short_description":"Pictured here is Marius (Mario) Scalesi, a young poet of Italian origin, born on 6 February 1892 in Tunis to an Italian father and a Maltese mother. He suffered from tuberculosis from birth, and became paralysed following a fall down the stairs in his home in La Goulette, the so-called \"Little Sicily\" of Tunis. Forced to abandon his studies in order to make a living, he completed his education independently. His articles of literary criticism and poems were published in the journal *La Tunisie Illustrée*. His collection of poems, *Les Poèmes d'un Maudit* sheds light on the hardships of his life. He died in 1922 in an asylum in Palermo. A fascinating figure due to his triple cultural identity - Italian, French and Tunisian - he is considered one of the pioneers of North African poetry in French.","type":"Photograph","holder":"Institut Culturel Italien (Italian Emabassy in Tunisia)","dates":"19th century","location":"Tunis","dimensions":"","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Marius Scalesi","literature in French","poetry","migration"],"materials":["Paper"]},"6a3c68eb-7bea-5e92-8112-9d9d0c950351":{"name":"The Bach Hamba brothers","short_description":"'Ali (pictured here) and Mohamed were two of the leaders of the protest movement \"Harakat al-Shabab al-Tunisi\" (the Young Tunisians). Born in Tunis in 1876 and 1881 respectively, these two men of Turkish origin helped found a French-language newspaper, *Le Tunisien*, through which they attacked the politics of the French colonialists and demanded reform. With the help of their comrades, the brothers organised many acts of resistance, such as the Jellaz Affair (1911) and the tramway boycott (1912). The arrest of the majority of the movement's founders, and the suppression of the newspaper *Le Tunisien* marked the end of their activities in Tunisia. However, they continued to make their demands from abroad, working mainly in Geneva and Istanbul, where they finally died in 1818 ('Ali) and 1820 (Mohamed).","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["Newspaper Le Tunisien","the Young Tunisians movement"],"materials":["Paper"]},"6b2642e7-7a75-5343-8798-9e4bf21929a4":{"name":"Luca Petrovich (2nd half of the 19th century – 1900)","short_description":"Portrait of Luca Petrovic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"c.1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"6c3d3ee7-fba0-54ef-ae3a-b0810a3caeb2":{"name":"A bedouin and his camel/dromedary","short_description":"The bedouin became a symbol of romantic nomadism in the 19th century European imagination. The Zangaki brothers, a pair of Greek photographers working in Egypt, began producing photos of these nomads for Western tourists.","type":"Photograph","holder":"National Library of France","dates":"c. 1870","location":"Paris","translator":"Flaminia Baldwin","keywords":["Bedouins","caravans","nomadism"]},"70423969-df09-5091-ad7b-50e63c993a4d":{"name":"Painting of Vittorio Emanuele II, King of Italy","short_description":"This oil on canvas portrait from 1862 depicts the King Vittorio Emanuele II (1861–1878). Fair-skinned with blue eyes and brown hair, the king is dressed in official uniform, with a black jacket and silver buttons and a silver belt. The Ordre du Sang, the Nichan al-Dam and the Annunziata medals are on the left of his chest. A royal red cape is draped over his shoulders, bordered by gold decorations, a white fur collar and lapels embellished with black feathers. A gold crown decorated with red and green strasses sits is on his left, and red curtains with tassels and tiebacks in the same colour form the backdrop. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1862","location":"Le Bardo, Tunis","dimensions":"L. 138 cm, l. 103 cm","provenance":"Palais du Bardo","artist_birthdate":"1806","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Oil on canvas","Vittorio Emanuele II"],"materials":["Canvas, wood, coloured pigments, gold leaf"]},"70d49b3f-e99f-5946-83f7-c0c3b1092a69":{"name":"Osman Hamdi Bey (During the excavation of Mount Nemrut)","short_description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Osman Hamdi Bey","orientalist Turkish painters,","archaeological excavations"],"materials":["Photograph"]},"70d8300c-308e-5b69-9c40-e4c3750f6ab8":{"name":"Photograph of a musician holding a violin and bow","description":"A photograph of a musician in Morocco, he wears local dress and is holding a violin and bow.","type":"Photograph","holder":"General Library and Archives","dates":"1912","location":"Tetouan","dimensions":"H: 10cm, W: 15cm","keywords":["Moroccan music","Arab music","musical instrument","violin","ensemble","traditional ensemble","concert","entertainment","traditional music","European musical instruments"]},"70df1938-c4b1-5bed-9f24-8054cc85bf48":{"name":"Karl I, Emperor of Austria (1887–1922)","short_description":"Portrait of Karl I, the last Austrian Emperor. The Austrian and the Ottoman Empires disintegrated after World War I. Karl I had to flee from Austria and died in exile on the island of Madeira.","type":"Print","holder":"Austrian National Library","dates":"c. 1916","location":"Vienna","copy_editor":"Daniel de la Vega"},"7445c306-1049-5630-9a00-27983ccbe9b6":{"name":"*Khedive Ismail*","short_description":"Khedive Ismail, the fifth ruler of the Muhammad 'Ali Dynasty, Khedive of Egypt from 1863 to 1879. Ismail assumed rule over Egypt when work on the Suez Canal was ongoing. He continued the project until the Canal was opened for navigation in 1869. He established Dar al-Kutub (the National Library and Archives of Egypt) on 26 September 1870. The First Egyptian Parliament was inaugurated in 1866, during his reign.","type":"Photograph; portrait; painting","holder":"Bibliotheca Alexandrina","dates":"19th century","location":"Alexandria","copy_editor":"Daniel de la Vega","keywords":["Ruling Family","Rulers of Egypt","The Alawiyya Dynasty","Turks","The Ruling Elite"]},"7503191f-13bf-5090-a965-b30a2948d2bd":{"name":"Ibrahim Pasha (1789–1848)","short_description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ibrahim Pasha","Syria","Greece"]},"75a1a06b-dd6b-5798-a0d2-b2d013063c27":{"name":"Rai Sal Darbari","short_description":"This painting of the Hindu courtier Rai Sal Darbari was once part of the Salim Album, which was assembled during the years 1600 to 1604, for Prince Salim before his accession as the emperor Jahangir. This especially striking depiction of Rai Sal Darbari was surely one of the finest paintings in the album. Immediately noticeable is the palette, with its stunning contrast of rich colours—crimson, ochre and purple—the intensity of which is relieved by the brilliant white of the figure’s turban and one of the *patka*s (sashes) that hangs from his waist. Closer inspection reveals the sensitive treatment of the figure’s face, the fine creases around the eyes and the facial hair, each individual strand of which has been painstakingly rendered.","type":"Album folio","holder":"The Chester Beatty Library","dates":"Hegira c. 1008–14 / AD 1600–05","location":"Dublin","dimensions":"23.3 x 14.9 cm","provenance":"India","dynasty":"Mughal","catalogue_holding_link":"https://viewer.cbl.ie/viewer/image/In_44_2/1/LOG_0000/","keywords":["border decoration","calligraphy","Illustration","miniature painting","Portrait","portraiture","textile"],"materials":["Coloured pigments and gold on paper"]},"77f52d4b-ff6b-552e-acdb-df8edbe68721":{"name":"Ismail, Khedive of Egypt (1830–1895)","short_description":"Portrait of Ismail, Khedive of Egypt (1830–1895), who financed the construction of the Suez Canal. Because of the enormous costs of the building and his reform measures, Egypt's debt rose from three million pounds sterling to 100 million pounds sterling. In 1875 Egypt was bankrupt and Ismail Pasha was forced to sell 176,602 shares to Great Britain for 3,976,582 pounds sterling. Egypt came under financial control of France and Great Britain.","type":"Print","holder":"Austrian National Library","dates":"After 1869","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ismail, Khedive of Egypt","Suez Channel","Emperor Franz Joseph"]},"79b21411-a495-509f-bd1b-4acb4fa78729":{"name":"*Portrait of a Negro*","description":"Morgado de Setúbal, a late 18th-century Portuguese “genre” painter, is quite original in his approach to portraying popular and picturesque scenes. His Portrait and still-life works stand out for their representations of various social types in Portuguese society, where his focus was mainly on the working classes. In this painting he depicts a black slave or servant who wears poorly conserved clothes and points at the viewer. The painting is typical of the artist's use of bold forms and earthy colours.","short_description":"This portrait of a black slave or servant is an example of Portuguese “genre painting”. In his portrayal of popular and picturesque scenes, Morgado de Setúbal allows the viewer to appreciate some late 18th-century Portuguese social types.","type":"Portrait painting","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"João de Castro Osório de Guimarães","dates":"c. 1775–1800","location":"Lisbon, Lisbon","dimensions":"H: 75 cm; w: 57.5 cm","place_of_production":"Setúbal (?)","method_for_datation":"By stylistic analysis","provenance":"Acquired from João de Castro Osório de Guimarães in 1933","obtention":"Acquired from João de Castro Osório de Guimarães in 1933","bibliography":"Exhibition Catalogue:  \n*Os Negros em Portugal,* Mosteiro dos Jerónimos, Lisbon, 1999.","artist_birthdate":"1752","artist_birthplace":"Mafra","artist_deathdate":"1809","artist_deathplace":"Setúbal (?)","copyright":"Copyright image: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação,I.P.","author":"José Alberto Seabra Carvalho","translator":"José Alberto Seabra Carvalho","translation_copy_editor":"Mandi Gomez","keywords":["genre painting","negroes","Portuguese painting"],"materials":["Oil on canvas"]},"7ab5bd97-3948-5e4a-9db2-309afc5b078e":{"name":"A lithographed postcard showing the “Sharif al-Makka al-kabir Aun ar-Raba\"","description":"The figure is Sharif ʿAwn al-Rafiq Pasha, who served as Sharif and Emir of Mecca from 1882 until his death in 1905. Institutional catalogues of his surviving portrait consistently identify him by this name and term of office. The title, “Sharif of Mecca”, referred to the Hasanid descendants of the Prophet Muhammad who governed Mecca. Sharifian government in the city developed from the tenth century and remained one of the most important institutions of western Hijaz politics for centuries. As a member of the Hashemite ʿAwn household, he governed the holy city, exercised authority connected with the Hajj, and negotiated his position with the Ottoman administration, whose recognition remained essential to the sharifate. The Arabic heading was intended to identify him as شريف مكة الكبير عون الرفيق (“ʿAwn al-Rafiq, Grand Sharif of Mecca”), but the name is irregularly and inaccurately written on the card.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1323 / AD c. 1905","location":"Berlin","dimensions":"Height: 12,9 cm; width: 8,8 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Qatar Digital Library, “‘Aun èr-Rafīq, Grossscherif von Mekka’”, Photograph by Christiaan Snouck Hurgronje. Collotype, 1888. *British Library, India Office Records and Private Papers.*  \n  \nSweis, Sami Jiryis, “Hashemite Household Anxieties: The Amirate of Mecca, Arabism, and the Arab Revolt, 1880–1919”, PhD diss., University of Chicago, 2020.","dynasty":"Ottoman","copy_editor":"Danielle Morcom","keywords":["government","Mecca, Saudi Arabia","Portrait","sharifate"],"materials":["Paper, coloured postcard"]},"7e87a4ee-76a2-59b0-995b-b76a7a6ee825":{"name":"*Woman with mimosa*","short_description":"Osman Hamdi focused on dilemmas such as East and West, love and hate, life and death. While stylistically reminiscent of western Orientalist painters, his works reflect a more nuanced appreciation of Ottoman society and culture. In the art of his paintings, he depicted unique details so diligently that he made us recognize our environment and Turkish culture. He illustrated carpets, tile panels, calligraphies, decorative arts, shrines, mosques and human figures in his paintings. He also gave importance to details while reflecting the colourful scenes of Turkish culture, traditional architecture, Ottoman fashion and domestic and social life of the women in the Ottoman Empire. And it’s obvious that he is the first painter who used human figures in the western style.","type":"Painting","holder":"Mimar Sinan Fine Arts University, Painting and Sculpture Museum","dates":"1906","location":"Istanbul","dimensions":"135.5x98 cm.","provenance":"Istanbul","artist_birthdate":"1842","artist_birthplace":"Istanbul","artist_deathdate":"1910","artist_deathplace":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Osman Hamdi Bey","orientalist Turkish painters"],"materials":["Oil on canvas"]},"7f9082fe-da75-56c9-8c44-bba718558f12":{"name":"Ottoman Clothing Album","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"80035f13-53d6-5c24-82f4-b515c60d1e91":{"name":"Portrait Album – Ottoman State Officers","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"82d030e3-3a19-5186-b070-89dfbd474e06":{"name":"*Portrait of Countess Erzsébet Berényi, Wife of Count Miklós (Nicolaus) Zichy*","description":"*Portrait of Count Miklós Zichy*, together with its companion piece *Portrait of Countess Erzsébet Berényi*, the count's wife, are rare examples of family portraiture which differ from the traditional so-called Ancestors' Galleries found in the region at the time.","short_description":"An official family portrait representing Countess Erzsébet (Elizabeth) Berényi, the wife of count Miklós (Nicolas) Zichy.","type":"Painting (portrait)","holder":"Budapest History Museum","initial_owner":"The family of Count Zichy","dates":"Around 1760","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 91.5 cm; w: 71.5 cm","place_of_production":"Hungary","method_for_datation":"By historical data","provenance":"The family of Count Zichy","obtention":"From the bequest of Count Jenő Zichy, 1903","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.24.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Count Miklós Zichy","Countess Erzsébet (Elisabeth) Berényi","Óbuda","Oil painting","Portrait","Zichy family"],"materials":["Oil on canvas"]},"837581e0-006f-52d2-82bf-795b4cf10463":{"name":"Portrait of Abraham Behor And Nisim Camondo","short_description":"Abraham Salomon's descendants, Abraham-Behor (1829-1889) and Nisim (1830-1889) were partners in banking. As a rival to the Ottoman Bank, The Camondo Family established the Ottoman Empire Company-i Umumiyesi (*Societe Generale de l'Empire Ottoman*) with a capital of two million pounds in 1864. Because of the establishment of the Credit General Ottoman Bank in 1868, the Camondo Brothers decided to move the bank to Paris with the idea that the Bank should have absolutely no external links. Abraham-Behor became president of the institution of the *Alliance Israelite Universelle* in 1864. This institution – which instructed students in French in the name of modernization and westernization – was founded to improve the material and spiritual conditions of the Jews and to ensure the spread of education in İstanbul.","type":"Photograph","holder":"The Quincentennial Foundation Museum, Zulfaris Synagogue Museum","location":"Istanbul","copy_editor":"Daniel de la Vega"},"83934d9b-77bc-58ef-af02-542c738a2425":{"name":"Portrait of the Marquis of Pombal","description":"The portrait was painted in 1776 by the French artist Louis-Michel van Loo, who was known for his portraits of Kings and noblemen. Van Loo worked from sketches outlined in Lisbon by J. A. Padrão and J. S. Carpinetti, while C. J. Vernet was in charge of the nautical-themed background. Commissioned by the English and Swiss merchants, Gerard Devisme and David Purry, the picture was devised to eulogise the persona and political achievements of the Marquis of Pombal, a central figure in the Age of Enlightenment: a merciless statesman and influential Minister of the Kingdom in the government of José I of Portugal for 27 years (1750–1777).  \nThe Marquis of Pombal ruled with a heavy hand, suppressing the Jesuits and prevailing over the Portuguese Inquisition and the Church. In the portrait, his left hand gestures toward the River Tagus and Hieronymus Monastery, but also goes further in its propagandist call by encompassing the Kingdom's Atlantic call. Mercantilist, the marquis established the *Junta do Comércio* and other guilds to regulate all commercial activities, favouring trade monopolies run by the merchant bourgeoisie, and impelling the manufacturing business to greater productivity. The marquis rationalised State administration and demarcated the region for the production of Douro and Port wines, guaranteeing the wine's quality trough the *Companhia das Vinhas do Alto Douro*. He also launched the *Aula* *do Comércio* and the *Real Colégio de Nobres;* established the basis for secular public primary schools and in so doing created hundreds of new teaching posts. He reformed the academic curricula of the University of Coimbra, which at the time was inspired by Jesuit teaching.  \nThe Pombaline reforms, including the reconstruction of Lisbon in the aftermath of the earthquake of 1755, are depicted trough the allegory of Commerce, Arts and Industry seen in the three figures surrounding the statue of King Joseph I, which appears behind the Marquis. The marquis was pragmatic and uncompromising in his efforts to coordinate the rebuilding of downtown Lisbon and the new Praça do Comércio (replacing the old Terreiro do Paço) where the statue of King Joseph I stands. Some of the plans to rebuild Lisbon rest on a table underneath his right arm, and others can be seen on a red walnut carved stool.","short_description":"The *Portrait of Marquis de Pombal* was commissioned in 1776 from the French artist Louis Michel van Loo in order to eulogise the persona and political achievements of the Marquis of Pombal, Minister of the Kingdom in the government of José I of Portugal.","type":"Painting","holder":"Oeiras Town Hall","owner":"Oeiras Town Hall","initial_owner":"Sebastião José de Carvalho e Melo, Marquis de Pombal","dates":"1766","location":"Oeiras, Lisbon","dimensions":"H: 290 cm; w: 354 cm.","place_of_production":"Lisbon and Paris","method_for_datation":"Original documents and stylistic analysis","provenance":"Palace of the Marquis de Pombal, Oeiras","obtention":"The painting was transferred from the palace of Marquis de Pombal to the Town Hall headquarters in 1939","bibliography":"Marques, A. H. de O., *História de Portugal*, Vol. 1, Lisbon, 1974.  \nMonterroso Teixeira, J. de, *O Triunfo do Barroco,* Europália, 1991, p. 273,274.","workshop":"Portraiture European and Baroque","author":"Cristina Correia","translator":"Cristina Correia, Manuel Silva Pereira","keywords":["Companhia das Vinhas do Alto Douro","Enlightened despotism","Enlightenment","Jesuit expulsion","Marquis de Pombal","mercantilism","Pombaline reform","Portrait","urban planning"],"materials":["Oil on canvas"]},"85ea18f4-df5c-5e4b-ac52-cad7c455e015":{"name":"*The Apotheosis of Emperor Joseph II*","description":"This small allegorical composition is a rare example of a piece that might have been planned originally purely as a decorative piece. The execution of the painting is finely detailed, and contrary to its small size, it is of exceptional quality. The painting is also unusual in its representation of the emperor, which is not at all in keeping with the normal iconography associated with him.  \nThe Holy Roman Emperor Joseph II (1765–1790) was King of Hungary from 1780 to 1790. The eldest son of Maria Theresia and Francis von Lorraine, having succeeded to the throne, he tried to organise a unified empire with reforms of Enlightened Absolutism. Both his political and religious policies served the emperor's overall ideal of the strong central power of the state. His reform policies were named after him and are known in Hungary as Josephinism. A limited guarantee of freedom of worship was seen with the Patent of Tolerance in 1781, and he abolished serfdom and the death penalty. Like many of the enlightened monarchs of the time, he was a prolific patron of the arts, commissioning an opera from Mozart and a funeral cantata from the young Beethoven.","short_description":"Because of its small size and compositional form, this painting is a rare example of Baroque allegory associated with the Holy Roman Emperor Joseph II (1765–1790). The painting glorifies the Habsburg emperor and Hungarian king during whose reign Enlightened Absolutism was born. Because of his reforms and the laws he passed, the era is known in Hungary as Josephinism.","type":"Painting","holder":"Budapest History Museum","initial_owner":"The Royal Collection, Buda Castle","dates":"Second half of the 18th century","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"D: 30.8 cm","method_for_datation":"By historical data","provenance":"From the Royal Collection, Royal Palace, Buda","obtention":"Transferred from the Royal Collection, Royal Palace in Buda in 1945","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","Enlightenment","Franz von Lorraine","Joseph II Habsburg","Josephinism","Maria Theresia","panel"],"materials":["Oil on panel"]},"8824c22c-0cd4-502b-8da0-b722a3dd6846":{"name":"*Izzedin Yusuf Effendi (1875–1916)*","short_description":"Portrait of Izzedin Yusuf Effendi (1875–1916). He was the heir to the throne. In 1916 he committed suicide.","type":"Print","holder":"Austrian National Library","dates":"1916","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Izzedin Yusuf Effendi"]},"8882d0e5-57fa-5c65-adef-21bc617bd242":{"name":"*Portrait of a Laughing Youth*","description":"The painting is mentioned for the first time as part of the collection in the 1693 inventory. It has been attributed variously to different artists in the past, but was confirmed as a “Carracci Caricature” in an 1833 *fideicommissum* (a deed forbidding the heirs to the Borghese estate from splitting up the collection). In the 20th century, it was deemed to be an early work of the Bolognese artist, at a time when Carracci made numerous attempts at “genre works”, leaving some superb examples, such as the famous canvas , *The Beaneater* in the Galleria Colonna, Rome (c. 1583–1584).  \nThe portrait of the jester has always been thought to be a character from the *Commedia dell'Arte*. This small sketch shows a smiling, mocking youth dressed in a dark suit, ruff and light hat, awkward and upside-down. The supposed jester, with his grotesque red nose, cannot be identified entirely with the theatrical comic tradition and, although the severe and sober clothes resemble the Bolognese mask of “Dottor Graziano”, the unusual hat is perhaps an invention of Carracci himself.  \nThe light comes from the right, creating a *chiaroscuro* effect on the folds of the hat, emphasising the satisfied look and ambiguous smile of the character, the focal point of the portrait.  \nIt is the complicit look and smile of a comic actor that, between fiction and reality, skilfully establishes a relationship with the viewer.  \nThe portrait stands against a simple yellow background, which helps to focus attention on the burlesque face, whose keen, realistic expression is rendered with a sombre palette of colours.  \nFree charcoal lines quickly define the sketch, combined with fast, fluid brush strokes. Given the medium (paper on canvas) the use of these tools seems to suggest a desire to capture the immediacy of a live portrait, rather than a caricature, which has been suggested, although this area was of interest to the painter.  \nThe modernity of expression in the sketch anticipates by half a century the portraits of Velazquez and Bernini and appears to be the beginning of the study of emotions and character types that characterises 18th-century artistic innovation.  \nThe work is one of Carracci's “small portraits” painted after 1582, where his search for reality was based on simple lines and not precise reproductions of faces.","short_description":"This piece is an interesting example of the artistic re-invention pursued by Carracci. In his sketchy *Portrait of a Laughing Youth*, dating to around1584, the young artist captures a moment of the youth's laughter. With its spontaneity, it is extraordinarily modern, anticipating the portraits by Bernini and Velázquez 50 years later. It may be the portrait of an actor, the Bolognese mask of the “Dottor Graziano”.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1584","location":"Rome, Latium","dimensions":"h: 44.5 cm; w: 29 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, I, Rome, 1955, n.16, p. 21.  \nSantolini, S., in *L'Anima e il Volto. Ritratto e fisionomica da Leonardo a Bacon*, exhibition catalogue, Milan, 1998, pp. 148–149.  \nBenati, D., in *Annibale Carracci*, exhibition catalogue (Rome), Milan, 2007, cat. II. 9, pp. 110–111.","artist_birthdate":"1560","artist_birthplace":"Bologna","artist_deathdate":"1609","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["character types","chiaroscuro","commedia dell'arte","genre painting","Portrait"],"materials":["Oil on paper on canvas"]},"89d4c66b-a374-55e7-8284-7f6b427b03c0":{"name":"Portrait of Abel Acácio Botelho","description":"This painting by António Ramalho (1859–1916) portrays European fascination for eastern cultures. As well as wearing a Japanese costume, the figure in the painting is surrounded by oriental objects in a clear reference to his aesthetic preferences.","type":"Painting","holder":"National Museum of Contemporary Art – Chiado Museum","dates":"1889","location":"Lisbon","dimensions":"59 x 44","artist_birthdate":"1859","artist_birthplace":"Barqueiros","artist_deathdate":"1916","artist_deathplace":"Figueira da Foz","author":"DGPC","keywords":["painting","portrait","man","quimono","orientalism"],"materials":["Oil on canvas"]},"8a70de1b-8f52-5be5-84b2-f02ae35a3ab5":{"name":"‘Abd-al-Hamid (Abdülhamid) II (1842–1918)","short_description":"Portrait of 'Abd-al-Hamid (Abdülhamid) II (1842–1918). He was born in 1842 in Istanbul. In 1876 he became Sultan and after the lost war with Russia in 1877, he was forced to agree to the 1878 Congress of Berlin. The signatory powers of the congress allowed Austria to occupy Bosnia-Herzegovina, which belonged to the territory of the Ottoman Empire. In 1888 he had to accept the occupation of Tunisia by France. He tried to modernize the Ottoman Empire with the help of Germany, but in 1908 a revolution of Turkish officers forced him to abdicate. He died in 1918 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"After 1876","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["'Abd-al-Hamid (Abdülhamid) II","Congress of Berlin","Bosnia-Herzegovina","Tunisia"]},"8aa9aed7-b2ea-50bd-90ad-08ec6d53d8f4":{"name":"Portrait of Émile Prisse d'Avennes dressed in an imitation of the local style","short_description":"The engineer, painter and architect Prisse d'Avennes (1807–1879) lived in Egypt for 20 years, and was to a great extent assimilated into Egyptian society and had adopted many Egyptian customs. Other figures, such as Delacroix in Morocco and Flaubert in Egypt, were also fascinated by the landscapes, knowledge and customs of these countries, which became the inspiration for many of their works, thus initiating the trend of \"Orientalist writing\".","type":"Print","holder":"National Library of France","dates":"1872","location":"Paris","artist_birthdate":"1803","artist_deathdate":"1905","translator":"Flaminia Baldwin","keywords":["Travelling","Orientalism","Prisee d'Avennes"]},"8ad123be-79dd-59a7-84a8-ffc0f7c6d8e7":{"name":"*James Robertson and His Brother-in-Law Felice Beato in Turkish Costume*","short_description":"A self-portrait of James Robertson and his brother-in-law Felice Beato standing side by side and dressed in Turkish costume is an important work in the history of photography. This picture is in every sense a coloured counterpart of two other portrait photographs by Robertson first brought to light by Bahattin Öztuncay in 1991. The image of Felice Beato in this identical photograph is the only known picture of him in his youth.","type":"Photograph","holder":"Ömer M. Koç Collection","dates":"1855","location":"Istanbul","artist_birthdate":"1813","artist_birthplace":"London","artist_deathdate":"1888","artist_deathplace":"Yokohama","author":"Bahattin Öztuncay","copy_editor":"Daniel de la Vega","keywords":["self-portrait","watercolour on photographs","Felice Beato"],"materials":["Saltprint overpainted with watercolour"]},"8c4762e1-5805-5789-8cac-3fcdc7d7a021":{"name":"*Portrait of a Sculptor – Gottfried Fritsch*","description":"A slightly stooped male half-figure emerges from a dark background, in which the viewer can make out roughly worked stones. While his expressive look scans the viewer, the man, holding a pair of compasses in his left hand, leans against a sculpture in progress representing a human figure. The clothes (a casually open shirt, fur hat), the statue and the tool are attributes that characterise the person depicted as an artist-sculptor. The lower section of the picture has probably been cut off at some point: the sculptor's fingers touch the canvas edge and the palm of the statue surfaces suddenly at the bottom-right of the trunk, without logical connection.  \nThe composition is diagonally balanced; the light accents of the white shirt and the body are supplemented by the colour contrast of the green coat and its pink lining.  \nDuring the Baroque period artists were frequently represented as art connoisseurs, collectors of antiques and court artists with characteristic attributes, whereas before they had been regarded as mere craftsmen.  \nGottfried Fritsch (1706–1750), the last classical Baroque sculptor in Moravia, is depicted as a *virtuosus quondam statuarius*, a learned artist. The picture comes from the Tovačov chateau, owned by the Petřvaldskýs of Petřvald in the 18th century. Count Amand Antonín oversaw from Tovačov a demesne in which he initiated important artistic activities. Among other things, he enabled Fritsch to study sculpture in Vienna and Italy. The sculptor decorated the Petřvaldskýs' graveyard in Střílky.  \nFranz Anton Palko, who also worked as a painter for the Bishop of Olomouc, stayed in Brno where he created the altarpiece for the parish Church of St. James. František Vavřinec Korompay, a renowned artist, was one of his students. Palko's benefactors and patrons included Count Wenzel Anton Kaunitz-Rietberg, State Chancellor of the Habsburg monarchy. The count particularly admired the artist's “French” portrait style.","short_description":"The picture represents “a learned artist”, a sculptor-virtuoso. The “French-style” portrait was created for the Lord of Petřvald, a significant supporter of the arts. The painter was one of the most acknowledged portraitists of the period and was also active in the imperial court in Vienna.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Amand Anton Petřvaldský of Petřvald, Střílky","dates":"1748–1750","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 90 cm; w: 75 cm","place_of_production":"Moravia","method_for_datation":"The high quality of the picture, its colour scheme and layout invite comparison with *Portrait of Father* from 1746 (Belvedere, Wien), *Self-portrait with a Broad-brimmed Hat* and *Portrait of Count* *Unwerth* (Szépművészeti Múzeum, Budapest).","provenance":"Střílky Chateau","obtention":"An inventory made after Amand Petřvaldský of Petřvald's death in 1762 contains and entry: *Porträt den Bildhauer Fritsch vorstellend, in einem Rahme*. The picture was originally found in Střílky Chateau and later in Tovačov Chateau; it then became the property of the Künburgs. In 1946 it became part of the picture collection at Brno Museum. It has been in the Moravian Gallery, Brno since 1961.","bibliography":"Heinrich Schwarz, Franz Anton Palko als Bildnismaler, *Mitteilungen der österreichischen Galerie* 6, 1962, pp. 18–28.  \nJiří Kroupa, František Antonín Palko v Tovačově,  in Vít Vlnas – Sekyrka (eds), *Ars baculum vitae. Sborník studií z dějin umění a kultury k 70. narozeninám prof. PhDr. Pavla Preisse, Dr.Sc.,* Prague, 1996, pp. 250–256.  \nPavel Preiss, *František Karel Palko, Život a dílo malíře sklonku středoevropského baroka a jeho bratra Františka Antonína Palka,* Prague, 1999, p. 272.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *Moravie a la age baroque* *1760–1790*, Paris – Rennes – Brno, 2002, pp. 301–302, cat. 139.  \nJiří Kroupa, *Umělci, objednavatelé a styl. Studie z dějin umění*, Brno, 2006, pp. 242–257.","artist_birthdate":"1717","artist_birthplace":"Wroclaw","artist_deathdate":"1767","artist_deathplace":"Vienna","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["iconography","Portrait"],"materials":["Oil on canvas"]},"8c7b0235-6bb9-503d-ac59-f73f7984f36b":{"name":"*Le général Khaireddine* (painting)","short_description":"This 1852 oil on canvas by Simil depicts the General Khaireddine (Khayr al-Din) on horseback in official uniform. This brigadier-general uniform from the latter half of the 19th century comprises a full suit, a short coat, a shirt, a checia, a chemla and a pair of shoes. The brigadier-general also wore two crossed capes and a sword, with the Nichan al-Iftikhar (1st class) medal on the right-hand side of the chest, next to the insignas, and the Légion d'Honneur and the Ordre des Saints Maurice et Lazare medals on the left-hand side.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1852","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Oil on canvas","Simil","General Khayr al-Din"],"materials":["Canvas, wood, coloured pigments, gold leaf"]},"8d0345df-1e22-5450-8f37-706dc5be7d91":{"name":"A Woman from Cairo","short_description":"This photo from Enrico H. Giglioli's collection was taken by the Florentine naturalist during his travels around the world in 1865 and 1868 while advancing diplomatic and commercial relations between the newborn Italian state and the other nations. The images seem to have been created spontaneously to show ethnocentric diversity. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum. The origins of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"MIBACT | National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1880","location":"Rome","dimensions":"8,6 x 5,5 cm","provenance":"Egypt","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Woman","photograph","anthropology","ethnology","geography","travel","exploration","scientific expedition","ethnography","museums","model","genre picture","portrait","representation of the other","costume","material culture","collection","Egypt"],"materials":["Albumen"]},"8d7fb33a-5d98-5c0b-a5f1-fab6b28e82f7":{"name":"Painting of Mohamed Sadok Bey and Napoléon III","short_description":"This oil on canvas by Alexandre Debelle shows Mohamed Sadok Bey seeing off the emperor Napoléon III as he leaves Algiers on 20 September 1860. The bey and the emperor are on horseback, surrounded by their garrisons and local inhabitants in traditional dress. This painting is set in an urban dwelling by the sea, and the tricolour French flag is fluttering above the crowds. The bey is dressed in official uniform, with the Nichan al-Ahd round his next, and the Nichan al-Dam, the diamond-crusted Légion d'Honneur and the Nichan al-Iftikhar (with the eagle of the Second Empire) medals are on the left side of his chest. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1862","location":"Le Bardo, Tunis","dimensions":"L. 390 cm, l. 276 cm","provenance":"Palais du Bardo","artist_birthdate":"1805","artist_deathdate":"1897","author":"Saloua Zangar","translator":"Flaminia Baldwin","materials":["Canvas, wood, coloured pigments, gold leaf"]},"8df53ce3-81e5-5c23-89d6-2324283cfe08":{"name":"*Portrait of Provost Augustinus Aurelius*","description":"The composition is typical of portraits of High Church representatives. The provost of the Augustinian monastery in Šternberk is portrayed at the age of 50 sitting in an upholstered armchair with gilded carving, against a background of a green curtain and a decorative vase with the monastery's emblem. The shape and colours of the drapery create a dynamic spiral movement adding to the portrait's effect. Augustinus Aurelius is dressed in ceremonial clothing, a white soutane, white surplice and blue almuca, holding a blue cap in his left hand. The attributes of his position in the church also appear: a mitre, sceptre and a crucifix around his neck. With his right hand, the provost points to the plans for the Výšovice residence which was, together with the completion and decoration of the Šternberk Church, among the provost's major building enterprises where he favoured a plain classical style. The provost's diary has survived containing an entry on a performance given by the young Mozart in Brno in December 1767. The provost may have met Korompay on this occasion and commissioned him with the portrait. Although Korompay was a renowned portraitist in his time only a handful of portraits of this type have survived. The provost's portrait was inspired by František Antonín Palko, said to have been the artist's teacher. Korompay's craftsmanship is evident in the finely rendered lace of the attire and its ornamentation. Colour harmony, fine, light, modelling of shapes, and the rendering of the provost's soulful expression, manifest the skill of an artist obviously influenced by Martin Meytens's court portraits and French models.","short_description":"The composition is typical of portraits of High Church representatives. Colour harmony, fine, light, modelling of shapes, and the rendering of the provost’s expression, manifest the skill of an artist obviously influenced by the court portraits of František Antonín Palko and Martin Meytens.","type":"Painting","holder":"Moravian Gallery","owner":"Roman Catholic Parish, Výšovice","initial_owner":"Augustinian Monastery, Šternberk","dates":"1768","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 170 cm; w: 130 cm","place_of_production":"Brno","method_for_datation":"The picture is marked on the reverse: *Reverendissmus et amplissimus Dominus Aurelius Augustin, natus 18 Januari 1719, electus die 16. Nov. 1757. Pictus Brunae Franc: Korompay Ao 1768*. Within the painting: *Restitutio parochiae Veyschonvensis 1765* (on the sheet)*; Aet. 50* (on the vase).","provenance":"Augustinian residence, Výšovice","obtention":"The picture, intended for the hall of an Augustinian residence in Výšovice, is on long-term loan to the Moravian Gallery, Brno.","bibliography":"Vlasta Kratinová, *Malířství 18. století na Moravě ze sbírek Moravské galerie,* Brno, 1968, p. 21.  \nJiří Kroupa, *František Antonín Grimm* –­­ *architekt 18. století,* Brno-Kroměříž, 1982, cat. 37.2.  \nPavel Preiss, *František Karel Palko, Život a dílo malíře sklonku středoevropského baroka a jeho bratra Františka Antonína Palka,* Prague, 1999, p. 273.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 306, 308, cat. 141.  \nZora Wörgötter, in Zora Wörgötter – Eduard Hindelang (eds), *Franz Anton Maulbertsch und sein Umkreis in Mähren. Ausgewählte Werke aus tschechischen Sammlungen. Ausstellungsführer*, Langenargen, 2006, p. 55, cat. 56.","artist_birthdate":"1723","artist_birthplace":"Rohatec near Strážnice","artist_deathdate":"1779","artist_deathplace":"Brno","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Portrait","Provost"],"materials":["Oil on canvas"]},"8e204732-2316-5b8b-bd49-13709f67292e":{"name":"Minto Album","short_description":"The Minto Album is a collection of forty, now loose folios, divided between the Chester Beatty Library (nineteen) and the Victoria and Albert Museum, London (twenty-one). It includes some of the finest Mughal paintings ever produced and consists mainly of standing portraits of emperors and other individuals important at court. The paintings included here depict Jahangir (r. 1605–27) holding a globe, Shah Jahan (r. 1627–58) in an orange robe, Shah Jahan and his sons, Mu‘in al-Din Chisti, spiritual guide of the Mughals, and a religious scholar identified by inscription as Muhammad Riza Kashmiri. The magnificent floral borders that surround each painting are as impressive as the paintings themselves.","type":"Album","holder":"The Chester Beatty Library","dates":"Hegira c. 1020-50 / AD 1612–40","location":"Dublin","dimensions":"38.9 x 27.2 cm","provenance":"India","dynasty":"Mughal","catalogue_holding_link":"https://viewer.cbl.ie/viewer/image/In_07A_10/1/LOG_0000/","keywords":["Album","Allegory","angel","court","crown","emperor","floral decoration","illumination","Portrait","portraiture","prince","Religion","royal","saint","scholar","Sufism"],"materials":["Coloured pigments and gold on paper"]},"8eb7973a-8c9e-5910-83bd-ad5e77872aba":{"name":"*Algerians*","short_description":"This study consists of a series of sketches depicting various Algerians. The subjects are mostly women, whose faces, wrapped in a traditional *haik*, are particularly interesting. According to experts only two paintings of this kind exist today. Before being acquired by the museum this study belonged to an important collection from the late 19th century. In 2003 it was published in the Australian scholar Roger Benjamin's collection dedicated to Auguste Renoir's Algerian period, *Renoir and Algeria*.","type":"Painting","holder":"Musée National des Beaux-Arts","dates":"1884","location":"Algiers","dimensions":"62 x 78cm","artist_birthdate":"1841","artist_birthplace":"Limoges","artist_deathdate":"1919","artist_deathplace":"Cagnes-sur-Mer","author":"Dalila Orfali","translator":"Flaminia Baldwin","materials":["Oil on canvas"]},"8ec0ecf7-b1a9-5b83-9f8a-0dc7cfe15831":{"name":"*Portrait of Tommaso Campeggi and his Family*","alternate_name":"*The Campeggi Family*","description":"This painting formerly credited to the Lombard painter Pier Francesco Cittadini, has been recently reattributed to the Bolognese painter Lorenzo Pasinelli (1998). The portrait is characterised by the presence of such Nordic elements as the dark background and the analytical description of the 12 people. Pasinelli probably painted the great canvas during his stay in Rome, as a present for his host Tommaso Campeggi, the ambassador of Bologna to the Holy See. In 1666 it was moved to the palace owned by Tommaso Campeggi in via San Mamolo, in Bologna. When the house was sold the picture was moved to the residence of “Strà San Donato” and finally to the castle of Dozza, the Campeggi country residence.  \nIt is one of the rare examples of group portraits in Bolognese baroque painting. The impression is that of an austere and somewhat provincial aristocracy. They are not concerned with being carefully examined by the painter and only interested in portraiture for its social implications. The family is sitting in the traditional scheme, following a hierarchical order and rigidly divided in two groups, males and females. The first born is given central position, next to his sisters who are holding his gloves. Tommaso is the most static and affected figure with rigid authoritarianism, whilst the elegance of the clothes is more emphasized in the female figures.","short_description":"The painting depicts the entire Campeggi family. The result is a perfectly balanced mixture of Bolognese and northern features combined with compositional and technical skill.","type":"Painting","holder":"Malvezzi-Campeggi castle","owner":"Malvezzi-Campeggi collection","initial_owner":"Campeggi family","dates":"1663–1664","location":"Dozza, Bologna, Emilia-Romagna","dimensions":"265 x 360 cm","place_of_production":"Rome","method_for_datation":"Bibliography, documents and stylistic analysis.","provenance":"Casa Campeggi, via San Mamolo, Bologna","obtention":"Moved from Rome to the Campeggi residence of Bologna, later to the country residence of Dozza.","bibliography":"Zanotti, G. P. *Nuovo fregio di gloria a Felsina sempre pittrice nella Vita di Lorenzo Pasinelli*, Bologna, 1703, p. 28.  \nRiccòmini, E. “Pier Francesco Cittadini”, *Arte antica e Moderna:* 13/16, 1961, pp. 362-373.  \nRoli, R. *Pittura bolognese 1650-1800. Dal Cignani ai Gandolfi,* Bologna, 1977, p. 165.  \nBaroncini, C. “Il ritratto della famiglia Campeggi a Dozza Imolese dal Cittadini al Pasinelli?”, *Accademia Clementina. Atti e memorie:* 38-39, Bologna, 1998-99, pp. 77–94.  \nBaroncini, C. “Il ritratto della famiglia Campeggi a Dozza: dal Cittadini al Pasinelli”,*Figure come il Naturale. Il ritratto a Bologna dai Carracci al Crespi* (exhibition catalogue) (ed. D. Benati), Milan, 2001, pp. 35-49 and pp. 100-102.","workshop":"Bolognese baroque painting","artist_birthdate":"1629","artist_birthplace":"Bologna","artist_deathdate":"1700","artist_deathplace":"Bologna","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","author":"Paolo Cova","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Campeggi family","Lorenzo Pasinelli","Pier Francesco Cittadini","Portrait","self celebration"],"materials":["Oil on canvas"]},"8f10719a-7586-5524-9036-a47811acc887":{"name":"*Muhammad 'Ali Pasha*","short_description":"Muhammad 'Ali Pasha, founder of Modern Egypt and Wali of Egypt in 1805. He was the head of the Alawiyya Dynasty that ruled Egypt from 1805 to 1952, and founder of modern Egypt. He came to Egypt in 1799 as part of a military unit to fight with the Turks – and the help of the British – to drive the French out of Egypt. However, the Turkish forces were defeated in 1799 in the Battle of Abu Qir.","type":"Photograph; portrait; painting","holder":"Bibliotheca Alexandrina","dates":"19th century","location":"Alexandria","copy_editor":"Daniel de la Vega","keywords":["Ruling Family","Rulers of Egypt","The Alawiyya Dynasty","Turks","The Ruling Elite"]},"8f1ec06d-13b0-5253-b0bf-a8afb87b0260":{"name":"An Algerian student holding some slabs with verses of the Quran [written on them]","short_description":"Learning to write in Quranic schools took place by copying verses of the Quran onto slabs, which were then carefully erased.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"905cb8f2-54fa-520a-b0bc-209a26809787":{"name":"Ottoman Clothing Album","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in 19th century. Vassilaki Kargopoulo was of Greek descent. His first studio was opened in 1850 near the Russian Consulate. Between the years of 1859 and 1860, he began to attract the attention of customers from all sections of society. He focused on Ottoman clothing and street vendors in 1860.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1850","artist_deathdate":"1912","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Vassilaki Kargopoulo"],"materials":["Photograph"]},"91b66b55-0c91-5d46-b3bc-af6121a29639":{"name":"Portrait of Mihai Suţu","short_description":"Mihai Suţu was the last Greek prince of Moldova. The Sublime Porte imposed Greek rulers in Wallachia and Moldavia (called “Phanariotes” because they came from Fanar, the Greek neighborhood of Istanbul) at the beginning of the 18th century and maintained them until 1821. During this period some modernizing reforms, influenced by the ideology of the Occidental Enlightenment, were introduced in the Romanian countries. The drawing was made by French artist Louis Dupré, who visited Greece, Istanbul, the Balkan Peninsula and the Near East in 1819 –1820. In the summer of 1819 he arrived in Bucharest together with Mihail Şuţu, whom he had met in Istanbul. He painted Şuţu laying on a red divan, wearing Oriental clothes.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1812","location":"Bucharest"},"921bd231-072a-5b12-b6bf-ef1ef9ab5517":{"name":"Metal plaque from India","short_description":"This Indian metal plaque depicts Jahangir Shah, the fourth Mughal emperor. It had two inscriptions in Persian: the first reads \"Daylight of the country, year 1013” and the second, golden inscription on the upper left side reads \"Lord Jahangir, the Emperor.\" The plate is decorated with small frames in which verses of a poem about the Emperor are inscribed. The beginning and end of the poem are missing, suggesting that there may have been other objects of the same kind bearing the rest of the poem. The poem recounts a discussion between the Emperor and a proxy.","type":"Metalwork","holder":"MKG Museum for Applied Arts","dates":"Hegira 977-1036 / AD 1569-1627","location":"Hamburg","dimensions":"Height: 122cm, Length: 80cm","method_for_datation":"Dated through the inscription.","method_for_provenance":"Unknown.","provenance":"India","obtention":"Unknown.","dynasty":"Mughal","copy_editor":"Caitlin Link","keywords":["Jahangir","metalwork","Mughal"],"materials":["Bronze"]},"92891afc-502b-5609-8db7-99bf7bb50e6c":{"name":"Franz Joseph I, Emperor of Austria (1830–1916)","short_description":"Portrait of Emperor Franz Joseph as an officer of the *Kaiserjäger* (Elite regiment). He ruled Austria for 68 years. During his long reign he had cordial relation to the Sultans of the Ottoman Empire and visited Istanbul and Jerusalem. He died in 1916 during World War I.","type":"Photograph","holder":"Austrian National Library","dates":"1879","location":"Vienna","copy_editor":"Daniel de la Vega"},"92f613dc-01ad-5171-a5dd-b251dab90f70":{"name":"Photograph of Krste Petkov Misirkov with his friends","short_description":"Krste Petkov Misirkov (1874–1926) is the author of the book “On Macedonian Matters”, which was published in Sofia in 1903. This work is a starting point in explaining Macedonian distinctiveness, having served as an intellectual and contemplative engine for generations of Macedonians fighting in the battlefield and in literature alike.","type":"Photograph","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["Book","distinctiveness"]},"9438f959-d105-5cd5-890f-56a9cdcc3715":{"name":"*Josef Freiherr Philippovich-Philippsberg (1818–1889)*","short_description":"Portrait of Josef Freiherr Philippovich-Philippsberg (1818–1889). In 1836 Philippovich-Philippsberg joined the Austrian Army. In 1878 he became commander of the Austrian invading forces for the occupation of Bosnia-Herzegovina. On 17 August 1878, Austrian troops occupied Sarajevo. Philippovich commanded Austrian forces in Bosnia until 1880.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"c. 1878","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Josef Freiherr Philippovich-Philippsberg","Bosnia-Herzegovina","Sarajevo"]},"945bf083-a74e-5bce-800b-f411f54c9b67":{"name":"Photograph of diplomatic visit to England","description":"This photograph depicts the Moroccan diplomatic delegation that accompanied Sultan of Morocco Mulay ‘Abd al-‘Aziz’s Ambassador, ‘Abd al-Rahman ibn ‘Abd al-Sadiq al-Rifi, on an official visit at the invitation of King Edward VII.","type":"Photograph","holder":"General Library and Archives","dates":"Early 20th century","location":"Tetouan","keywords":["Diplomacy","photograph","visual document","international relations","European powers"]},"96a0b74f-0971-56c3-8154-0b603d6d4116":{"name":"*Portrait of Emperor Joseph II and His Second Wife Marie Josepha of Bavaria and Counts Esterházy, Bathiany and Liechtenstein*","alternate_name":"*Joseph II with Wife Maria Josepha of Bavaria, Close Courtiers and Ladies-in-Waiting*","description":"A counterpart to this sizeable canvas is the picture *Maria Theresa with Sons Below the Bust of Her Deceased Husband Franz Stephan of Lorraine and Chancellor Kounic-Rietberg*. This painting represents the hierarchy of both the dynasty and the monarchy. After the death of his father, Joseph II ruled side-by-side with Maria Theresa. In the background, Josef Wenzl of Liechtenstein indicates a medallion bearing a portrait of Isabela of Parma, Joseph II's first wife. On the right, behind the throne, Joseph's two unmarried sisters, Marie Elisabeth and Marie Anna, are engaged in conversation. In the foreground stands Franz Esterházy with a tiger skin, while Count Karl Josef Batthyány, High Steward, is located at the edge of the canvas. The festive air is enhanced by the arrangement of a drapery with golden tassels together with the seating of the figures on the steps. The landscape in the background features an obelisk topped with a globe upon which an eagle perches holding in its beak a curled serpent biting its own tail a symbol of eternity. The eagle, a creature associated with Jupiter, was among the attributes of imperial iconography and refers to the sovereign's virtues. Another attribute and a symbol of wisdom is the shield with the head of Medusa at the bottom of the picture, on a stone vase. A group of *putti* taming a lion in the upper section of the vase symbolise the power of love and its victory over physical strength.  \nThe group portrait was commissioned by the abbot of the Premonstratensian Monastery in Louka near Znojmo as an expression of loyalty. The paintings come from the summer refectory, a key section of the monastery designed as a “Temple of Solomon”. The major decorative components were paintings by Franz Anton Maulbertsch depicting essential elements of the Premonstratensian order. These were accompanied by a series of portraits of monastery supporters and superiors.","short_description":"The group allegorical portrait of the Habsbourg family was commissioned by the abbot of the Premonstratensian Monastery in Louka near Znojmo – one of the most important monasteries in the Danubian country – as an expression of loyalty. The painting represents the hierarchy of both the dynasty and the monarchy.","type":"Painting","holder":"State Chateau","owner":"State Chateau, Valtice","initial_owner":"Premonstratensian Monastery in Louka /Znojmo","dates":"1768","location":"Valtice, Moravia","dimensions":"H: 455 cm; w: 263 cm","place_of_production":"Vienna","method_for_datation":"Palko did a sketch for the picture of Maria Theresa known from a replica by Josef Winterhalder Jr. After Palko’s untimely death, the two paintings were finished by Anton Glunck, a graduate of the Vienna Academy. Glunck is also mentioned as the artist of the pictures in the inventory of the monastery collated by Josef Winterhalder Jr., who also supplemented it with drawn records. Glunck’s participation is confirmed by three receipts preserved in the Moravian Provincial Archive.","provenance":"Veselí na Moravě Chateau","obtention":"The picture comes from the summer refectory of the Premonstratensian Monastery in Louka near Znojmo. When the monastery was dissolved in 1784 the picture became the property of Count Waldorf in Sádek, near Třebíč, until 1904. It was then owned by Count Chorinský and found in the Veselí na Moravě Chateau. After the Second World War the picture came into the possession of the State Chateau, Valtice.","bibliography":"Lubomír Slavíček, Franz Anton Palko nebo Anton Glunck? K autorství skupinových portrétů císařovny Marie Terezie a císaře Josefa II. z letního refektáře premonstrátského kláštera v Louce u Znojma, *Bulletin Moravské galerie v Brně 50,*1994, pp. 32–40.  \nLubomír Slavíček, F. A. Maulbertsch a malířská výzdoba letního refektáře v Louce, in Petr Kroupa – Jiří Kroupa – Lubomír Slavíček – Josef Unger, *Premonstrátský klášter v Louce. Dějiny – umělecká výzdoba – ikonologie,* Znojmo, 1997, pp. 98–102.  \nPavel Preiss, *František Karel Palko, Život a dílo malíře sklonku středoevropského baroka a jeho bratra Františka Antonína Palka,* Prague, 1999, pp. 268–271.","artist_birthdate":"1728","artist_birthplace":"Vienna","artist_deathdate":"1799","artist_deathplace":"Vienna","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","decorum","eagle","Joseph II","mithology","Portrait","Premonstratensian","symbolism","zoomorphic imagery"],"materials":["Oil on canvas"]},"97284ed3-c2ab-51af-8cd2-2ae8ea41f09e":{"name":"*Portrait of the Beneficiary Faustino das Neves*","alternate_name":"*Portrait of the Beneficiary*","description":"Strongly influenced by her father, Baltazar Gomes Figueira, and by painters such as Francisco Zurbarán, Juan de Roelas and Daniel Seghers, Josefa de Ayala worked in a small provincial centre outside Lisbon. Away from the court, and in a place where the medieval lifestyle was preserved, she related to the politics opposed to the Spanish Habsburg dynasty, supporting the Restoration cause of the Royal House of Braganza. The social life of this micro-society revolved around social gatherings and meetings in convents and noble residences. The noblemen – members of the Municipal Senate – religious orders, brotherhood and charitable institutions with whom she fraternized, were well-read and had no economic restrictions. In their homes were many works of art some of which were commissioned from local provincial artists.  \nFrom as early as the 17th century, Josefa had several biographies written about her. Costa Meesen (1696) referred to her “cleanliness and aptitude” upon imitating “things from nature”. Writer Damião Froes Perym (1736) also praises her “skill, beauty, honesty and charm” and her moral virtues. In the 19th century, José Silvestre Seabra and Almeida Garrett made reference to *Portrait of the Beneficiary Faustino das Neves*, considering it the genre which best revealed the sensitive side of Josefa d'Óbidos. The piece got lost in time and in 1957 it was identified by Reis-Santos as the work of Josefa d'Óbidos.  \nThe artist perfectly captures the psychology of this distinguished man from Óbidos. His dark clothing and his vigorous look contrast with the luminosity of the white and beige of his face, accentuating the Counter-Reformation features of the piece. The male figure, accompanied by an angel announcing his death, is purposely decentralised relative to the axis of the composition. This is a peculiarity which enhances the formal skills of Josefa de Ayala thus allowing her to be included within the ranks of the best 17th-century Portuguese painters.","short_description":"Josefa de Ayala skilfully conveys the psychology through the glance, gesture and pose of this distinguished man from the town of Óbidos. His dark clothing and vigorous look contrast with the luminosity provided by the white and beige tones of his face. The figure is accompanied by an angel announcing his death.","type":"Portraiture","holder":"Municipal Museum of Óbidos","owner":"Museu Municipal de Óbidos","initial_owner":"Misericórdia de Óbidos","dates":"c. 1670","location":"Óbidos, Leiria","dimensions":"H: 83 cm; w: 106 cm","place_of_production":"Óbidos, Portugal","method_for_datation":"Attributed by Reis-Santos in 1957.","provenance":"Misericórdia de Óbidos","obtention":"Misericórdia de Óbidos","bibliography":"Serrão, V., “Josefa de Ayala Pintora, ou o Elogio da Inocência”, *Josefa de Óbidos e o Tempo Barroco*, Exhibition Catalogue, Galeria D. Luís, Palácio da Ajuda, Lisbon, 1991.  \nSerrão, V., *o Barroco*, Lisbon, 2003.","workshop":"Workshop of Josefa de Ayala e Cabrera; regional 17th-century naturalist painting","artist_birthdate":"1630","artist_birthplace":"Seville, Spain","artist_deathdate":"22 July 1684","artist_deathplace":"Óbidos, Portugal","author":"Cristina Correia","translator":"Cristina Correia, Manuel Silva Pereira","translation_copy_editor":"Mandi Gomez","keywords":["Counter-Reformation","naturalism","painting","portraiture"],"materials":["Oil on canvas"]},"98465502-2fc0-537f-8943-a5b60d87d5c5":{"name":"Osman Hamdi Bey (Getting mold of Antiochus relief During the excavation of Mount Nemrut)","short_description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Osman Hamdi Bey","orientalist Turkish painters","archaeological excavations"],"materials":["Photograph"]},"9863f692-894f-5cb2-b496-b0ec25aba740":{"name":"Kabyle mother with her child","short_description":"Western photographers were particularly interested in both women's daily lives, and family life. This photo from 1920 shows a Kabyle woman carrying her baby with a look of pride on her face.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"9c39a32f-844c-5e79-9249-d24aa6612ad5":{"name":"Siamese diplomatic service","short_description":"in 1861, Mongkut, the King of Siam, sent a diplomatic service to Paris, not in order to create an alliance, but to preserve their independence by sending messages of good will to various European sovereigns. Napoléon III organised a lavish reception at the Palais Fontainebleau, recalling the Siamese reception which Louis XIV received in 1684. This photo reveals the importance of the Siamese delegation (three ambassadors and ten attachés in their military dress) accompanied by the Abbot Larnaudie, interpreter for the Siamese court.","type":"Photograph","holder":"National Library of France","dates":"19th century","location":"Paris","artist_birthdate":"1820","artist_deathdate":"1910","translator":"Flaminia Baldwin","keywords":["Diplomacy","colonies","Siam","France"]},"9d9c9b21-26f5-5feb-9433-34771e40c124":{"name":"Nikola Karev","short_description":"Nikola Karev (1877–1905) was one of the ideological leaders and organizers of the Uprising of Ilinden. The uprising broke out on the night of 2 August 1903. After taking over, Krushevo revolutionaries declared the Krushevo Republic on 3 August. The Headquarters of the uprising took the military control over the town. The other governing bodies were the Revolutionary Council, consisting of sixty of the most prominent citizens representing all nationalities, and the Government, consisting of six members. Vangel Dinu was the Prime Minister and Nikola Karev was the President of the Republic. Owing to the progressive socialist ideas of Nikola Karev and other revolutionaries, the Krushevo Republic was laid on truly democratic foundations and republican principles. Karev announced the Krushevo Manifesto as a truly democratic document addressing all nationalities living in Macedonia, regardless of their religion, envisioning equal rights for everyone.","type":"Photograph","holder":"Museum of Macedonia","dates":"End of the 19th centuty","location":"Skopje","dimensions":"16 x 20 cm","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["Revolutionary Council","Government"],"materials":["Paper"]},"9ece1ead-7c0b-528b-bdd1-e15c148b868c":{"name":"Medallion","short_description":"In Rome in the 4th century, glass-makers fully exploited the technique of sandwiched gold glass. Religious subjects - predominantly Christian but also Jewish - as well as portraits of families and individuals such as this piece were depicted in gold leaf with stippled and painted decoration. This was then placed between two layers of colourless glass that were fused together.  \n  \nThe identity of the man in this portrait is not known, but the costly process of this technique means it was somebody of high status. Medallions formed by this method were sometimes made as decorative pendants for wearing, but most were set into the base of bowls and dishes to commemorate a special occasion or present as a wedding gift. The portrait disks were later broken out of the dishes to be re-used as grave markers.","holder":"Victoria & Albert Museum","dates":"200 - 400 AD","location":"London","dimensions":"Diameter: 4.4cm","provenance":"Italy","obtention":"Purchased by the museum in 1868","bibliography":"Harden, Donald B., et al. (eds), *Glass of the Caesars*, Milan: Olivetti, 1987: 262.  \nHoney, W. B., \"Gold-Engraving under Glass\", *Connoisseur*, 92, (1933): 376, no.5.  \nLiefkes, Reino (ed), *Glass*, London: V&A Publications, 1997: 21-22, pl. 19.  \nWilliamson, Paul (ed), *The Medieval Treasury: The Art of the Middle Ages in the Victoria and Albert Museum*, London: V&A Publications, 1986: 42-43.","dynasty":"Roman Empire","author":"Simon Spier","materials":["Gold lead applied to dark blue glass then finely scratched and stippled with a needle point and protected with a fused layer of colourless glass"]},"9ee00ba7-2731-5d14-b9bf-0d46da259600":{"name":"Ismail, Khedive of Egypt (1830–1895)","short_description":"Portrait of Ismail, Khedive of Egypt (1830–1895), who financed the construction of the Suez Canal. Because of the enormous costs of the building and his reform measures, Egypt's debt rose from three million pounds sterling to 100 million pounds sterling. In 1875 Egypt was bankrupt and Ismail Pasha was forced to sell 176,602 shares to Great Britain for 3,976,582 pounds sterling. Egypt came under financial control of France and Great Britain.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1868","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ismail, Khedive of Egypt","Suez Channel","Great Britain"]},"9faeadc1-e075-5681-bdc1-072dabd412c6":{"name":"Miniature 'Wine-Server' ('Portrait of a Young Man')","short_description":"According to the inscription in the lower left corner of the composition, the author of the painting is Reza Abbasi, the most prominent Iranian artist of the AD 17th century. The founder of the new style of painting and the head of the famous Isfahan school, Reza Abbasi has departed from the bright decorative colours of the classic Persian miniature and turned to a more restrained and unusual palette. He chose a thin and sensitive calligraphic line as his main means of expression. Wine-server (Persian: *saqi*) - a young man who served at banquets, pouring wine to guests. A flask in a form of a gourd in his right hand testifies to his role. The man is dressed in a malachite green robe. An orange silk scarf is untied and carelessly thrown over his shoulders. His full face, dreamy staring eyes, curls falling down on cheeks, small gentle hands and graceful posture, the smooth curves of which seem to echo the flexible lines of plants - all correspond to the traditional type of an effeminate youth-*saqi*.","type":"Miniature","holder":"The Khanenko Museum","dates":"AD 1627–1628","location":"Kyiv","dimensions":"Length: 22.3cm, Width: 13.5cm","method_for_datation":"Stylistic analysis and inscription reading by V. Krachkovskaya (publication, 1926, origin and date).","method_for_provenance":"Publication of Vera Krachkovskaya (1927): the Khanenkos' collection.","provenance":"Isfahan, Iran","obtention":"Purchased by Bohdan and Varvara Khanenko in Paris, 1914, presumably from Fredrik Robert Martin's collection. Donated by Varvara Khanenko in 1918, nationalised by Bolshevik regime in 1919.","bibliography":"Bilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nCanby, Sheila R. *The Rebeeious Reformer: The Drawings and Paintings of Riza-Yi Abbasi of Isfahan*, London: Azimuth Editions, 1996.  \nKrachkovskaya, V., \"Musulmsnskoye iskusstvo v sobranii Khanenko (Muslim Art from the Khanenkos' Collection)\", in Bartold V.V. (ed), *Zapyski Kollegii Vostokovedov (Notes of the College of Orientalists)* at Asian Museum of USSR Academy of Sciences, Vol II, Leningrad: USSR Academy of Sciences, 1927.  \nNewman, Andrew (ed), *Society and Culture in the Early Modern Middle East: Studies on Iran in the Safavid Period*, Leiden: Brill, 2003.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.","workshop":"Reza Abbasi workshop","dynasty":"Safavid","artist_birthdate":"1575","artist_deathdate":"1635","author":"Antonina Makarevych, Hanna Rudyk","copy_editor":"Janice Medina","keywords":["Iran","miniature","Reza Abbasi","Safavid"],"materials":["Opaque watercolour, gold and ink on paper"]},"a0dc5e60-a3ed-58a3-8317-2db79e5cbc80":{"name":"Mico Liubibratic (1839–1889)","short_description":"Portrait of Mico Liubibratic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mico Liubibratic","Congress of Berlin","Bosnia-Herzegovina"]},"a12c9928-1d6f-5b1e-814c-74692d5b8de6":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","short_description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Urabi","Arabi","Egypt"]},"a532878c-9737-5402-a686-e8febd96a222":{"name":"*Klemens Wenzel Lother of Metternich-Winneburg (1773–1859)*","short_description":"Klemens Wenzel Lothar of Metternich was the leading diplomat at the Congress of Vienna (1815) who organized the balance of power between the European states. The core of Metternich's policy was supporting Austrian hegemony in Italy and preventing Russian hegemony in Germany. In the German Confederation, there existed an equilibrium between Austria and Prussian influences. Metternich's so-called \"balance of power\" politics ensured peace in Central Europe for a generation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"a7c102ce-f4bb-5330-8383-c17696408f62":{"name":"Khayr al-Din Pacha","short_description":"Khayr al-Din Pacha brought in many reforms which significantly changed the precolonial period, to a great extent Westernizing the Beylik of Tunis, which was later portrayed as \"modernization\". This Mamluk of circasian origin was probably born in 1825, and came to Tunis as a child in 1840. He quickly climbed the ranks and took his father-in-law Mustapha Khaznadar's place as Chief Minister under the rule of Mohamed Sadok Bey from 1873 to 1877. He died in 1890 in Istanbul, where he had served as grand vizier. He appears tall and majestic in this photograph, and carries authority in his piercing gaze. His jacket is richly decorated, bearing the coat of arms of the sovereign who bought him and brought him to Tunis, Ahmed Bey (1835–1855).","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["Mamluk","19th century reform movement"],"materials":["Paper"]},"ab544580-373f-5233-aec7-0fcf8aeb0acf":{"name":"*Milovan Bohekowich (-1900)*","short_description":"Portrait of Milovan Bohekowich. Bohekovich was the commander of Montenegrin forces fighting the Turks.","type":"Print","holder":"Austrian National Library","dates":"Before 1900","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Montenegro"]},"acc57934-ae32-5e43-8f31-305447337577":{"name":"Water pumping equipment in Kağıthane, Istanbul","short_description":"During the 19th century, new technologies radically transformed both travel and communications. Cendere Hamidian Water Pump Station was built by Abdülhamid II in 1902 at an altitude of 34 metres above sea level. With its function, architectural design and mechanical equipment, the station is a unique monument to the history of the architecture industry in the Ottoman Empire. It pumped to Balmumcu and Beşiktaş – in the direction of Tophane, moving water coming from 20 different pipes in Kağıthane using steam pump machines.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph","History of Water in Ottoman Empire","Water Pump Station"],"materials":["Photograph"]},"accedc02-c511-5161-ae0b-0e44a11da1d9":{"name":"Portrait of Emperor Franz Joseph","short_description":"Portrait of Emperor Franz Joseph in Uniform. In 1869 Franz Joseph visited the Ottoman Empire, especially Istanbul, the Holy Land and Egypt.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1870","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Emperor Franz Joseph","Ottoman empire"]},"ace50751-44b2-507a-97c4-64edc5800962":{"name":"*The Illustrious Men of Budrio*","description":"These paintings are good examples of the fashion of collecting and cataloguing local memories in a sort of Filopatria (love for one's home-town). This was typical of the baroque age and of the age of the Enlightenment. They are composed of several roundels that had to be filled from time to time with portraits of illustrious citizens. In the first painting are depicted doctors, soldiers, ecclesiastics and venerable men living between the Middle Ages and the Early Counter-reformation. Among them are Mercatello, a medical doctor in Bologna, Antonio Cossa, professor of Law, and Bartolomeo Garganelli, professor of Law and Astronomy. In the second painting, finished in 1799, we find especially ecclesiastics, diplomats and magistrates, philosophers, scientists, medical doctors and theologians: Francesco Muratori, professor of Anatomy, Vincenzo Menghini medical doctor and chemist, the local historian Domenico Golinelli and his son Ludovico, a clergy man; artists such as the follower of the Carracci Giacomo Lippi, the baroque painter Giovanni Battista Caccioli, the set designer Vincenzo Gotti; the architects Alfonso Torreggiani and Giuseppe Tubertini. In the third picture illustrious men not included in the first two are depicted, who were born before the end of the century, like the landscape painter Alberto Melonari, the “quadraturista” Giuseppe Carlo Gotti, the set designer and member of the Bolognese Accademia Clementina Alessandro della Nave, the illustrious chemist and pharmacist, Francesco Maria Coli, professor of the University of Bologna, Domenico Inzaghi and Don Giuseppe Benedetti from whose bequests to the town of Budrio were created the public library and the Pinacoteca.","short_description":"These paintings, hanging in the first room of the Pinacoteca, celebrate men born in Budrio who became famous in various fields including literature, politics, sciences and arts. Many of them are also part of the history of Bologna and its institutions because, given that they were born in Budrio, they are also Citizens of Bologna.","type":"Celebration and documentary painting","holder":"Pinacoteca civica “Domenico Inzaghi”","owner":"Comune di Budrio","initial_owner":"(Probably) Consorzio dei Partecipanti","dates":"17th and 19th century","location":"Budrio, Bologna, Emilia-Romagna","place_of_production":"Budrio","method_for_datation":"Stylistic analysis; the tradition attributes them to the local painter Faustino Trebbi, for stylistic reasons it is thought he only painted the third one. The other two are probably the work of different artists.","provenance":"Municipal Library, Budrio","obtention":"Public Library, then moved to the Pinacoteca (1989).","bibliography":"Bernardini, C., *La Pinacoteca Civica* *di Budrio. Guida Illustrata,* Bologna, 1989, pp. 15-16.  \nBernardini, C., in *I dipinti della Pinacoteca Civica di Budrio. Secoli XIV - XIX* (eds. D. Benati and C. Bernardini), Bologna, 2005, pp.176-179, nn. 84.","workshop":"Local workshop, baroque age, Late baroque, 18th and 19th centuries","artist_birthdate":"1761","artist_birthplace":"Budrio","artist_deathdate":"1836","artist_deathplace":"Bologna","author":"Carla Bernardini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["documentation","Enlightenment","filopatrìa","historical iconography","Memory","Portrait"],"materials":["Tempera on canvas"]},"ad69ad7a-9e01-515e-b676-3ad43b71d387":{"name":"*Portrait of Count Miklós Zichy*","description":"A male portrait set in front of a dark background. The artist has concentrated on the features and characteristics of the sitter, making this a rare example of family portraiture that differs from the traditional type of so-called Ancestors' Galleries.  \nIn 1740, Count Miklós (Nicolaus) Zichy (1710–1758) became landlord of different possessions in Buda (Budakeszi, Óbuda and Újlak among others). A patron of the arts, he financed the building of churches, public buildings and his own castle, built in 1745, in the centre of Óbuda. The Count became a well known and outstanding personality of the region. This type of portraiture does not make use of the traditional attributes and settings of the so-called Ancestors' Galleries but rather connects Baroque representative portraiture to bourgeois portraits of the early 18th century.","short_description":"A Baroque official portrait of Count Miklós (Nicolaus) Zichy (1710–1758), one of the richest landowners of the Buda area and a significant patron of the arts. Zichy financed the building and construction of churches and public buildings and constructed a family palace in Óbuda (Old Buda) in 1745.","type":"Painting (portrait)","holder":"Budapest History Museum","initial_owner":"Zichy family","dates":"Around 1760","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 91.5 cm; w: 71.5 cm","place_of_production":"Hungary","method_for_datation":"By historical data","provenance":"Zichy family","obtention":"From the bequest of Count Jenő Zichy in 1903","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.24.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","Count Miklós (Nicolaus) Zichy","Óbuda","Oil painting","patronage","Portrait","Zichy family"],"materials":["Oil on canvas"]},"aef7807d-0cef-5b06-ba3e-6be4aa40ba9c":{"name":"Turkish woman","short_description":"The Zangaki brothers were a pair of photographers working in Egypt who sold \"Orientalist\" photos to Western tourists, allowing them to immortalise their trip to the \"Orient\". This photograph shows a young Turkish woman.","type":"Photograph","holder":"National Library of France","dates":"1890-1895","location":"Paris","translator":"Flaminia Baldwin"},"af2dcc82-957a-54c2-9a0f-e5e5ba86b4d3":{"name":"Ottoman Clothing Album","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"af7e1b24-5d7e-5856-900a-6365e01610ba":{"name":"Portrait Album – Ottoman State Officers","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"afd9edc1-f5ea-5e44-91d3-f71b09a91a1e":{"name":"*Ibrahim Pasha*","short_description":"Second ruler of the Muhammad 'Ali Dynasty, Ibrahim Pasha was the oldest of Muhammad 'Ali Pasha’s sons and his right hand in his conquests and projects. He came to Egypt with his brother Ahmad Tusun in 28 August 1805. He ruled Egypt for only two months.","type":"Photograph; portrait; painting","holder":"Bibliotheca Alexandrina","dates":"19th century","location":"Alexandria","copy_editor":"Daniel de la Vega","keywords":["Ruling Family","Rulers of Egypt","The Alawiyya Dynasty","Turks","The Ruling Elite"]},"b10f4142-3c70-5d92-a683-74544a7543bd":{"name":"*Portrait of Count Sámuel Teleki with Baron Sámuel Brukenthal’s half-length portrait*","description":"J. M. Stock was a Transylvanian Saxon portrait painter and engraver, who matriculated to the Academy of Fine Arts in Vienna in 1763, where he was a pupil of Meytens. From 1771, he studied at the Academy of Engraving in Vienna and afterwards lived in Pozsony (Bratislava). As an art connoisseur in Vienna, he dealt with Sámuel Brukenthal, Governor of Transylvania, and carried out commissions for him. In 1786, the painter gave up his work in Bratislava and went with Brukenthal to Nagyszeben (Sibiu).  \nThe portrait of Sámuel Teleki with Sámuel Brukenthal in the background is a *Freundschaftsbild* or “friendship picture”. Although they had similar scientific interests, and were both art collectors and founders of a museum and library (Teleki in Marosvásárhely (Târgu Mureş) and Brukenthal in Nagyszeben (Sibiu), the intellectual basis of this “friendship painting” was their freemasonic relationship. Both were members of important lodges in Vienna and helped to initiate and then supervise methodical preparation of an encyclopaedia undertaken by the Masonic Lodge in Nagyszeben (Sibiu); the intention of the project was to cover the history and contemporary conditions of all three nations inhabiting the region.  \nStock portrayed both Teleki and Brukenthal at their desks. Teleki, in Hungarian national costume, poses in a way commonly adopted by scientists and is within a context suggestive of a study. In the background, Brukenthal is portrayed dressed in casual garments in the pose of a French encyclopaedist-philosopher; the portrait provides a fitting detail for the interior. In addition, the picture includes motifs relating to freemasonry for on the desk, among other objects suggesting scientific study, is a map of Háromszék county in Transylvania showing the names of cities particularly active in freemasonry. The bust of Joseph II, also on the desk, is significant in that the Edict of Tolerance issued by the Emperor in 1781, made Sámuel Teleki's public career possible permitting, amongst other things, his appointment as Vice Chancellor of Transylvania in 1787.","short_description":"Johann Martin Stock was a well-educated portrait painter and graphic artist in Nagyszeben (Sibiu) and Pozsony (Bratislava). This portrait is a *Freundschaftsbild* or “friendship picture” of the library's founders, the Transylvanian count Sámuel Teleki and his friend, Baron Sámuel Brukenthal, whose portrait is in the background.","type":"Painting (portrait, a “friendship picture” \\[*Freundschaftsbild*\\])","holder":"Hungarian National Gallery","dates":"1787","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 41.5 cm; W: 33 cm","place_of_production":"Nagyszeben (Sibiu)","method_for_datation":"The painting, both signed and dated, portrays two men whose identities have been confirmed with the help of engravings.","obtention":"Transferred from the City Art Gallery to the Museum of Fine Arts where it was up until 1974, when it was moved to the Hungarian National Gallery.","bibliography":"Buzási, E., “Johann Martin Stock: Portrait of Count Sámuel Teleki with Baron Sámuel Brukenthal's half-length portrait”, *The Hungarian National Gallery: the Old Collection*, (ed. M. Mojzer), Budapest, 1984, p. 203.  \nBuzási, E., “A barátság-motívum térhódítása a 18. századi magyar portréfestésben” (“The Spread of the Friendship Motif in 18th-Century Hungarian Portrait Painting”), *Művészettörténeti Értesítő* XXXIII, 1984, pp. 212–236.","artist_birthdate":"1742","artist_birthplace":"Nagyszeben (Sibiu)","artist_deathdate":"1800","artist_deathplace":"Nagyszeben (Sibiu)","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Elizabeth Hoch, Tamás Sajó","translation_copy_editor":"Mandi Gomez","keywords":["education","encyclopaedia","Enlightenment","freemasonry","Freundschaftsbild","Johann Martin Stock","Joseph II","Saxons","science"],"materials":["Oil on canvas"]},"b1761f2e-80b8-586f-b4e2-c3736d979725":{"name":"Photograph of an employee outside the *Poste-Cherifienne* office","description":"The first national post and transport service in Morocco was founded by Mulay al-Hasan I on 20 Jumada I 1390 (22 November 1892) and was known as the *Poste-Makhzen*. The office was established in order to take control nationally of the postal (mainly parcels and messengers) service in Morocco, but competition from private foreign firms was tough. When in 1892 the Sultan first gave orders for port managers to take control of Morocco’s interests in this regard, this nascent organisation included 13 Moroccan cities, defined as zones connected by transport links, and each defined by specific costs.","type":"Photograph","holder":"Itisalat al-Maghrib Museum","dates":"AH: 20 Jumada I 1390 (22 November 1892)","location":"Rabat","keywords":["Postal service","post offices","Moroccan postal service","communication","routes","port","rakkas","delivery","local postal service","foreign companies","private firms","postal network"]},"b2f01795-06d0-53f5-977b-6664d2f2de6b":{"name":"*King João V of Portugal Drinking Coffee and Chocolate*","description":"This interesting miniature, set within an ornate silver frame displaying the royal coat of arms, is one of only a few remaining objects from the Joanine court to have survived the Earthquake of 1755. According to the family of the Marquis of Foz, to whose collection this miniature belonged until 1901, this scene represents King João V being served drinking chocolate at home by the Duke of Lafões. However, in the corner of the miniature is the date 1720, making the Foz identification of the duke implausible given that the duke was born in 1718 and would have been two years old at the time this picture was painted. The most plausible hypothesis is that the person depicted is Prince Miguel of Braganza, the half-brother of the King and father of the future Duke of Lafões, who would, therefore, be the child represented. The Foz family also asserted that the Marquises of Angeja and Alegrete appear in the painting, as well as the painter himself and the house chaplain, however, firm identifications have been neither consistently contradicted nor confirmed.  \nThe objects depicted in this composition are noteworthy: the utensils associated with painting are in the foreground: a pallet, brushes and a sketch on a piece of paper. The objects related to drinking: a coffee pot, hot chocolate maker, tea cups and a bottle, alluding to the popularity of chocolate and coffee both of which became extremely fashionable among the Portuguese aristocracy and throughout the rest of Europe.  \nAlthough the scene suggests a relaxed and jolly atmosphere, the strict etiquette and hierarchy of the Joanine court is present within the structure of the composition: the representational field is divided into two halves, with the higher ranking figures on the left-hand side*.*  \nNothing is known about the identity of the miniaturist, although his name suggests that he might be one of many Italian artists who, together with other foreigners, came to work in Portugal during the reign of João V. The frame presents plant-like decorations with acanthus, volutes and shell shapes in chiselled and embossed silver – a feature associated with the first quarter of the 1700s. The frame is surmounted by a shield and crowned with the Portuguese royal arms sustained by two lieutenant *putti.* A grotesque mask at the bottom centre is typical of this phase of the Baroque period. A chiselled frieze with laurel leaves serves as an internal frame for the miniature.","short_description":"A miniature painting representing King João V of Portugal with a group of courtesans being served coffee and chocolate, within an ornate silver frame bearing the royal coat of arms.","type":"Miniature painting","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"Marquis of Foz Collection","dates":"1720 (miniature); first quarter of the 18th century (silver frame)","location":"Lisbon, Lisbon","dimensions":"Miniature: h: 12 cm; w: 12 cm; frame: h: 27 cm; w: 20.2 cm","place_of_production":"Lisbon","method_for_datation":"The miniature by an inscription and the frame by stylistic analysis","provenance":"Marquis of Foz Collection","obtention":"Acquisition, 1915","bibliography":"*Catálogo do leilão dos objectos d'arte e mobiliário antigo*, Lisbon, 1901, cat. 575.  \nD'Orey, L., *Le langage des orfèvres du Portugal*, Lisbon, 1988, cat. 28.  \nRocca, S. et al., *Roma Lusitana – Lisbona Romana: guida alla mostra*, Rome, 1990–1991, cat.106.  \nTeixeira, J., “Le roi D. João V buvant du chocolat dans la compagnie de l'Infant D. Miguel” in *Le Triomphe du baroque*, Brussels, 1991, cat. I/10.","artist_birthdate":"Unknown","artist_birthplace":"Italy (?)","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Alexandra Markl (miniature), Leonor d’Orey (silver frame)","translator":"Lili Cavalheiro, Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Exotic beverages","floral decoration","miniature","Portuguese king"],"materials":["frame: embossed and chiselled silver","Picture: tempera on ivory"]},"b38891de-f49d-5dd2-b4f0-dec5aad2f1bf":{"name":"Carpet-Qajar Portrait","short_description":"This wool rug depicts fifty-one prominent personalities across history in an assemblage portrait. Like many Iranian carpets in the 19th century, this textile reflects the emergence during the Qajar dynasty of pictorial carpets displaying religious, historical or literary scenes.  \nAmong prophets like Moses, Solomon, and Jesus, are men known throughout Asian history such as Genghis Khan and Confucius. In addition, Socrates, Christopher Columbus and Napoleon Bonaparte contribute to this group portrait.  \n  \nThe border, an essential element in Persian carpets, frames the scene of famous people with floral patterns and a legend with the names of individuals. Interestingly, the numbers appear mirrored, suggesting that the carpet maker was illiterate or unfamiliar with Arabic numbers, leaving his mark within the thread.","type":"Carpet; Rug","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Doha","dimensions":"Length: 249.6cm, Width: 155.8cm","method_for_datation":"Date and origin were derived from material, colour, pattern and knot examination.","method_for_provenance":"Date and origin were derived from material, colour, pattern and knot examination.","provenance":"Iran","obtention":"Purchase","bibliography":"Ahani, L., Yaghoubzadeh, A., and Vandshoari, A., \"A Presentation and Classification of Pictorial Carpets of Qajar Era\", *Journal of History Culture and Art Research*, 6 : 2 (2017): 123-137.  \nRashadi, H. and Marasi, M., \"A Study on the Status of Borders in Pictorial Carpets of Qajar Era\", *goljaam*, 7 : 20 (2012): 57-72.  \nSchulz, Vera-Simone, \"Portraits, Photographs, and Politics in the Carpet Medium: Iran, the Soviet Union and Beyond\", *Konsthistorisk tidskrift/Journal of Art History*, 83 : 3 (2014): 244-265.","dynasty":"Qajar","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["carpet","Qajar","rug"],"materials":["Senneh knot","wool"]},"b5774f3e-8016-55ca-9542-099e3ef271b9":{"name":"Portrait of Akbar in old age","short_description":"This posthumous portrait of the Mughal emperor Akbar (r. 1556-1605 CE) was probably commissioned by his grandson Shah Jahan (r. 1628-58 CE), who was thirteen when the emperor died. The aged Akbar is depicted in three-quarter profile, a view reserved for figures of lesser rank but perhaps accepted for posthumous emperor portraits. Mughal conventions such as the golden halo and the fact that the emperor stands upon the orb of the world signify Akbar’s power as a ruler. The intricate details of his embroidered robe and sash, the pearls around his neck, and the bejewelled dagger hilt emphasize his royal standing and are complemented by a scrolling vegetal border rendered in gold. On the border of the album page, believed to be contemporary with the portrait, three of the emperor’s attendants stand symbolically (and literally) behind him, respectively holding his umbrella, standard, and shield. Two puttis, winged angelic figures derived from European models, hold a golden canopy protectively over Akbar’s portrait, while the antelope and deer depicted below, also on the earthly orb, associate the reign of the late emperor with a peaceful era. This portrait is believed to come from Shah Jahan’s last album, the compilation of which began around 1650 CE, and may never have been completed. Its paintings include several single-figure portraits that acted as models for future albums (Canby 1998, p. 151). The numerous border paintings are extremely developed and skilful works of art in their own right. In the early twentieth century, the “Late Shah Jahan Album” was unfortunately dispersed, and the pages, often split into two, were sold separately.","type":"Folio","holder":"Aga Khan Museum","dates":"1645","location":"Toronto, Ontario","dimensions":"38.1 x 26cm","provenance":"Agra, India","obtention":"Former Prince Saddrudin Aga Khan Collection","bibliography":"Canby, Sheila R., *Princes, Poets and Paladins: Islamic and Indian paintings from the collection of Prince and Princess Sadruddin Aga Khan*, London: Trustees of the British Museum, 1998. ISBN: 9780714114835.","dynasty":"Mughal","keywords":["Album","figure","folio","human-figure","Portrait","work-on-paper","works-on-paper"],"materials":["Opaque watercolour and gold on paper"]},"b70d09b4-b304-5766-96c2-44d09249f330":{"name":"*Portrait of Carlo Broschi called Farinelli*","description":"This painting is a portrait of the world famous soprano castrate singer Carlo Broschi whose stage name was Farinelli. He is wearing a cape of the order of Calatrava as in 1750 he was made a Knight of this important Spanish order by the king of Spain Ferdinand VI. The singer touches a page of music laid on the cembalo with his left hand. In the background, oval portraits of the King of Spain and his queen, Maria Barbara di Braganza, are surrounded by a tripudium of nymphs and cupids. There is also a self-portrait of the painter, Corrado Giaquinto. The portrait was part of Farinelli’s rich collection of paintings decorating his villa in Bologna, where he retired after a long stay at the court of Madrid (1737–1759).","type":"Painting","holder":"Museo Internazionale e Biblioteca della Musica","initial_owner":"Maria Carlotta Pisani, Farinelli’s niece, bequest","dates":"c. 1755","location":"Bologna, Emilia-Romagna","dimensions":"275,5 x 185,5 cm","place_of_production":"Naples?","provenance":"Farinelli’s Villa, once in via Lame 228, Bologna","obtention":"Presented to the Comune di Bologna in 1850 by Maria Carlotta Pisani, the niece of Farinelli.","bibliography":"*Mostra della pittura italiana del '600 e del '700* (exhibition catalogue), Rome, 1922, p. 21.  \n*Pittura Italiana del Settecento* (exhibition catalogue) (eds. E. Riccòmini and J. Winkelmann), Bologna, 1974, pp. 38-39.  \n*Collezionismo e storiografia musicale nel Settecento. La quadreria e la biblioteca di Padre Martini* (exhibition catalogue), Bologna, 1984.  \n*Le stanze della musica* (exhibition catalogue), Cinisello Balsamo (Mi), 2002.  \n*Guida al percorso espositivo del Museo della Musica*, Bologna, 2004.","workshop":"Neapolitan Baroque","artist_birthdate":"8th February 1703","artist_birthplace":"Molfetta (BA)","artist_deathdate":"1766","artist_deathplace":"Naples","author":"Jenny Servino","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Corrado Giaquinto","Farinelli","music","Neapolitan painting","Opera","Portrait","Self-portrait","Singer"],"materials":["Oil on canvas"]},"b76ae0c2-5d4f-563b-9c84-b8b5747b1e2f":{"name":"Ivan V Drašković (about 1660–Varaždin, Croatia, 4.1.1733)","description":"For generations the Drašković family played an important part in the political and social life of Croatia. Counts from the 17th century (1631), numerous members of the family became *bans* (viceroys) and high-ranking military officers. The family's wealth comprised numerous estates, among which were Trakošćan and Klenovnik castles in northwest Croatia. Ivan V Drašković, son of vice-marshal Ivan IV and Marija Magdalena Nádasdy, studied in Varaždin, Vienna and Bologna before returning to Croatia in 1695. In 1699, he became Grand Sheriff of the Valpovo and Baranja County, and shortly after became a royal councillor. Having excelled militarily, promotion to General followed in 1708 and the Croatian parliament named him Commander of the Croatian National Troops. He actively supported the proposal to ensure the right of succession of the Habsburg female line (Croatian Pragmatic Sanction) in 1712. He fought as vice-marshal (*podmaršal*) on the Turkish border. Drašković was acting *ban* (viceroy) from 1718 to 1732 but only officially appointed to the post on 2 February 1732. He died suddenly the following year.  \nThe portrait, painted some time shortly after Drašković officially became *ban* in 1732, depicts the elderly count as a nobleman, his right hand holding a general's baton. On the right-hand side, the imperial eagle holds the coats of arms of Croatia, Slavonia and Dalmatia, signifying his official status as *ban*. In the background to the left is Trakošćan castle, with tents and soldiers below.","short_description":"Count Ivan V Drašković was acting *ban* (viceroy) from 1718 to 1732. Officially appointed *ban* on 2 February 1732, he died suddenly the following year. Drašković actively supported the right of succession to the Habsurg female line (Croatian Pragmatic Sanction). The portrait, painted some time shortly after Drašković officially became *ban*, depicts the elderly count as a nobleman, his right hand holding a general's baton.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"The Kulmer family, Šestine near Zagreb","dates":"1732/33","location":"Zagreb, North-West Croatia","dimensions":"H: 90 cm; w: 69 cm","place_of_production":"Croatia (?)","method_for_datation":"The imperial eagle holding the coats of arms of Croatia, Slavonia and Dalmatia signifies the office of *ban* (viceroy), and enables the painting to be conclusively dated to 1732 or 1733.","provenance":"The Kulmer family","obtention":"Donated to the Museum by Countess Josipa Kulmer from Šestine near Zagreb in 1854.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, p. 77.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 246.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["ban (viceroy)","coat of arms","Drašković family","eagles","Portrait"],"materials":["Oil on canvas"]},"b7e5dd09-cf9b-5310-9343-8db43d0c9114":{"name":"*The Emperor of Austria ascending the Great Pyramid*","short_description":"William Simpson wrote in his autobiography: \"I went out one day and saw the Emperor of Austria lugged to the top of the Great Pyramid by two Arabs as if he had been only an overland passenger\". Many visitors were unceremoniously hauled to the top of the monument by local inhabitants, helping unfit and often overweight tourists to clamber up the huge blocks. Emperor Franz Joseph was one of many European dignitaries in Egypt in November 1869 for the opening of the Suez Canal. Simpson was employed by the Illustrated London News as their \"Special Artist\". Photography would soon replace such drawings.","type":"Watercolour","holder":"The British Museum","dates":"1869","location":"London","provenance":"Egypt","keywords":["Suez"]},"bc4ebe5a-094c-56c1-b426-f1d720ea5206":{"name":"Abdülaziz (1830–1876)","short_description":"Portrait of Abdülaziz (1830–1876). In 1861 he became Sultan. He was very interested in fostering a good relationship with European powers and to this end visited Paris, London and Vienna in 1867. Because of the uprisings in Bosnia-Herzegovina and Bulgaria, he was forced to abdicate on 30 May 1876.","type":"Photograph","holder":"Austrian National Library","dates":"c. 1861","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Abdülaziz","Bosnia-Herzogivna","Bulgaria","Vienna"]},"bcbffbcf-b106-5603-ac6b-c0832f43b411":{"name":"*Josip Kazimir Drašković* (4.3.1716 – Klenovnik, Croatia, 9.10.1765)","description":"The Drašković family played an important role in the political and social life of Croatia throughout many generations. Counts from the 17th century (1631), numerous members of the family were Croatian *bans* (viceroys) and high-ranking military officers. The family's wealth included numerous estates, among them Trakošćan and Klenovnik castles in northwest Croatia. Josip Kazimir Drašković, son of viceroy Ivan V, was a prominent high-ranking officer, a colonel by the age of 30, and a general by 1750. He took part in quenching the peasants' and soldiers' uprising in Croatia in 1755. In 1758, Empress Maria Theresia awarded him her Military Order for outstanding bravery in the defence of Olomouc; in 1765, he was awarded the Commander's Cross of the same Order for defending Moravia. He was married to Suzana Malatinski with whom he had three sons and a daughter.  \nThe portrait, originally in Trakošćan, was probably part of the Gallery of Officers serving under Josip Kazimir, consisting of 50 portraits (the other portraits are in Trakošćan Castle Museum). The portrait is the work of the Viennese painter, Johann Michael Millitz. Between 1764 and 1778, he painted numerous members of the Croatian and Hungarian nobility, and painted Josip Kazimir's daughter Julijana (married to Count Erdödy). Drašković is shown wearing a Commander's Cross of Maria Theresia's Military Order. The portrait, modified probably in 1765, commemorates the higher order of Commander's Cross, over-painting the Military Order received by Drašković in 1758.","short_description":"Count Josip Kazimir Drašković, son of viceroy Ivan V, was a prominent high-ranking officer promoted to general in 1750. He took part in quenching the peasants’ and soldiers’ uprising in Croatia in 1755. In 1758, Empress Maria Theresia awarded him the Military Order, and in 1765, he was awarded the Commander’s Cross of the same Order.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"Drašković family, Trakošćan Castle","dates":"After 1758, probably modified in 1765","location":"Zagreb, North-West Croatia","dimensions":"H: 98.5 cm; w: 77 cm","place_of_production":"Vienna (?)","method_for_datation":"The date and origin of the portrait were established through information known about Josip Kazimir Drašković as well as by stylistic analysis of the painting and other known works by Johann Michael Millitz.","provenance":"Estate of the Drašković family from Trakošćan","obtention":"Received from the Commission for the Collection and Preservation of Cultural Monuments and Antiques in 1952.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 79–80.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, pp. 229, 247.","artist_birthdate":"1725 (?)","artist_birthplace":"Vienna","artist_deathdate":"7 November 1779","artist_deathplace":"Vienna","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["Austrian army","Drašković family","Portrait","soldier","warfare"],"materials":["Oil on canvas"]},"bcebbe38-8019-5c28-b4b7-8f04a8b1d7be":{"name":"Ibrahim Pasha (1789–1848)","short_description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1841","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ibrahim Pasha","Syria","Greece"]},"be995e66-cbb2-5c08-8546-d64d8f9a6fa0":{"name":"Cameo","short_description":"This oval shaped cameo depicts the Mughal emperor Shah Jahan (r. AH 1037-1068 / AD 1628-1658). He is shown in profile, richly jewelled, a model most likely taken from Mughal paintings. A small group of securely dated cameos exist from the period of Shah Jahan, all of which have been attributed to European lapidaries who worked at the court of the emperor. Cameos like this one continued to be made in later centuries, often by Indian lapidaries, and set into jewelled pendants to be worn.","type":"Jewellery","holder":"Museum of Islamic Art","dates":"Hegira 13th century / AD 19th century","location":"Doha","dimensions":"Height: 4.1cm, Depth: 3.3cm","provenance":"India","obtention":"The Estate of the late Mary Fry, nee Fane, Fulbeck Hall, Lincolnshire; her sale, Sotheby’s, The Contents of Fulbeck Hall, Lincolnshire, 8th October 2002, Lot 460  \nBonhams Knightsbridge, Islamic and Indian Art, 1 May 2003, Sale 10185, Lot 380 to Qatar Museums","bibliography":"Anderson, Sean A., *Lightness and Being: The Museum of Islamic Art, Doha*, Qatar: The Marg Foundation, 2012.  \n  \nSoueif, Ahdaf, *Reflections on Islamic Art*, Doha: Bloomsbury Qatar Foundation Publishing, 2011.","dynasty":"Mughal","author":"Tara Desjardins","keywords":["Cameo","India","jewellery","Mughal","Shah Jahan"],"materials":["Carving, Cameo","Sardonyx, Bloodstone"]},"bf3df40c-9dbc-5641-863e-11c7fa684ee3":{"name":"*Mature Self-portrait*","description":"The exact date of the self-portrait is unknown, but the slightly greying temples suggest that the artist was about forty. This hypothesis is consistent with the style of the period, which many scholars have likened to the emotional sensitivity of his contemporary, Velázquez.  \nBernini painted only for himself, creating portraits, and in particular self-portraits, in private. He did not seek physiognomic detail or self-aggrandisement, focusing instead on researching psychology and the reality of the human condition. These features give painting back that immediacy which makes his paintings a precursor of the modern Borghese portrait.  \nThe brush strokes are fast and spontaneous, the shaking effects helping to humanise the subject. The background of the painting appears not to be finished, concentrating our attention on the expression of the face, whose features are rendered by deep chiaroscuro and colouring attributable to Annibale Carracci.  \nThe head is turned slightly away from the profiled bust. This arrangement suggests a slight movement of the face toward the viewer, accentuated by subtle movement of the hair caused by the twisting.  \nBernini uses strong combinations of light and shadow to add intensity to the eyes, which are almost sculptural in form.  \nNo documentation has ever been found to confirm the hypothesis that this canvas was taken from a diptych, whose pendant was the portrait of Costanza Bonarelli, the woman Bernini loved. The right-hand side of the canvas is frayed, hence the assumption that this is indeed part of that split work.  \nThe painting was donated to the Galleria Borghese in 1911 by Baron Otto Messinger, who owned a substantial body of works from the Chigi collection. It is, therefore, assumed that this famous self portrait came from the same place.","short_description":"This painting demonstrates the self-awareness of the artist, whose pose betrays his preoccupation with intellectual discovery.  \nBernini created many self-portraits during his career.","type":"Painting","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Chigi collection (?)","dates":"c. 1638–40","location":"Rome, Latium","dimensions":"h: 55 cm; w: 44.5 cm","provenance":"Collection of Baron Messinger","obtention":"Gift of Baron Messinger, 1911.","bibliography":"Della Pergola, P., *Galleria Borghese. I Dipinti*, II, Rome, 1959, n.109, pp. 73–74.  \nHerrmann Fiore, K., in *Invisibilia. Rivedere i capolavori, vedere i progetti*, catalogo della mostra, Rome, 1992, p. 40.  \nHerrmann Fiore, K., “Tre ritratti dipinti da Gian Lorenzo Bernini nella Galleria Borghese”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 233–239.  \nMontanari, T., *Bernini pittore*, exhibition catalogue (Rome), Milan, 2007, cat. 4, pp. 94–95.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["chiaroscuro","Self-portrait"],"materials":["Oil on canvas"]},"bf8c236d-a3f0-57db-aaff-72a234666a2c":{"name":"Portrait of Sultan Selim II","short_description":"This large album portrait of Sultan Selim II (reigned 1566–74) reveals much about his reign. It was Selim’s father, Sultan Süleyman the Magnificent (reigned 1520–66), who solidified the geographical borders of the Ottoman Empire and refined the central administration of his government, allowing his son and successor to pursue more sedentary pleasures such as literature, art and wine-drinking. Nicknamed “Selim the Sot” for his affection for wine, the sultan was nonetheless a great bibliophile and patron of architecture, music and the arts of the book. The painter, poet and naval commander Haydar Reis depicted Selim II as larger than life; the robust sultan in his luxurious fur-lined and brocaded gold garment dwarfs both the page boy and the interior in which he sits in a cross-legged position on a carpet. This composition was one of a number of conventions for Ottoman royal portraiture developed in the 1570s and is similar to portraits in Loqman’s *Kiyafetu’l Insaniye fi Semailu’l-Osmaniye*, a study to record the physiognomy of the Ottoman sultans.","type":"Folio","holder":"Aga Khan Museum","dates":"1570 or 1590","location":"Toronto, Ontario","dimensions":"44.2 x 31.2cm","provenance":"Istanbul, Turkey","obtention":"Former Prince Saddrudin Aga Khan Collection","dynasty":"Ottoman","keywords":["folio","painting","Portrait","ruler","sultan","work-on-paper","works-on-paper"],"materials":["Opaque watercolour, gold, paper"]},"bf8ccf55-0b9f-51ab-833d-046d658d52ad":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","short_description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mahmud II, Sultan of Turkey","Egypt","Janissary","Konya","Ibrahim Pasha","Muhammad Ali","Greece"]},"c16fad3d-de00-51aa-b32f-c08f9761a3dc":{"name":"*Madame X*","short_description":"The basis of Turkish painting drawing influence from western tradition was laid when *Mühendishane-i Berr-i Hümayun* (the Naval Academy) opened in 1795. Halil Pasha was foremost among the painters with a military background who founded a western-style art tradition in Turkey. He worked with Jean Leon Gerome in his atelier in Paris. He provided a unique distinction to the analysis of impressionist light and colour, and was an example of artists dealing with impressionist technique. Because of his qualified knowledge about anatomy and his interest in depicting the human figure, Halil Pasha had a unique place in Turkish Art History.","type":"Painting","holder":"Sabancı University, Sakıp Sabancı Museum","dates":"19th century","location":"Istanbul","dimensions":"100.5 x 65 cm","provenance":"Istanbul","artist_birthdate":"1857","artist_birthplace":"Istanbul","artist_deathdate":"1939","artist_deathplace":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Halil Pasha","orientalist Turkish painters"],"materials":["Oil and pastels on cardboard"]},"c2b70678-bfae-5de0-a210-547e266d7099":{"name":"Emigrant family","short_description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. This photograph belongs to the Luka Likidis family, who migrated from Bodrum to Crete in 1916.","type":"Photograph","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1916","location":"Istanbul","provenance":"Greece","copy_editor":"Daniel de la Vega","keywords":["migration","population exchange"],"materials":["Photograph"]},"c41a0993-462a-5165-a2e7-78834dccf500":{"name":"*Bust of Cardinal Domenico Ginnasi*","description":"In 1911 the bust was found in the Carmelite Convent at the Church of Santa Maria della Vittoria, relocated from the Church of SS. Pietro e Marcellino, the seat of the Teresian Nuns. The nuns moved there in 1757, from the convent founded after the death of Domenico Ginnasi in Palazzo Ginnasi in 1639, and they took the bust with them, having always identified it as a portrait of the cardinal.  \nThe work was first attributed to both Bernini and Algardi, before being linked to Giuliano Finelli following comparison with the bust the sculptor made for the cardinal for his funeral monument at S. Lucia dei Ginnasi (the decoration is based on a design by Lanfranco, whose daughter married Finelli).  \nThe sculptor worked with Bernini on several occasions, notably on *Apollo and Daphne* in the Galleria Borghese and the baldachin (large sculpted bronze canopy over the altar) of Saint Peter's. He worked alone from 1629 and joined Rome's artistic circle thanks to the numerous contacts that he was able to make, notably Pietro da Cortona, who in turn introduced him to the Sacchetti family, well known patrons.  \nHis style is characterised by attention to detail, intense skill and psychological depth, but always retaining spontaneity and immediacy, a peculiarity of Bernini's so-called “talking portrait”. The partially unbuttoned *mozzetta* (a short elbow length cape worn by Catholic clergy), the kindly and informal face and the realistic lines are clear evidence of this style.  \nIn relation to this, a *Bust of Cardinal Scipione Borghese* made by Finelli and currently in the Metropolitan Museum of New York, was sculpted at the same time as the Bernini version (1632). In 1634 Finelli moved to Naples, where he developed a portrait style closer to Parthenopean and Spanish taste, preferring distant, official, commemorative portraits. However in the work undertaken at this time for Roman clients, he never completely abandoned his refined virtuosity and keen psychological study, as can be seen in the bust of Cardinal Ginnasi, sculpted in 1639.","short_description":"A pupil of Bernini, Finelli focused his attention on the particular rather than the whole. This tendency prevented Finelli from being a great statuary artist, although it enabled him to evolve a striking flair for portraiture.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Carmelite Sisters, Palazzo Ginnasi Convent (?)","dates":"1639","location":"Rome, Latium","dimensions":"h: 68 cm","provenance":"Carmelite Convent in Santa Maria della Vittoria","obtention":"Carmelite Convent in Santa Maria della Vittoria, 1911.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.2, p. 10.  \nSanta Maria, P. L., in *voce* “Giuliano Finelli”, in *Dizionario Biografico degli Italiani*, Milan, 48, 1997, pp. 32–34.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 385.","artist_birthdate":"1602–3","artist_birthplace":"Massa (Massa–Carrara)","artist_deathdate":"1653","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Algardi","Bernini","Bust","marble","patronage","Portrait","talking portrait"],"materials":["Statuary marble"]},"c4f3ee34-3e55-5cf6-ab02-eee9f50cdc11":{"name":"*Danilo I, Prince of Montenegro (1871–1939)*","short_description":"Danilo I, Prince of Montenegro (1871–1939) as a child. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Print","holder":"Austrian National Library","dates":"1880","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Danilo I, Prince of Montenegro","Jugoslavia","Vienna","Austria"]},"c7278b24-cf58-5191-9342-586e5560d4ff":{"name":"*Mlle. Lauta, first* \\[French\\] *woman to get a degree in philosophy*","short_description":"Léontine Zanta (not Lauta, as indicated by the photograph) was the first French woman to receive a literature degree (not a philosophy degree), writing her thesis on revival of Stoicism in the 16th century. A journalist, teacher and novelist, she was also very interested in feminism.","type":"Photograph","holder":"National Library of France","dates":"1914","location":"Paris","translator":"Flaminia Baldwin","keywords":["Women","further study"]},"c783fc3a-6b1b-58c1-83a4-ba0e00d74936":{"name":"A teacher and one of his pupils","short_description":"Pictured here are schoolteacher teaching his young pupil to write.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"c7f58b8f-d101-5a99-a3cc-dcb898bbfeeb":{"name":"An Algerian woman grinds her meal in an old wooden mill","short_description":"Many Western photographers took great interest in women's daily lives, or in daily rural tasks. In this photograph from 1920 an Algerian woman is pictured as she grinds wheat with a wooden pestle and mortar.","type":"Photograph","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"c95dc265-e63b-5039-8f8f-a2652ee2dcba":{"name":"Tripolitania (Libya). Italian soldiers in front of a Roman mosaic","short_description":"Italian soldiers in front of a Roman mosaic in Tripolitania, Libya. At their feet, almost at the centre of the photo, a plaque explains that: “These wonderful remains of Ancient Rome art and civilization” have been brought back to the admiration of posterity by the Italian soldiers of the Bersaglieri 33rd Battalion in 1911 and they “confirm… Italy’s right to rule over Tripolitania”.  \nThe plaque explicitly claims that Italy colonial ambitions over Libya were legitimate because Ancient Rome had once ruled over that territory. This line of argument was often used by Italian colonialists in order to legitimize Italian colonial ambitions over Libya.","type":"Photograph","holder":"Central Institute for Cataloguing and Documentation (ICCD)","dates":"1911","location":"Rome","artist_birthdate":"1878","artist_birthplace":"Milano","artist_deathdate":"1940","artist_deathplace":"Mombello","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"c9c74f64-866f-5104-9cb6-e6c2fc0927e4":{"name":"*O Grupo do Leão*","short_description":"This is a Portuguese new generation of artists who played a major role in naturalist and realist painting in Portugal. Meant to decorate the beer house, this painting became famous and marked the beginning of a period of great artistic activity. This painting by Columbano Bordalo Pinheiro (1857–1929), the greatest painter of his time, depicts a group of artists who got together at the “Leão de Ouro” beer house in Lisbon.","type":"Painting","holder":"National Museum of Contemporary Art – Chiado Museum","dates":"1885","location":"Lisbon","dimensions":"201 x 376","artist_birthdate":"1857","artist_birthplace":"Lisbon","artist_deathdate":"1929","artist_deathplace":"Lisbon","author":"DGPC","keywords":["painting","beer house","Lisbon"],"materials":["Oil on canvas"]},"c9d97b65-0be6-5a7c-984a-641093ced2e4":{"name":"*Portrait of Count Maxmilián Oldřich Kounic*","description":"This rendition of a young count in informal brocade clothes and a lace housecoat stands out from the routine official court portraits of its time by virtue of its soft rendering in relaxed brush strokes. The spontaneity and lightness of the work correspond with the personality of a youth known to be devoted to “aristocratic” pastimes such as dancing, horse riding, fencing and playing the guitar. The young count travelled twice to the court in Düsseldorf to get to know his future wife, heiress of the Rietberg County. Maxmilián Oldřich Kounic (1679–1746), later the Moravian provincial governor, undertook the grand tour in 1698, visiting The Hague, Brussels and finally Paris, where he had his portrait painted by a Flemish artist who moved through the elegant Roman and Paris milieu.  \nThe Kounic family was among the most powerful in Moravia. Maxmilián Oldřich's father, Dominik Ondřej Kounic, was the imperial vice-chancellor, his son Václav Antonín Dominik (1711–1794) became a leading diplomat, court and state chancellor under the reign of four emperors, Maria Theresa, Joseph II, Leopold II and Francis II. Václav Antonín Dominik also promoted the ideas of the Enlightenment; he established the Academy of Science and *Belle Lettres* in Brussels and united the Vienna Academy. Maxmilián Oldřich Kounic was responsible for selecting painters to decorate the Assembly Hall of the Provincial Estates in Brno, and played an important part in the reconstruction of the Kounic family residence in Slavkov, the design of which was among the first examples of the French chateau plan in Moravia.","short_description":"This rendition of a young count stands out from the routine official court portraits of its time by virtue of its soft rendering in relaxed brush strokes. The portrait came into existence during the grand tour of Maxmilián Oldřich Kounic, who later became the Moravian provincial governor.","type":"Painting","holder":"History Museum, Slavkov","owner":"Slavkov Chateau","initial_owner":"Count Kounic","dates":"1698","location":"State Chateau, Slavkov, Moravia","dimensions":"h: 73.5 cm; w: 60 cm","place_of_production":"Paris","method_for_datation":"Letters that survive from Count Kounic’s grand tour elucidate the circumstances of the portrait’s origin. Dominik Ondřej Kounic wanted to commission a portrait of his son the size of which was to be identical to that of his own portrait by Hyacinth Rigaud. His son wanted to know whether to choose Rigaud or Gottfried Kneller to portray him, and asked his father to send him the dimensions of the picture marked by knots on a string as he believed nobody in France would understand Moravian measurements. Unfortunately, the count’s choice of portrait artist is not covered by further correspondence. Marie Mžyková has suggested, on the basis of a style analysis backed by the comparison of X-rays, that the artist was Jakob Ferdinand Voet, a court portraitist from Antwerp.","provenance":"Slavkov Chateau","obtention":"The painting was part of the Kounic collection in Slavkov Chateau, near Brno. It is currently administered by the Institute of National Heritage, Brno.","bibliography":"Miloš Stehlík, *Obrazárna státního zámku ve Slavkově u Brna,* Brno 1966.  \nMarie Mžyková, Dílo Hyacintha Rigauda v československých sbírkách, in *Barokní umění a jeho význam v české kultuře.* *Sborník sympozia, které pořádala Národní galerie v Praze k připomenutí osobnosti a díla Oldřicha J. Blažíčka ve dnech 11. a 12. prosince 1986*, Prague, 1991, pp. 194–201.  \nJiří Kroupa, *Václav Antonín kníže Kounic-Rietberg a jeho doba*, Brno, 1994.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 330–301, cat. 138, p. 136.","artist_birthdate":"1639","artist_birthplace":"Antwerp","artist_deathdate":"1700","artist_deathplace":"Paris","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Grand tour","Portrait"],"materials":["Oil on canvas"]},"cff9d211-aedd-5f72-abe6-63319cd03d80":{"name":"Photograph of Krste Petkov Misirkov","short_description":"Krste Misirkov (1874–1926) was a grandiose and profoundly nationally designated personage of the 19th century. He lived in St. Petersburg and was an esteemed and highly engaged member of the Slav-Macedonian Scientific Literary Society. He contributed to the standardization of the modern Macedonian language, having given responses to some important issues of the history, culture and language of Macedonians.","type":"Photograph","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["Scientific literary society","standardisation of language"],"materials":["Paper, wooden frame"]},"d12751a5-ab84-5160-b99b-ce28227573a2":{"name":"The embroiderers of Dar al-Kiswa in Cairo","short_description":"Dar al-Kiswa started life as *warshat al-kharanfash* – a large factory established by Muhammad ‘Ali Pasha in 1817 in Cairo. 4000 young men from Cairo were assembled to work there as apprentices in a variety of crafts and trades. But by the 1880s, it had become a workshop dedicated to the production of the Meccan textiles. The workshop was closed down in the late 1990s.  \n  \nAt its heyday, up to a hundred weavers, artisans and embroiderers were known to have worked in Dar al-Kiswa. One section of the workshop, the *qism al-zarkasha*, was responsible for embroidering the textiles that were sent to Mecca every year. Many were members of the same family and often started work there as young boys, remaining until they retired. In the 1930s thre were at least 60 there, with an average age of about 65.  \n  \nThe photographs are of some of the employees working in the embroidery section at Dar al-Kiswa. It is not known when they were assembled, but it is likely to have been sometime around the 1940s–early 50s.","type":"Photographic montage; passport-size photographs","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"*circa* 1940s – early 50s","location":"London","provenance":"Egypt, Cairo","bibliography":"Nassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.","dynasty":"House of Muhammad ‘Ali","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["annotations in ink","Passport-size photographs, pasted on red card"]},"d1d2c280-9bfc-5ff6-9d5a-7ba47f268569":{"name":"*An Aristocratic Couple as Adam and Eve*","description":"*An Aristocratic Couple as Adam and Eve* is a very unusual, bizarre picture of the genre; an allegorical portrait that allowed the artist to ignore the formalities of traditional portraiture. The couple, wearing white wigs and sitting in the garden of Eden among tame wild animals obviously commissioned the painting, but their identities are still unknown. Because of the boldness of the portrayal it is very likely that the painting was the result of an established friendship between the artist and the commissioner, particularly as this kind of portrayal is unparalleled in Millitz's oeuvre as he painted mainly traditional, representative half-length portraits.  \nAs we know little about Millitz's genre or group portraits and still less about his portraits with landscape elements, this allegorical portrait implies an unusual and new venture for the painter. The basis for the faces was probably traditional portraiture, but for the other parts of the composition the painter in all likelihood used a French sample picture, perhaps suggested by his commissioner. A composition of Adam and Eve by Jean Francois Troy (1679–1752) painted in 1730 is a case in point. This work shows the moment of the Fall of Adam and Eve in a style similar to the Rococo genre but with real emotion. Regards the content of this painting, it portrays the travesty of the biblical scene from the perspective of the Age of Enlightenment. As to its philosophical background, the scene is an enlightened transformation of the free will of the first human couple who acted independently of God's wish.  \nMillitz was Martin van Meytens' pupil at the Academy of Fine Arts in Vienna. He lived and worked in Vienna from 1749 and then worked in Pozsony (Bratislava) between 1778 and 1784. He executed several commissions for mainly Hungarian aristocratic families.","short_description":"An unusual representation by the master of Pozsony (Bratislava) painted while Millitz was studying in Vienna: the double nude composition was born under the influence of the new philosophical ideas of the Age of Enlightenment.","type":"Painting (portraiture)","holder":"Hungarian National Gallery","dates":"c. 1770","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 90 cm; w: 68.3 cm","method_for_datation":"By stylistic analysis","obtention":"Purchased from a private owner in 1980.","bibliography":"Buzási, E. (ed), *Cat. Nr. 31. Alte ungarische Bildnisse* (*Cat. No. 31 Old Hungarian Paintings*), századi magyar művészetben (exhibition catalogue), Tata–Szombathely, 1988.  \nBuzási, E., *Cat. Nr.* *I–19. A modell. Női akt a 19* (*Cat. No. I–19 The Model: The Nude Female Figure in 19th-century Hungarian Art*), századi magyar művészetben (exhibition catalogue), (ed. Gy. Imre), Budapest, 2004.","artist_birthdate":"1725","artist_birthplace":"Vienna","artist_deathdate":"after 1784","artist_deathplace":"Vienna (?)","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Zsuzsanna Boda","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","Bratislava","Enlightenment","figural decoration","Francois Troy","Johann Michael Millitz","Martin van Meytens","Paradise","Portrait","Pozsony","Vienna"],"materials":["Oil on canvas"]},"d1d8cb50-1251-5dab-a6ce-97b1c120592b":{"name":"Petar Zrinski  (Vrbovec, Croatia, 6.6.1621–Wiener Neustadt, 30.4.1671)","description":"A descendant of a noble and distinguished Croatian family, Count Petar Zrinski excelled in battles against the Turks. After the death of his elder brother Nikola (d. 1664) – Croatian *ban* (viceroy) and a most prominent Hungarian poet of his time – Petar became *ban* from 1665 to 1671. He translated – from Hungarian to Croatian – Nikola's poem *Adrianskoga mora Syrena* (The Siren of the Adriatic Sea). He was married to Ana Katarina Frankopan (d. 1673) with whom he had a son, Ivan Antun, and three daughters: Judita Petronila and Veronika who became nuns, and Jelena (1643–1693), who married first Franjo Rákóczy and later Emerik Tököly.  \nPetar Zrinski along with other distinguished noblemen – his brother-in-law Franjo Krsto Frankopan, Franjo Nadasdy and Erasmus Tattenbach – were accused and tried for conspiracy against the Absolutist rule of Emperor Leopold I Habsburg. Found guilty, execution of the conspirators took place at Wiener Neustadt on 30 April 1671. On the eve of his death, Petar wrote a famous goodbye letter in Croatian to his wife Katarina, beginning with the words “My dear heart …” After his death the huge Zrinski estates in Croatia were confiscated and plundered.  \nThe portrait shows Petar Zrinski dressed as a wealthy nobleman, with the Zrinski coat of arms in the upper left-hand corner. Painted for the monastery in Svetice near Karlovac, Croatia, this portrait together with the portrait of Emperor Leopold I, are by an unknown Pauline artist. Pairing up the two portraits – *Petar Zrinski* and *Emperor Leopold I* – suggests that both were produced before the conspiracy and trial, some time before 1670.","short_description":"A portrait of the Croat nobleman, Count Petar Zrinski, who excelled in battles against the Turks and was executed for treason by Emperor Leopold I.","type":"Painting (portrait)","holder":"Croatian History Museum","initial_owner":"Gallery of Donors, Pauline monastery in Svetice","dates":"Before 1670 (?)","location":"Zagreb, North-West Croatia","dimensions":"H: 107 cm; w: 59 cm","place_of_production":"Croatia (?)","method_for_datation":"A painted inscription at the bottom of the work states “*Monastery Szveticzensis fundationem 1627. factam, Comes / Petrus Zrinius ratificat 1640. 19 Iuny. Eidémq(ue) forum Ecclesiae / Vicinum imperpetuat 1646*”, indicating that the painting was for the Pauline monastery in Svetice, Croatia. Further confirmation of the date and origin of the work relies on documentation in the Museum inventory.","provenance":"Private owner, Zagreb","obtention":"Bought for the Museum from a private owner in 1964.","bibliography":"Schneider, M., *Portreti 16–18. stoljeća*(Portraits from the 16th to the 18th Century), Zagreb, 1982, pp. 195–196.  \n*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, p. 245.  \nŠimat, M., *Portreti Nikole i Petra Zrinskih, ikonografska emisija značaja i pretenzija* (Portraits of Nikola and Petar Zrinski: Iconographic Emission of Importance and Pretensions), Zagreb, 2000, pp. 55–81.","author":"Marina Bregovac Pisk","translator":"Tomislav Pisk","translation_copy_editor":"Mandi Gomez","keywords":["ban (viceroy)","Croatia","Leopold I Habsburg","Ottoman","Pauline monastery","Portrait","Zrinski family"],"materials":["Oil on canvas"]},"d367a154-49f9-5be0-a44e-c1259f9e26e2":{"name":"*Anna Maria Victoria Jabornigg-Gamseneck*","description":"A portrait of a finely dressed and learned noblewoman in an ermine pelisse, she sits on a chair by a table on which are geometrical implements, several books and some sheets of paper.  \nThe painting is thought to be a portrait of Maria Victoria Jabornigg Gamsenegg, the first wife of Josip Ignac Sigismund Hilleprand-Prandau, son of Petar II Anton.  \nAttributed to Ephraim Hochhauser who studied at the Vienna Academy and made his name painting portraits of the aristocracy, perhaps the identity of the sitter in this case is less important than the context. The woman holding compasses in her hand sits in front of sheets of drawing paper, a ruler and protractor. At the time, geometry was an acceptable form of entertainment for amateurs and seen as part of a good education. With a little freedom of thought, we might link these items with the laying out of the Baroque *parterre* garden in front of Valpovo Manor.  \nThe History Gallery of the Hungarian National Museum in Budapest has an identical portrait, which according to researchers represents Maria Christina the beloved daughter of Empress Maria Theresia, and attributed to the court painter Martin van Meytens who was a great favourite of the Empress. Since Petar II Hilleprand-Prandau was in the diplomatic service of the Austrian Court, it is possible that a portrait of the Empress's daughter found its way to Valpovo Manor.","short_description":"A portrait of a finely dressed and learned noblewoman, which according to the Prandau family archive, is a portrait of Anna Maria Victoria – the first wife of Josip Ignac – son of Petar II Anton.  \nThere is an identical portrait in the History Gallery of the Hungarian National Museum by Martin van Meytens, which according to researchers shows Maria Christina, daughter of Empress Maria Theresia.  \nPerhaps the identity of the sitter in this case is less important than the context, for the woman holding compasses in her hand sits amidst sheets of drawing paper, a ruler and protractor. At the time, geometry was an acceptable form of entertainment for amateurs and seen as part of a good education. With a little freedom of thought, we might link these items with the laying out of the Baroque *parterre* garden in front of Valpovo Manor.","type":"Painting (portrait)","holder":"Gallery of Fine Arts, Osijek","initial_owner":"Valpovo, family of Baron Hilleprand-Prandau later of Count Normann-Ehrenfels","dates":"Third quarter of the 18th century; about 1770","location":"Osijek, Slavonia","dimensions":"H: 145 cm; w: 122 cm","place_of_production":"Vienna","method_for_datation":"From family archives.","provenance":"Austria","obtention":"Confiscated after the Second World War.","bibliography":"Balen, B., *Portreti 18. st. u GLUO* (18th-century portraits at GLUO), Monograph, 1987.  \n*Tri stoljeća umjetnosti u GLUO* (Three Centuries of Art at GLUO), Monograph, 1987.","artist_birthdate":"Unknown","artist_birthplace":"Banska Bistrica","artist_deathdate":"December, 1771","artist_deathplace":"Vienna","author":"Branka Balen, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["education","Enlightenment","Hilleprand-Prandau family","Portrait","science","scientific instrument","scientific object","women"],"materials":["Oil on canvas"]},"d40510a8-3d84-5ac4-9290-1028f6789eac":{"name":"Portrait of Sultan Abdülaziz (1830–1876)","short_description":"Portrait of the Sultan Abdülaziz. In 1867 the sultan made a trip to Europe. He was invited by Napoleon III to visit the World's Fair Exhibition in Paris. He also visited London and met Emperor Franz Joseph in Vienna.","type":"Drawing","holder":"Austrian National Library","dates":"1867","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Abdülaziz","Paris","World Fair Exhibition","Emperor Franz Joseph"]},"d435d9f4-9833-55f4-b40f-d413ab1c10be":{"name":"*Portrait of Domenico Scarlatti*","description":"Court Maestro to the exiled Polish queen Maria Kazimiera, and responsible for the Vatican's *Capella Giulia*, Domenico Scarlatti (1685–1757) was hired in 1714 as *Kappelmeister* by the Marquis of Fontes, Ambassador to King D. João V, at the Court of Pope Clement XI.  \nScarlatti's arrival in Portugal was a result of the high praise he had received from the King of Portugal's brother, Prince D. António who had attended one of his concerts in Rome. Scarlatti arrived in Portugal in around 1720 to become Princess Maria Barbara and Prince D. Jose's music teacher. Meanwhile the Pope had consented to the upgrade of the Royal Chapel to a Patriarchal Chapel and Scarlatti was invited to become *Kappelmeister* of the orchestra and choir of the Patriarchal Seminar Chapel.  \nThe Neapolitan Scarlatti's contribution to the Portuguese music scene was immense, he introduced Italian Opera, and the new musical and artistic patterns in vogue all over Europe at the time.  \nIn 1729 Scarlatti moved to Madrid to become once again Princess Maria Bárbara's music master, who by this time had married the Prince of Asturias, son of King Philip V and future King Philip VI of Spain. He remained in Spain until his death in 1757.  \nUnder the patronage of King D. João V, Domenico Scarlatti lived with his family in Spain where he enjoyed all the preconditions necessary to enhance his musical career and ensure his notoriety grew among his European musical peers*.*  \nThe art of portraiture peaked in the 18th century, fuelled by commissions from the European monarchs. Artists such as Louis Michel Van Loo, court painter to King Philip V of Spain (grandson of Louis XIV) between 1738 and 1752, or Jean Ranc (1674–1735) gained notoriety. The latter also painted the Portuguese Royal family following H. Rigaud.  \nSo it was that the Spanish artist Domingos António Velasco painted this portrait of Scarlatti in the Van Loo style in around 1739. Velasco depicts the maestro standing in front of an opulently painted curtain, his body twisted to the right and his hand resting on a wooden box. The light falls on the musician's face and hands, and he is dressed in a golden yellow and grey-blue ceremonial court vestment, adorned with the prestigious St James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","short_description":"*Kappelmeister* of the Patriarchal orchestra and choir, and music master to Princess Maria Barbara the daughter of the King D. João V and the Queen of Spain, this portrait of Domenico Scarlatti is by the Spanish painter Domingos António Velasco. The artist depicts Scarlatti dressed in a ceremonial court vestment, adorned with the prestigious Order of St. James, a cognizance bestowed upon him one year previously by King D. João V, Grand-Master of the Order*.*","type":"Portrait","holder":"Patudos House, Alpiarça Museum","owner":"Casa dos Patudos, Museu de Alpiarça","initial_owner":"José Relvas Collection","dates":"c. 1738–1739","location":"Alpiarça, Santarém","dimensions":"H: 131.1 cm; w: 109.5 cm","place_of_production":"Spain","method_for_datation":"Iconographic and stylistic analysis","provenance":"Bequeathed to Mariano Hernandez by José Relvas in Madrid, 1913; then left to the Municipality of Alpiarça.","obtention":"Bequeathed to Mariano Hernandez by José Relvas in Madrid in 1913. In his will, José Relvas donated the palace and collection to the Municipality of Alpiarça in order to create a museum.","bibliography":"Teixeira, José de Monterroso, *O Triunfo do Barroco*, Centro Cultural de Belém, Lisbon, 1993 p.p.56/63,223/224","workshop":"Workshop of Domingo António de Velasco","author":"Cristina Correia","translator":"Manuel Silva Pereira","translation_copy_editor":"Mandi Gomez","keywords":["Casa dos Patudos","ceremonial court vestment.","late Baroque/Rococo painting","music","musician","Order of St. James","Patriarchal Choir","portraiture"],"materials":["Oil on canvas"]},"d4c7f9c0-dc66-5391-8685-09943014060f":{"name":"Gjorche Petrov","short_description":"Gjorche Petrov (1865–1921) was a prominent member of the Internal Macedonian Revolutionary Organization (VMRO). He was born in Prilep on 2 March 1865. He obtained his elementary education in his native town and attended gymnasium in present day Bulgaria. He worked as a teacher in several Macedonian towns. He worked out, together with Gotze Delchev, the Statute of VMRO. The aim of the organization clearly expressed in Article 1 of the Statute was attaining full political autonomy of Macedonia and the Adrianopole Region. The structure of the organization was also defined as consisting of village, regional and district committees and lead by the Central Committee. Becoming one of the leaders of the Internal Macedonian Revolutionary Organization he shared Gotze Delchev’s conviction that the uprising was not supposed to begin before all regions in Macedonia were fully prepared for it in terms of training of the troops and providing arms.","type":"Photograph","holder":"Museum of Macedonia","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["Revolutionary organisation"]},"d6484564-de31-5ad5-b6c7-ba70506e3e5f":{"name":"*The Gourmet*","description":"Jacob van Schuppen studied painting with his father – Pierre Louis van Schuppen a painter and engraver in Antwerp – and his uncle, Nicolas Largillière, one of the period's most respected portrait painters. This beginning determined both his career and his preferred genre. Van Schuppen worked both in Paris and at the Lorraine princely court in Luneville as a portrait painter. In 1705, he became a member of the Paris Academy, arriving in Vienna in 1716 as a successful and notable portraitist in the service of Prince Eugene of Savoy. Having been settled in the imperial city for only a short time, he became court painter in 1723. In 1725, he approached the emperor with a plan for a French-style art academy, which he directed from 1726. Vienna's Imperial and Royal Court Academy of Painters, Sculptors and Architecture (Academy of Fine Arts Vienna) was unprecedented in Central Europe and remained the most important institution of its kind in the German-speaking territories. As a painter, van Schuppen was primarily an excellent portraitist. His large-size portraits, representing the aristocracy and contemporary writers and artists, effectively reflect the personality and character of the sitters.  \n*The Gourmet*, although for a long time registered as a work of a German master, is an excellent example of van Schuppen's art, holding the characteristic features of his work. Like his other paintings, the motifs of both genre painting and still life are present.  \nThe objective approach of Dutch and Flemish art, fine colouring and French elegance come together in this painting; the basic motif – a man uplifting his glass to demonstrate his aspirations in seeking happiness in drinking and smoking: the minor pleasures of life – is a favourite and frequent characteristic of 17th-century painters. Although known primarily as a portraitist, van Schuppen nevertheless approached genre painting in a similar way, as can be seen in this painting and others in Hungarian collections.","short_description":"Jacob van Schuppen, from the Netherlands, was a pupil of his uncle Nicolas Largilliere. From 1716 he lived in Vienna, and from 1726 directed the Academy of Fine Arts in Vienna, breathing new life into the institution, which was renamed the Imperial and Royal Court Academy of Painters, Sculptors and Architecture. *The Gourmet*, showing a man enjoying the finer things of life, is both a portrait and a genre painting.","type":"Painting (Genre painting/portraiture)","holder":"Dobó István Castle Museum","dates":"1720s","location":"Eger, Észak-Magyarország / North Hungary","dimensions":"H: 118 cm; w: 90 cm","method_for_datation":"by stylistic analysis","provenance":"The Esterházy Collection, Pottendorf","obtention":"Initially from the Esterházy Collection in Pottendorf, in 1867 Endre Pánthy acquired the painting. From 1906, it was in the Lyceum school’s substantial collection in Eger as part of the Endre Pánthy legacy. It was then transferred to the Dobó István Castle Museum in Eger.","bibliography":"Schreiden, P., “Jacques van Schuppen 1670–1751”, *Wiener Jahrbuch für Kunstgeschichte*, XXXV, 1982, pp. 1–106.  \nNémeth, I., “Cat. Nr. C 172”, *The Metamorphosis of Themes: Secular Subjects in the Art of the Baroque in Central Europe,* exhibition catalogue, (ed. M. Mojzer), Budapest, 1993.  \nLengyel, L., (ed) “Cat. 252”, *Az Egri Képtár. Dobó István Vármúzeum*, Eger, 2008.","artist_birthdate":"1670","artist_birthplace":"Fontainebleau","artist_deathdate":"1751","artist_deathplace":"Vienna","author":"Zsuzsanna Boda (after István Németh)","copy_editor":"Terézia Bardi","translator":"Etelka Rozgonyi","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","genre painting","Jacob van Schuppen","senses","Still life","Vienna’s Imperial and Royal Court Academy of Painters"],"materials":["Oil on canvas"]},"d6720426-2881-5b4a-8e11-89649a430aa6":{"name":"*Loie Fuller: the serpentine dance*","short_description":"Mary Louise Fuller was an American dancer who lived in Europe for many years. As an artist, she was inspired by her travels and by new inventions - the dance of the veils (the \"serpentine\" dance) mixes Arab influences with light tricks using electricity. Loie Fuller was an important influence in the Art Nouveau and Symbolist movements, and helped train other great artists such as Isadora Duncan. The \"serpentine dance\" was imitated by many artists, and inspired the first cinematographers, such as the Lumière brothers, who dedicated a short film to it.","type":"Photograph","holder":"National Library of France","dates":"19th century","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism","electricity"]},"d6bf4415-f421-5f22-a960-431f5321ca7c":{"name":"Shah Jahan and Dara Shikoh","short_description":"Dara Shikoh was the favourite son and designated heir of the Mughal emperor Shah Jahan (r. 1627–58). However, Dara never acceded to the throne, for in 1659 he was killed during the war of succession that ensued when his father fell ill in 1657. Both men are heavily bejewelled, wearing mainly pearls, emeralds and rubies. Shah Jahan, with a partially greyed beard and wearing a fur-collared jacket, offers a large ruby (or spinel) to Dara. The European-style angels hovering above symbolize imperial majesty, while the globe on which father and son stand more precisely denotes Shah Jahan’s perceived status as King of the World (which is the English translation of the title ‘Shah Jahan’).","type":"Album folio","holder":"The Chester Beatty Library","dates":"Hegira c. 1059–60 / AD 1650","location":"Dublin","dimensions":"33.3 x 20.9 cm","provenance":"India","dynasty":"Mughal","keywords":["Allegory","angel","arabesque","arms","border decoration","floral decoration","jewel","jewellery","miniature painting","Portrait","portraiture","royal","symbolism","textile"],"materials":["Coloured pigments and gold on paper"]},"d6e29c37-877d-59fc-ba89-0136adddb6e7":{"name":"Wedding portrait of King Aleksandar and Queen Draga of Serbia","description":"At the end of the 19th and during the first decade of the 20th century Pirot kilims served as unavoidable decor in public buildings and in important public manifestations. An official wedding photo of King Alexander Obrenović of Serbia and Queen Draga, shows a royal couple standing on the Pirot kilims, used as floor coverings in this solemn occasion as distinguished national products. The official photograph, taken on 4 August 1900 by the court photographer Milan Jovanović, was issued on a poster by the bookstore of Sreten J. Djordjević and printed by the State Printing House of the Kingdom of Serbia.","type":"Poster","holder":"Museum of Applied Art","dates":"1900","location":"Belgrade","dimensions":"H: 28.2cm, W: 22.6cm","method_for_datation":"Through historical research","provenance":"Belgrade","obtention":"Donated by Rajko Sikimić from Belgrade in 1996","bibliography":"Bujić, M. *et al.*, “Obrenovići u kolekcijama Muzeja primenjene umetnosti”, in A. Marušić and A. Bolović (eds), *Obrenovići u muzejskim I drugim zbirkama Srbije II*, Gornji Milanovac: Muzej rudničko-takovskog kraja, 2014: 181–206.","author":"Draginja Maskareli","keywords":["Kilim","Obrenović dynasty","Pirot","poster","Şarköy"],"materials":["Print"]},"d81a90e8-c3be-5aa0-8a9a-b3efa68184af":{"name":"Portrait Album – Ottoman State Officers","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in 19th century. Vassilaki Kargopoulo was of Greek descent. His first studio was opened in 1850 near the Russian Consulate. Between the years of 1859 and 1860, he began to attract the attention of customers from all sections of society. He focused on Ottoman clothing and street vendors in 1860.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1850","artist_deathdate":"1912","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","Photograph Ancient Istanbul","Vassilaki (Basile) Kargopoulo"],"materials":["Photograph"]},"d86bffa6-0320-50d5-b0a4-c47134d7d642":{"name":"Water pumping equipment in Kağıthane, Istanbul","short_description":"During the 19th century, new technologies radically transformed both travel and communications. Cendere Hamidian Water Pump Station was built by Abdülhamid II in 1902 at an altitude of 34 metres above sea level. With its function, architectural design and mechanical equipment, the station is a unique monument to the history of the architecture industry in the Ottoman Empire. It pumped to Balmumcu and Beşiktaş – in the direction of Tophane, moving water coming from 20 different pipes in Kağıthane using steam pump machines.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph","History of Water in Ottoman Empire","Water Pump Station"],"materials":["Photograph"]},"d9278f88-7c6f-5ba2-a99d-94b0d6496626":{"name":"Portrait Album – Ottoman State Officers","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Born in Costantinople in 1851, Nicolas Andriomenos was an Ottoman Greek who learned photography in the 1870s from Cosmi Abdullah. At that time, Cosmi operated a studio of his own in Beyazıt, but turned the business over to Andriomenos in late 1879, after which its new proprietor soon made it into one of the city's most prestigious portrait studios.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1851","artist_deathdate":"1929","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Fotoğraf","Eski Istanbul","Nikolas Andriomenos"],"materials":["Photograph"]},"d9708463-f720-5673-ac88-cf01adf12b47":{"name":"*Portrait of a Greek Wearing a Fustanela*","short_description":"It may depict a notable of Aighion, Andreas Londos (1786–1846) who entertained Lord Byron on his first visit to Greece. The picture is similar in style, setting and pose to that entitled ‘Un Grec de Janina’ in Dupré’s *Voyage à Athènes et Constantinople*, 1825. Louis Dupré (1798–1837) was one of the most talented painters who travelled to Greece. He arrived in 1819. The French artist who was an ardent philhellene published in 1825 a set of coloured lithographs of views and studies of costumes from Greece, entitled *Voyage a Athènes et Constantinople*.","type":"Painting","holder":"Benaki Museum","dates":"c. 1830","location":"Athens","dimensions":"51 x 36 cm","author":"Tsigakou 1984, 195","keywords":["travels","Greece","Dupre"],"materials":["Oil on canvas"]},"da83b646-c418-524e-8eff-75e69c1f77d9":{"name":"Danilo I, Prince of Montenegro (1871–1939) and Princess Jutta of Mecklenburg-Strelitz","short_description":"Danilo I, Prince of Montenegro (1871–1939) with his wife, Princess Jutta von Mecklenburg-Strelitz. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Photograph","holder":"Austrian National Library","dates":"1899","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Danilo I, Prince of Montenegro","Jugoslavia","Vienna","Austria"]},"dcf06086-9092-5d9d-bf04-d94e167662b6":{"name":"Turkish women","short_description":"The Zangaki brothers were a pair of photographers working in Egypt who sold \"Orientalist\" photos to Western toursits, allowing them to immortalise their trip to the \"Orient\". This photograph shows two Turkish women, probably mother and daughter, in formal dress.","type":"Photograph","holder":"National Library of France","dates":"1890-1895","location":"Paris","translator":"Flaminia Baldwin"},"deb4b3a7-5e57-5235-b533-346c36e88be2":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","short_description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mahmud II, Sultan of Turkey","Egypt","Janissary","Konya","Ibrahim Pasha","Muhammad Ali","Greece"]},"dfe6e123-1970-5707-8279-08002d40fd1f":{"name":"Ottoman Clothing Album","short_description":"With the political developments of the 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. As a result, close to 160 artists visited Istanbul in the 19th century. Pascal Sébah (1823-86) was a pioneer photographer who worked in Istanbul. Sébah opened a photography studio known as \"El Chark \" in Pera in 1857. The studio's most successful period started with the Vienna Universal Exhibition in 1873. Sébah formed a partnership with Joaillier Polycarpe in 1885. In 1899, the two partners bought Abdullah Frères's archives. For the Vienna Universal Exhibition in 1873, Pascal Sébah prepared *The Ottoman Clothing Album* to be exhibited at the Ottoman Stand.","type":"Photograph","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"Late 19th century – beginning of the 20th century","location":"Istanbul","provenance":"Istanbul","artist_birthdate":"1823","artist_deathdate":"1886","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph Ancient Istanbul","Pascal Sebah"],"materials":["Photograph"]},"e189b316-270d-52f6-bc71-843ad7287741":{"name":"Bookcover","short_description":"A pair of Qajar lacquered binding depicts Fath ʽAli Shah (r. 1797–1834) on the front cover, in his famous majestic pose clad in elaborate jewelled regalia and wearing his grander imperial crown, the Taj-e Kiyani, commissioned upon his accession in 1798. The back cover depicts a court scene, landscape, court and decoration. The king shown here is Mohammad Shah Qajar (r. 1834–1848), son of Fath ‘Ali Shah. Few minor differences in number of people, their cloth design and the objects, can also be noticed. The inner cover is decorated in a reversed composition. The main panel is adorned with a central scalloped medallion, two small pendants above and below and corner-pieces containing red and yellow rose bushes on green ground. The parts of the central field between the centre and corner-pieces are filled with gold painted flower and leaf motifs. The panel is framed with three borders; the middle border has a red ground with red and yellow rose bushes arranged between two borders with gold flower and leaf motifs on black ground. Although the patron of the cover has not been identified, the painting suggests that it could be the cover of a *muraqqa’* (album) or royal documents which was either commissioned by the Shah himself or by a prince or wealthy court official. In addition, although the binding is unsigned and undated, the quality of workmanship suggests that it was painted by one of the fine painters in the court ateliers. The spine has been removed and the gap has been closed.","type":"Bookbinding","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1300 / c. AD 1900","location":"Kuala Lumpur","dimensions":"43.8 x 28.5cm","provenance":"Iran","bibliography":"Aqa-Oqlu, *Persian bookbindings of the fifteenth century*, USA: Ann Arbor University of Michigan Press, 1935.  \nAkimushkin, Oleg, Gray, Basil, *The arts of the book in Central Asia, 14th – 16th centuries*, London: Shambhala UNESCO, 1979.  \nSarre, Friedrich Paul Theodor, *Islamic bookbindings*, London: Kegan Paul, 1923.  \nScheper, Karin, *The technique of Islamic bookbinding methods, materials and regional varieties*, Leiden: Brill, 2015.","dynasty":"Qajar","materials":["Lacquer"]},"e396b7b2-cb07-51d7-86f1-b131b11dbfe2":{"name":"Portrait of a lady of the court playing the tambourine","short_description":"This painting is one of the four half-length portraits painted by Pierre Désiré Guillemet in 1874-1875 depicting a young woman of the Ottoman Court. Her dress has been emphasized by means of a neutral background. She is wearing a *dört etek* (four-skirted) robe, made of *savai* fabric. Part of her undershirt with embroidered borders is visible from her large sleeves and around the edges of the robe. Her robe has a floral pattern with lively colours and her belt has a clasp with a two large stones in a silver setting. Her chestnut-coloured hair flows down to her shoulder. She wears two strands of pearls around her neck and a gold earing with pearls and gems. On her head she wears a cap of blue fabric decorated with small white flowers, plumes and toile.","type":"Painting","holder":"Pera Museum","dates":"1870–1875","location":"Istanbul","dimensions":"W: 790 + H: 980 cm.","artist_birthdate":"1827","artist_deathdate":"1878","copy_editor":"Daniel de la Vega","keywords":["Pierre Desire Guillemet","Orientalism","painting","İstanbul"],"materials":["Oil on canvas"]},"e50ae40d-d2e5-50ff-9f8d-f861d8f298d4":{"name":"*Woman from Constantine*","short_description":"This painting belonged first to the collection at St. Martin's Church, Cologne, then to the Duchess of Reggio. It can be found in the catalogue written by the art historian Léonce Bénédite on Chassériau (see vol. 2, p. 495; cf. André Dezarrois, *Théodore Chassériau, sa Vie et son Œuvre*). The artist used women from the Jewish community in Constantine as models for woman's face and dress, following Dehodencq's example from his time in Morocco. This explains her resemblance to Rachel's portrait, which is also kept in the museum.","type":"Painting","holder":"Musée National des Beaux-Arts","dates":"1846","location":"Algiers","dimensions":"52 x 40cm","artist_birthdate":"1819","artist_birthplace":"Saint-Domingue","artist_deathdate":"1856","artist_deathplace":"Paris","author":"Dalila Orfali","translator":"Flaminia Baldwin","materials":["Oil on wood"]},"e532dd30-df15-5462-88cf-6f2eaa8cf7bd":{"name":"Portrait of David Roberts, Esq., R. A.","short_description":"This engraving shows a portrait of David Roberts (1796 – 1864), first completed in the 1840s by Charles Baugniet. Roberts is shown seated on an ancient plinth or capital, holding a drawing board and a pencil. A classical temple structure appears in the background on the left. David Roberts was a Scottish painter especially known for a prolific series of detailed lithograph prints of Egypt and the Near East produced during the 1840s from sketches he made during extensive tours of the region (1838–1839). These, and his large oil paintings of similar subjects, made him a prominent and highly influential Orientalist painter. Charles-Louis Baugniet (1814 - 1886), was a Belgian artist famous for the lithographing of portraits of prominent European figures.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1844","location":"Sharjah","dimensions":"405 x 310","provenance":"London","artist_birthdate":"27/2/1814","artist_birthplace":"Brussels","artist_deathdate":"5/7/1886","artist_deathplace":"Sèvres","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"e5c4e1fa-cda0-5a71-9b74-c7a6f465f4ad":{"name":"Portrait of Hammouda Pacha Bey","short_description":"This oil on canvas is a portrait of Hammouda Pacha Bey before the dress code reform, in traditional dress with a cashmere shawl and dagger in his right hand. Hammouda Pacha Bey, nicknamed the builder of modern Tunisia, was a qualified and military man and was known as a firm but fair ruler.","type":"Portrait; painting","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Oil on canvas","Hammouda Pacha Bey"],"materials":["Wood, paint, gold leaf"]},"e608c729-04c2-56e1-b2e3-0064a245a0ed":{"name":"*Portrait of Historian, Márton György Kovachich*","description":"Messerschmidt was born in south-west Germany. After studying in Munich and Graz, he matriculated at the Academy of Fine Arts in Vienna in 1755. Having graduated, he was employed at the Imperial Arms collection. During the period 1760–69 his work followed the artistic style of the Late Baroque court, at that time under the determining influence of Balthasar Ferdinand Moll. From 1769, Messerschmidt's first Neo-Classical works appear and to which he applied the experiences of his study trip to Rome in 1765. In 1770–72, Messerschmidt began to work on his so-called *Character Heads*, obviously connected with certain paranoid ideas and hallucinations from which, at the beginning of the 1770s, the master began to suffer. After an unsuccessful application to the office of a leading professor at the Academy, in 1777, he settled down in Pozsony (Bratislava) where he dedicated himself primarily to his *Character Heads* and in addition made other portraits as well.  \nThe bust of Márton György Kovachich (1743–1821), a historian, a custodian of the Buda university library, and one of the most eminent scholars of the Enlightenment in Hungary, was the last of these commissions in Messerschmidt's oeuvre. Kovachich commissioned the portrait directly from the artist in Pozsony (Bratislava), a fact corroborated by a letter from Kovachich dated 1 May 1783, at which time the portrait was already standing in his room in Buda. Like the *Character Heads* the bust is made in the early Neo-Classical style preferred by Messerschmidt since 1769–70. His works of this period have an accentuated plainness, but nevertheless have a vigorous modelling and structure. The portraits have a timeless, monumental character enhanced by their firm portraiture, one marked by the face-on portrayal of his subject. These stylistic characteristics of the Neo-Classical aesthetic are, however, coupled with an exact portrayal of the sitter's features, so that Messerschmidt's portraits remain very close to a realistic appraisal of human individuality.","short_description":"Messerschmidt moved to Vienna and later to Pozsony (Bratislava) from Bavaria. He made his famous *Character Heads* in Pozsony (Bratislava) when he was mentally ill. All of them portray the features of the artist. The bust of the historian, Kovachich, was made by the artist at a time when he his mental health was good.","type":"Sculpture","holder":"Museum of Fine Arts","initial_owner":"Márton György Kovachich, University of Buda, Studio of Kovachich, Buda","dates":"1782","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 44 cm","place_of_production":"Buda","method_for_datation":"By historical documents","provenance":"University of Buda, Studio of Kovachich, Buda","obtention":"Purchased from a private collection in 1896","bibliography":"Pötzl-Maliková, M., *Franz Xaver Messerschmidt*, München, 1982, pp. 239–240.  \nPötzl-Maliková, M., “Cat. Nr. 187” in *Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.  \nKrapf, M., “Cat. Nr. 66” in *Franz Xaver Messerschmidt 1736–1783,* exhibition catalogue, (ed. M. Krapf), Wien, 2002.","artist_birthdate":"1736","artist_birthplace":"Wiesensteig","artist_deathdate":"1783","artist_deathplace":"Pozsony (Bratislava)","author":"Zsuzsanna Boda (after Maria Pötzl-Maliková)","copy_editor":"Terézia Bardi","translator":"Tamás Sajó","translation_copy_editor":"Mandi Gomez","keywords":["Bratislava","Buda","education","Enlightenment","library","metalwork","Neo-Classicism","Pozsony","Pressburg","teaching","university"],"materials":["Tin cast"]},"e7547eb9-bf91-59b1-a040-daa53056b7e6":{"name":"*Maria Eleonora Regina Johanna Juliana Pejačević* born *Erdödy de Monyorokerek*","description":"Countess Eleonora, depicted in a garden offering incense into an urn that stands in front of a statue of Cupid, has just married Count Karlo III Pejačević who is 25 years her senior; she is his second wife. Her dress is of fine, expensive material decorated with pearls. Her grey, powdered hair is also dressed with pearls.  \nMarija Eleonora was born into the Erdödy family, members of which played a very important role in the history of Croatia.  \nThe Pejačević family, originally from Bulgaria, was one of the aristocratic families to whom the Habsburg Crown granted land in Slavonia after its liberation from the Ottomans.  \nThe painter of this portrait, J. G. Weickert, belonged to the generation of Austrian Rococo painters, the work of which already demonstrated components of the Neo-Classical style, which is especially visible in this portrait. For example, the pastel colours and charming grace of the countess' slender and vivacious figure, still in the Rococo style, have been infiltrated by undefined changes of tone, a degree of measure and a breath of melancholy underlined by the ambient Neo-Classical architecture.  \nThis is more than the portrait of a person: the content of the painting shows the countess herself in a symbolic act of throwing incense into an urn in front of a statuette of Cupid, an act supplicating happiness in marriage. Considering that the countess was 19 years old and that she had just married a man 25 years her senior, there were definite reasons to eternalise this act.  \nIn style, the portrait heralds the new age of the Enlightenment.","short_description":"A portrait of Countess Maria Eleonora Pejačević, who by birth and marriage, belonged to two important noble families in Croatia. The painting is by the Austrian painter, J. G. Weickert, who was working during the Rococo period but whose paintings already show influences of the Neo-classical style. In this painting, the Neo-classical style is especially apparent, while it also announces the new spirit of the Enlightenment.","type":"Painting (portrait)","holder":"Gallery of Fine Arts, Osijek","initial_owner":"Family of the Pejačević Counts, Našice","dates":"1789","location":"Osijek, Slavonia","dimensions":"H: 222 cm; w: 149 cm","place_of_production":"Vienna","method_for_datation":"Signed “Weickert pinxit 1789”.","provenance":"From the Pejačević Counts, Našice","obtention":"Donation of the Pejačević family from Našice, 1945","bibliography":"Balen, B., *Portreti 18. st. u GLUO* (18th-century portraits at GLUO), Monograph, 1987.  \nŠvajcer, O., *Domaći i strani slikari XVIII. i XIX. stoljeća u GLUO* (Home-born and foreign painters of the 18th and 19th Centuries, GLUO), 1987/88.","artist_birthdate":"1743/45","artist_birthplace":"Vienna (?)","artist_deathdate":"February 2, 1799","artist_deathplace":"Vienna","author":"Branka Balen, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Enlightenment","fashion","jewellery","mythology","Neo-Classicism","Portrait, Pejačević family","women"],"materials":["Oil on canvas"]},"e7be577c-7197-59de-94eb-bd3d5d7cdba0":{"name":"Portrait of emperor Shah Jahan, his three sons, and Asaf Khan","short_description":"In this royal family portrait, Emperor Shah Jahan (r. 1628–58), sitting in haloed profile upon a gold-footed throne under a high white canopy, accepts a jewelled gift from his father-in-law, Asaf Khan. At his right are his three eldest sons—Dara Shikoh (1615–59), Shah Shija (1616–59), and the ill-fated Awrangzeb (r. 1618–1707), whose death effectively marked the end of the great Mughal Empire. All figures are resplendent in turbans decorated with jewels, pearl necklaces, different types of daggers (*khilanum*, *katar*, and *kard*), lavishly embroidered sashes, and gilded swords. An illuminated carpet lies underfoot.","type":"Folio","holder":"Aga Khan Museum","dates":"ca. 1628-40","location":"Toronto, Ontario","dimensions":"35.5 x 24.3cm","provenance":"India","obtention":"Former Prince Saddrudin Aga Khan Collection","bibliography":"Canby, Sheila R., *Princes, Poets and Paladins: Islamic and Indian Paintings from the Collection of Prince and Princess Sadruddin Aga Khan*, London: Trustees of the British Museum, 1998. ISBN: 9780714114835.  \nWelch, Anthony and Welch, Stuart Cary, *Arts of the Islamic Book: The Collection of Prince Sadruddin Aga Khan*, London / Ithaca, NY: Cornell University Press, 1982. ISBN: 9780801498824.","dynasty":"Mughal","keywords":["family-tree","figures","folio","human-figures","illuminated","lanscape","Portrait","work-on-paper","works-on-paper"],"materials":["Opaque watercolour, ink, and gold on paper"]},"e80567bb-4a41-5dd5-a8c2-8530ecf7b427":{"name":"Abdelaziz Thâalbi (Abdelaziz al-Thalibi)","short_description":"Born in Tunis in 1876, Abdelaziz Thâalbi (Abdelaziz al-Thalibi) was a Tunisian politician. In 1920, he became the founder of the political party Destour, and participated in all the first fights of the nationalist movement. This activism caused him to be sent into exile in 1912, not for the first time, with six other nationalist politicians. In 1920 he wrote and published the manifesto La Tunisie Martyre with Ahmed Sakka, for which he was arrested on 31 July and taken to Tunis. However, feeling threatened there, he fled and left Tunisia once again in 1923. Destourian militants in Tunisia kept calling for his return, which finally happened in July 1937, 14 years after being forced into exile. However, upon his return he entered into conflict with Neo-Destour politicians, led by Bourguiba. He died on 1 October 1944, and his funeral was an opportunity for the Neo-Destour movement, as well as all the fringes of the nationalist movement to gather, and pay tribute to one of the founding fathers of Tunisian nationalism","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["The Young Tunisians movement","\"La Tunisie Martyre\""],"materials":["Paper"]},"e87a28c8-480d-590e-ba3c-b84ef6e8d476":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","short_description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861), riding a horse. When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali Pasha, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Abdul-Mejid, Sultan of Turkey","Egypt","Syria, Palestine","Hungarian refugees"]},"ea69f41d-1b91-5ee4-8097-8aba9db33c0f":{"name":"*Le consul Joseph Raffo* (painting)","short_description":"Giuseppe Maria Joseph Raffo, the subject of this painting, was born in Tunis in 1795 and is depicted here in full uniform with the air of an important Turkish dignitary. He entered service as a secretary to Bey Hassine, and later served as Tunisia's Minister for Foreign Affairs under his rule as well as that of his successors, despite being a Sardinian subject all the while. He made a fortune by taking over a tuna farm in the Cap Bon region in the form of private concession. This painting is evidence of an active diplomatic relationship between the Palais du Bardo and the European chancelleries.","type":"Portrait; painting","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"1840","location":"Le Bardo, Tunis","provenance":"Palais de Carthage","author":"Bechir Yazidi","translator":"Flaminia Baldwin","materials":["Canvas, wood, coloured pigments, gold leaf"]},"eca99cf6-1929-5d7d-bf2a-e8ec044b0d68":{"name":"A Jewish family","short_description":"The Jewish community, which had gone through various waves of migration since the beginning of the Islamic period, had, by the 19th century, become an important part of Tunisian society.","type":"Photograph","holder":"National Library of France","dates":"1897","location":"Paris","artist_birthdate":"1856?","artist_deathdate":"1913?","translator":"Flaminia Baldwin","keywords":["Immigration","Tunisia"]},"ed505641-7fab-598f-a27b-c58fb38cc49e":{"name":"Portrait of the Ottoman Sultan Ahmed I.","description":"This miniature painting executed in gouache on paper is a portrait of the Ottoman Sultan Ahmed I (AH 1012–26 / AD 1603–17) and once formed part of an album that contained both Ottoman Turkish and Persian miniatures, apparently assembled in the AH 12th / AD 18th century. The youthful ruler, best known as the founder of the Blue Mosque in Istanbul, is seated on a large, richly decorated throne beneath a cusped arch. He is leaning against a decorated bolster wearing a white turban enhanced by two tall plumes issuing from bejewelled sockets. His green and gold-brocade caftan has large, gold globular buttons down the front. The garment is secured by a jewel-studded gold belt, which incorporates three cusped, circular units at the front. A bejeweled dagger handle can be seen protruding from Sultan Ahmed’s belt on the right. He wears a red-orange overcoat with small gold buttons down the front; the coat is lined with ermine. A gold-coloured slipper protrudes from underneath his garments. In his left hand, the fifth finger of which is enhanced by a gold ring with circular stone, Sultan Ahmed holds the *mandil*, a ceremonial handkerchief with gold detailing. In his right hand he holds a volume of poetry bound in the so-called *sefine* format (with the vertically oriented pages bound at the top, narrow end). The gilt binding shows a delicately drawn, central medallion enclosed within an elongated, arched cartouche.  \nAbove the portrait of the sultan runs a cursive inscription contained within two elongated cusped cartouches, written in white against a blue background and enhanced by white floral detailing, it reads: ‘Hasrat Sultan Ahmad \\[Ahmed\\] ibn Sultan Muhammad \\[Mehmed\\] Khan’. A tiny inscription on the lower left-hand side of the work names the painter ‘al-fakir Süleyman’. The portrait is surrounded by a green inner frame and an orange outer frame with additional ruled frames in blue, red, gold and green in between and around the outside of the outer border.","short_description":"This miniature painting shows the Ottoman Sultan Ahmed I, best known as the founder of the Blue Mosque in Istanbul. It has been suggested that this portrait was executed in the court workshops of the Topkapı Saray in Istanbul during the early AH 11th / AD 17th century.","type":"Painting, gouache, gold on paper","holder":"National Museums of Scotland (NMS).","dates":"Hegira first half of the 11th century / AD first half of the 17th century","location":"Edinburgh, Scotland","dimensions":"29 x 19.9 cm (with frame), 19 x 12.7 cm (without frame).","method_for_datation":"It is assumed that this portrait was painted during or just after the lifetime of Sultan Ahmed I (r. 1012–26 / 1603–17).","method_for_provenance":"It has been suggested that this portrait was executed in the Court workshops of the Topkapı Saray in Istanbul during the early 11th / early 17th century.","provenance":"Istanbul, Turkey.","obtention":"Purchased from M. Richard, Tehran, in 1888.","bibliography":"Scarce, J., *Domestic Culture in the Middle East: An Exploration of the Household Interior*, Edinburgh, 1996, p.87.  \nSourdel-Thomine, J., and Spuler, B., “Die Kunst des Islam”, *Propyläen Kunstgeschichte*; 4, Berlin 1973, Plate 416.  \n*Türkische Kunst und Kultur aus osmanischer Zeit*, exhibition catalogue, Recklinghausen, 1985, p.67, cat. no. 1/29.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Ahmed I","Al-fakir Suleyman"],"materials":["Gouache and gold on paper."]},"ee0cbe27-f7a7-56db-b5c5-18038a38b0c8":{"name":"Omar Pasha (1806–1871)","short_description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Omar Pasha","Croatia","Bosnia","Ottoman empire","Herzegovina"]},"eefedc43-2cbd-5fa9-9062-25f5724872cf":{"name":"*Self Portrait*","description":"The portrait painter, Ádám Mányoki, was one of the most prominent figures of Baroque art in Hungary. His career began in Hanover and Hamburg and then, in the first decade of the 18th century, he worked for Frederick William at the Berlin court. From 1707 to 1712, he was court portraitist to Prince Ferenc Rákóczi II in Hungary, where he worked for a number of years before carrying out other assignments for the prince in the Netherlands and Berlin.  \nHe painted the *Self Portrait* rendered with a captivating candour and self-assurance in Berlin. He used a trick of the self-portraitist that had been popular since Rembrandt: the soft velvet hat with its upturned rim casting a warm, brown shadow over the upper half of his face. The painting reveals a synthesis of the influence of Antoine Pesne, a French portraitist of the Prussian court, and of Mányoki's studies in northern Germany. The choice of colours and some formal details are clearly traceable to Pesne's work, while some characteristic features of the composition are rooted in 17th-century Dutch and German painting, including Johann Heinrich Roos' self-portrait. Mányoki may have known Roos' self-portrait from an engraving by Philip Kilian and taken inspiration from it in the figure's posture and the shirt loosely opening in front.  \nFrom 1713, Mányoki was employed by August II the Strong, King of Poland and Elector of Saxony; from 1717 he was portrait painter to the court. Thereafter he received an increasing number of commissions in Leipzig to portray the professors of the university, the well-to-do burghers and merchants and their families. In the mid-1720s, Mányoki, intent on repatriation, returned to Hungary for a short time. However, a lack of patronage and inability to make a living meant he left for Dresden again, this time for good. He adjusted his later work in the main to the expectations of 18th-century German middle-class art collectors.","short_description":"The son of a Protestant clergyman in Szokolya, Mányoki studied art in Germany. Called back to Hungary by Prince Ferenc Rákóczi II in 1707, he remained there until 1712. Following the collapse of the struggle against the Habsburgs for independence led by the prince, he worked for the Polish-Saxon court in Dresden from 1713.  \nPainted in Berlin, the *Self Portrait –* rendered with captivating candour and self-assurance –represents an excellent “French-style” example of the artist's portrait painting.","type":"Painting (self portrait)","holder":"Hungarian National Gallery","initial_owner":"Ádám Mányoki","dates":"About 1711","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 87 cm; w: 61.5 cm","place_of_production":"Hungary","method_for_datation":"by historical documents and stylistic analysis","provenance":"Owned by Ádám Mányoki","obtention":"Originally owned by Ádám Mányoki, the painting is documented in the Galerie Schleißheim from 1775. It was bought by the Association of Friends of the Art Museums, and from 1931 was on permanent deposit in museums with which the Friends were associated. From 1974 it has been in the Hungarian National Gallery.","bibliography":"Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.  \nBuzási, E., “Cat. Nr. 17”, *In Europe's Princely Courts. Ádám Mányoki: Actors and Venues of a Portraitist's Career,* exhibition catalogue, (ed. E. Buzási), Budapest, 2003.  \nBuzási, E., *Ádám Mányoki (1673–1757). Monographie und Oeuvrekatalog,* Budapest, 2003, cat. A. 92.","artist_birthdate":"1673","artist_birthplace":"Szokolya","artist_deathdate":"1757","artist_deathplace":"Dresden","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Judit Pokoly, Lara Strong","translation_copy_editor":"Mandi Gomez","keywords":["burghers","King Frederick William","patronage","Protestants","Self-portrait"],"materials":["Oil on canvas"]},"ef67fa8c-4ff1-55bf-83f3-ae6118113aaa":{"name":"*Sorolla in Tetouan*","description":"This picture was taken in Tetouan during a trip of the painter Joaquín Sorolla and his friends to Morocco in 1919. Sorolla's family and friends were portrayed with local people, a highlight of which is the Moor Selam and other characters and exotic animals, such as the monkey. Especially interesting is her daughter Helena who appeared in a Moorish costume.  \nThis travel appeared in the newspapers El Confidencial and ABC which also published this photograph.  \nThis family trip brought back memories and objects. The painter's daughter, Helena, had their little Moorish corner on the stairs of the house which is now the Sorolla Museum. A table, a chest, tambourines, fabrics, jewellery were bought back as souvenirs.","type":"Photograph","holder":"Sorolla Museum","dates":"February 1919","location":"Madrid","dimensions":"Height: 19,2 cm, Length: 28,5 cm","provenance":"Granada","author":"Covadonga Pitarch","copy_editor":"Anne Dowell","keywords":["Travelling","North Africa","Photography","Orientalism"],"materials":["Cardboard; Gelatin DOP"]},"f02e2658-e5a5-5c73-8f21-a84aea27d4e2":{"name":"Osman Hamdi Bey (During the excavation of Lagina, together with French archaeologists Cammonard and Cartier)","short_description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1892","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Osman Hamdi Bey","orientalist Turkish painters","archaeological excavations"],"materials":["Photograph"]},"f03b716a-a1e0-58f0-b452-2c2a089e34f2":{"name":"Members of Court of Sultan Selim II Mounted as an Album Leaf","short_description":"From the late sixteenth century until the formation of the Republic of Turkey in 1922, the Ottoman sultans maintained a strong tradition of imperial portraiture. Influenced by European oil painting and Persian miniatures, Ottoman portraits provide important information about court ceremonies, changing fashions, and members of the court. The right side of a double-page composition, this painting was created as a pendant to a portrait of Selim II (r. Hegira 974-982/1566-1574) on the left, now in the collection of the Aga Khan Museum, Toronto. The musicians, servants, and courtiers, who are identified by their inscriptions, face left, toward the sultan, in a show of deference to their ruler. Taken together the pair of paintings depict a *majlis* scene reflecting the pleasure-oriented atmosphere of Selim’s court. It is possible that the figure of the court jester at far right is a self-portrait of the artist.","type":"Manuscript","holder":"Los Angeles County Museum of Art (LACMA)","dates":"AH c. 968-969 / AD c. 1561-1562","location":"Los Angeles","dimensions":"44.6 x 31cm","method_for_datation":"Less formal than official Ottoman royal depictions, this painting (and its pendant) was likely made prior to Selim’s ascension to the throne in 1566 and was probably produced during his time as a prince governing Kütahya. Several of the figures depicted with captions can be further identified as boon companions of Selim II, one of whom, Turak Çelabi, died in 1561-62, suggesting a terminus ante quem for the work.","method_for_provenance":"It is signed “Nigari, slave of Sultan Selim Khan.” Nigari was the pseudonym used by the famed Turkish navigator Haydar Reis, who was also well-known as a portrait painting under Sultan Suleyman and his son and successor Selim II.","provenance":"Turkey","obtention":"Collection of Major R. Hawkins (dates unknown), until unknown date (sale, Sotheby’s, London, May 3, 1977, lot 3, sold to); Edwin Binney, 3rd (1866-1934), collection of Edwin Binney, 3rd, Portland, ME, until 1985 (gifted to); LACMA, The Edwin Binney, 3rd, Collection of Turkish Art at the Los Angeles County Museum of Art.","bibliography":"Denny, Walter B., *Turkish Treasures from the Collection of Edward Binney, 3rd*, Portland, OR: Portland Art Museum, 1979: 22, cat. 11.  \nFetvaci, Emine, *Picturing History at the Ottoman Court*, Bloomington: Indiana University Press, 2013: 42.  \nKangal, Selmin (ed), *The Sultan's Portrait: Picturing the House of Osman*, Istanbul: Türkiye Is Bankasi, 2000: 227.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 218-219, cat. no. 112.  \nNecipoglu, Gulru, *The Age of Sinan: Architectural Culture in the Ottoman Empire*, London: Reaktion Books, 2005: 56.","dynasty":"Ottoman","author":"LACMA Staff","keywords":["court life","gold","ink","inscription","manuscript","Ottoman","painting","Portrait","watercolour"],"materials":["Ink, opaque watercolor, and gold on paper"]},"f0e2d598-8e69-5768-bd25-d9db967e1292":{"name":"Painting Entitled ‘al-Rihlah al-Hijaziyyah/ Sacred Pilgrimage Journey’","description":"According to a plaque below the images, the painting depicts the pilgrimage of ‘Abbas Hilmi II, the Khedive of Egypt, which he performed in 1909. His portrait is on the left; on the right is that of Mehmed V Rashad, the contemporary Ottoman sultan. To the left and right of the Ka‘bah, which occupies the centre of the painting, are depictions of the Mosque of the Prophet in Medina and the Dome of the Rock in Jerusalem. Many of the remaining images are based on photographs of the hajj published in the July 1953 issue of National Geographic.","type":"Painting","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1953","location":"London","dimensions":"Height: 181 cm; Width;278 cm","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-painting-entitled-al-rihlah-al-hijaziyyah-sacred-pilgrimage-journey-mss1190/","keywords":["Egypt","hajj","Mecca","Ottoman","pilgrimage"],"materials":["Oil on canvas","some titles in découpage"]},"f10531b4-c48a-52e3-ba7a-d83cfa1d0403":{"name":"Portrait of Cardinal Prospero Lambertini","description":"In 1739, Cardinal Prospero Lambertini, the Archbishop of Bologna sat for a grand portrait in the studio of the painter Giuseppe Maria Crespi. The following year, he became Pope Benedict XIV and asked the painter to insert the papal attributes into the portrait. The painting was sent to the Vatican Picture Gallery in Rome where it remains today.  \nThis portrait, often assumed to be a sketch, is actually a small-scale replica painted by the artist as a souvenir of the first version. The cardinal, with his round jolly face is depicted near his writing table rising to his feet with a pen in his hand. He is literally surrounded by books, a living presence in his studio. This atmosphere of cordiality and lively immediacy vanishes in the Vatican portrait, Crespi portrays the pope clad in gravity. Benedict XIV was a wise and learned man, with a deep knowledge of scientific culture. He was attached to his native town and worked hard to promote intense growth of the University of Bologna (Studio) and of other cultural institutions. He also strove to accelerate the completion of the cathedral.","short_description":"This painting is considered to be a small size replica of the official portrait of Cardinal Prospero Lambertini, Archbishop of Bologna, portrayed by Giuseppe Maria Crespi before he was pope (Benedict XIV), in 1740. After the election the painter added to the portrait the papal attributes and sent it to Rome. Now the picture is held in the Pinacoteca Vaticana. It is likely Crespi made a small replica before making the changes in order to keep a souvenir of the original portrait.","type":"Painting","holder":"Collezioni Comunali d'Arte","initial_owner":"Cardinal Prospero Lambertini","dates":"c. 1739","location":"Bologna, Emilia-Romagna","dimensions":"205 x 146,5 cm","place_of_production":"Bologna","method_for_datation":"We have no direct evidence about this particular picture. Luigi Crespi, son of the painter Giuseppe Maria, in his additions to the *Felsina Pittrice* (1796) tells the story of the official portrait, now in the Vatican Museums. Today, letters remain in the Vatican Archives between the painter and the Secretary of State of the Pope regarding the invoice to Rome.","provenance":"Bologna","obtention":"Purchased in 1960.","bibliography":"Arcangeli, F. *Natura ed espressione nell'arte bolognese-emiliana* (exhibition catalogue) (ed. F. Arcangeli), Bologna, 1970, p. 227.  \nSpike, T. in *Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy* (exhibition catalogue) (ed. T. Spike), Fort Worth, 1986, p. 166, n. 28.  \nViroli, G. in *Giuseppe Maria Crespi. 1665-1747* (exhibition catalogue) (eds. A. Emiliani and A.B. Rave), Bologna, 1990, p. 232, n. 117.  \nStanzani, A. in *Il Gran Teatro del Mondo* (exhibition catalogue) (ed. F. Caroli), Milan, 2003, p. 104, n. 1.15.","workshop":"Late baroque","artist_birthdate":"1665","artist_birthplace":"Bologna","artist_deathdate":"1747","artist_deathplace":"Bologna","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Benedict XIV","education","Giuseppe Maria Crespi","Italian portraits of the eighteenth-century","science","university"],"materials":["Oil on canvas"]},"f2d5cedb-276c-5bcc-adf8-742a01444f80":{"name":"A Woman from Cairo","short_description":"This photo from Enrico H. Giglioli's collection was collected by the Florentine naturalist while travelling the world between 1865 through 1868 as he advanced diplomatic and commercial affairs between the newborn Italian state and the other nations. The images seem to have been created spontaneously to show ethnocentric diversity. The ethnographic photographs in the Giglioli's collection are part of the historical archive of the Pigorini Museum. The origins of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Photograph","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"c. 1880","location":"Rome","dimensions":"8,6 x 5,5 cm","provenance":"Egypt","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Woman","photograph","anthropology","ethnology","geography","travel","exploration","scientific expedition","ethnography","museums","model","genre picture","portrait","representation of the other","costume","material culture","collection","Egypt"],"materials":["Albumen"]},"f36b7d3e-8e7a-5356-9555-d10076d72a09":{"name":"Muhammad Tawfiq Pasha (1852–1892)","short_description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"After 1882","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Muhammad Tawfiq Pasha","Egypt","Arabi (Urabi) revolution","Great Britain"]},"f4070107-bd84-5299-8132-72ae7c8a76e8":{"name":"*Portrait of Felice Zacchia Rondanini*","description":"Domenico Guidi, nephew of the sculptor Giuliano Finelli, with whom he worked in Naples (1639–49), moved to the workshops of Algardi in Rome in 1649. He stayed there until the death of his master, from whom he learned the classicism that is a fundamental part of his style, although he was not as skilled in its execution.  \nThe bust was acquired by the Italian state from an antique market in 1907. It was initially attributed to the Berninian school on account of the elliptical shape enclosing the female figure and the “unfinished” back, a trait peculiar to Bernini on unseen surfaces. It was later attributed to 17th- and 18th-century sculptors (such as Bracci on account of the stylistic analogies with the sculptor's bust of Clement XII in the Borghese collection). It was finally attributed to Guidi, who was summoned by Bernini in 1668 to decorate the Ponte Sant'Angelo, although his style was more classical and less elaborate in form.  \nThe woman is probably Felice Zacchia Rondanini, daughter of Laudivio Zacchia who, once widowed, gave his life to religion and was made a cardinal in 1626. Algardi made a portrait of the father, having already made several busts for the Rondanini family. For his part, Guidi was responsible for the Rondanini tomb in S. Maria del Popolo, Rome in 1657. In 1683, in the same church, he sculpted the funerary monument to Vincenza Danesi, who some scholars connect to the Borghese portrait, although there is no documentation to support the theory. A ring is fixed under the cloak, which suggests it was originally intended to be placed in a niche, and the measurements coincide with the anchor points of the Danesi monument.  \nThe old lady wears a large veil forming a convex shape, on which shadows accentuate the face in the foreground, which is struck by light. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi was so well regarded by the French for his classicism that by the end of his career he was a synonym for French taste. Nonetheless, a sculptural group made for Louis XIV failed to please the king and it ended up in the same place as Bernini's: the gardens of Versailles.","short_description":"A portrait of an old lady who wears a veil. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi produced a few works for Bernini (such as the *Angel with a Lance* on Ponte Sant'Angelo) most of his collaborative work was, however, with Algardi.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"1683 (?)","location":"Rome, Latium","dimensions":"h: 60 cm (without stand)","provenance":"Antique market","obtention":"Acquired by the Italian State in 1907.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome 1954, n.10, pp. 15–16.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 378.  \nBershad, D. L., in *voce* “Guidi Domenico”, in *Dizionario Biografico degli Italiani*, Milan, 61, 2003, pp. 214–220.","artist_birthdate":"1625","artist_birthplace":"Torano (Massa-Carrara)","artist_deathdate":"1701","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Algardi","ancient art","Bernini","Bust","Classical model","classicism","marble","Portrait","women","workshop"],"materials":["Statuary marble"]},"f6a973df-a6b0-51b8-8bb0-fd4026b06319":{"name":"Photograph of Ion Ghica (sitting)","short_description":"In 1848, Ion Ghica was the envoy of the Wallachian revolutionaries to Istanbul, where he remained after the suppression of the revolution. He created connections among the Ottoman officials, being appreciated by Reshid-Pasha (Grand Vizier from 1854), and became a supporter of the Romanian Principalities’ union under Ottoman sovereignty. A former journalist, he devised the project (not realized) for an economic and literary periodical, published in all the languages spoken in the Empire. In 1854 he was appointed governor of the island of Samos, where he took measures against piracy and founded several schools (a middle school, an agricultural school, a marine school and a girls’ institute). His activity earned him the title of “prince”(bey) of Samos, which he received from sultan Abdülmecid in February 1856.","type":"Photograph","holder":"National Museum of Romanian History","dates":"c. 1850–1860","location":"Bucharest"},"fac6052d-8778-5973-8864-63b61123c63f":{"name":"*Portrait of Baroness Erzsébet Haller*","description":"*Portrait of Baroness Erzsébet Haller* depicts the daughter of Field Marshal Baron Sámuel Haller holding a brush and palette and beside her on a table with a marble top there is a small paint box. Between 1756 and 1767, Dániel Schmiddely painted a series of 14 portraits of which this is one. Today 12 are extant but the whereabouts of the other two is unknown. All of similar dimensions and compositional organisation, the paintings represent aristocratic young women and recognise contemporary requirements of high society manners and etiquette. The girls are depicted painting, drawing, playing the piano, standing by a globe or arranging a bouquet in a Rococo vase. These portraits, while seen as examples of a new representative genre, also bear witness to the artistic and intellectual education aristocratic society required from young aristocratic women at the time, hence they are depicted in the process of appropriating this education. The series, produced for the Convent of the Sisters of Notre Dame in Pozsony (Bratislava), represents the school's pupils in blue uniform. The religious order of Lorraine, under which this school operated, began its activity in the area in 1748 under temporary conditions. Schmiddely's paintings probably furnished the college and school that was finally built in 1754.  \nSchmiddely studied at the Academy of Fine Arts in Vienna. He then lived and worked in Pozsony (Bratislava) where he also undertook official commissions, and according to records, he was a professor of drawing at a college there. In view of this series of paintings, the college he worked at was that of the Sisters of Notre Dame.","short_description":"Schmiddely was a tutor in painting and drawing in Pozsony (Bratislava). The Portrait *of Baroness Erzsébet Haller* is part of a series of 14 portraits, others of which are in Slovakia and Bohemia. The paintings, depicting young women dressed in blue uniforms, refer to different aspects of a good education.","type":"Painting (portrait)","holder":"Hungarian National Gallery","initial_owner":"Pozsony (Bratislava), Convent of the Sisters of Notre Dame","dates":"c. 1755–56","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 95 cm; w: 76 cm","place_of_production":"Pozsony (Bratislava) (?)","method_for_datation":"By historical documents and stylistic analysis","provenance":"Pozsony (Bratislava), Convent of the Sisters of Notre Dame","obtention":"Purchased from a private collection in 1994","bibliography":"Buzási, E., “Cat. Nr. A 13”, *The Metamorphosis of Themes: Secular Subjects in the Art of the Baroque in Central Europe,* exhibition catalogue, (ed. M. Mojzer), Budapest, 1993.  \nStibraná-Vávrová, I., “A pozsonyi Notre Dame-zárda növendékeinek portréi a 18. század harmadik negyedéből” (“Pupil Portraits at the Convent of the Sisters of Notre Dame in Pozsony (Bratislava) from the Third Quarter of the 18th Century”), *Művészettörténeti Értesítő*, LI, 2002, pp. 51–68.","artist_birthdate":"c. 1705/1710","artist_birthplace":"Pozsony (Bratislava)","artist_deathdate":"1779","artist_deathplace":"Pozsony (Bratislava)","author":"Enikő Buzási","copy_editor":"Terézia Bardi","translator":"Zsuzsanna Boda, Tamás Sajó","translation_copy_editor":"Mandi Gomez","keywords":["Convent of the Sisters of Notre Dame","costume","education","Portrait","religious orders","religious schools","Rococo","women"],"materials":["Oil on canvas"]},"fb4db280-b1e8-5792-9924-ea1569ecf8e4":{"name":"*Petar II Anton Hilleprand-Prandau*","description":"Baron Petar II Anton Hilleprand-Prandau stands at the centre of the painting finely dressed and wearing a long wig. His left arm rests on a marble-topped table, while his right arm points to the manor house he had built in the background. The family crest is in the right upper corner.  \nPetar II was one of the most respected members of this distinguished family originally from Tyrol. He was born in Bozen, studied law in Ingolstadt and served with the Austrian Court. Granted the Valpovo estate in Slavonia in 1721, he died in Vienna in 1771.  \nCommissioned to mark a double jubilee, the painting celebrates the Baron's 75th birthday, and commemorates the right of the female line of the family to inherit the Valpovo estate.  \nAlthough much about the life and work of Hochhauser remains a mystery, we do know that he studied at the Vienna Academy under Jacob van Schuppen. We know that the court painter and favourite of Empress Maria Theresia, Martin van Meytens, was a great influence on him, and that he was well trained and kept to the best portrait traditions of the time, relying on the generally accepted and acknowledged conventions of Baroque portrait painting.","short_description":"A portrait of Baron Petar II Anton Hilleprand-Prandau, painted by Ephraim Hochhauser who studied painting at the Vienna Academy under Jacob van Schuppen. In his portraits, Hochhauser relies on the generally accepted and recognised conventions of Baroque portrait painting. Influenced by Martin van Meytens, court painter and favourite of Empress Maria Theresia.","type":"Painting (portrait)","holder":"Gallery of Fine Arts, Osijek","initial_owner":"Valpovo, family of Baron Hilleprand-Prandau, later of Count Normann-Ehrenfels","dates":"1750","location":"Osijek, Slavonia","dimensions":"H: 238 cm; w: 149 cm","place_of_production":"Vienna","method_for_datation":"From the signature and family archives.","provenance":"Petar II Anton Hilleprand-Prandau, Valpovo","obtention":"Confiscated after the Second World War.","bibliography":"Balen, B., *Portreti 18. st. u GLUO* (18th-century portraits at GLUO), Monograph, 1987.  \n*Tri stoljeća umjetnosti u GLUO* (Three Centuries of Art at GLUO), Monograph, 1987.","artist_birthdate":"Unknown","artist_birthplace":"Banska Bistrica","artist_deathdate":"December 1771","artist_deathplace":"Vienna","author":"Branka Balen, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Hilleprand-Prandau family","Portrait","women"],"materials":["Oil on canvas"]},"fba06fef-805f-5de9-8213-221cfe8fe3db":{"name":"Nephrite bowl with enamel picture","short_description":"This bowl features the enamelled portrait of Fath-Ali Shah Qajar, emperor of Persia (AD 1797–1834); it is signed by the artist, Ghülam Khanetzad, and dated AH 1233. Until his death in AD 1834, Fath-Ali Shah Qajar hoped to forge an alliance between Persia and Austria. This bowl was probably sent to Emperor Franz I in Vienna in connection with these efforts.","type":"Vessels","holder":"Kunsthistorisches Museum","dates":"AH 1233 /AD 1817","location":"Vienna","dimensions":"Height: 26.5cm, Width: 22.3cm","method_for_datation":"Date and signature","method_for_provenance":"Listed in the AD 1875 inventory of the imperial treasury in Vienna","provenance":"Iran","obtention":"Gift to emperor Francis I","bibliography":"Hein, Wilhelm, \"Ein persisches Lackkästchen“, *Alte und moderne Kunst, 1. Jh.*, 3 (1956): 6-7.","dynasty":"Qajar","copy_editor":"Liz Cooper","keywords":["court life","Emperor Franz I","Fath-Ali Shah","floral decoration","furnishing","Ghülam Khanetzad","Habsburg","Persian-Austrian relations","Portrait","Qajar","Qajar art"],"materials":["Stone, nephrite, gold, rubies, emeralds"]},"fc0202a4-85ca-5193-af7d-ee6857a9426b":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911), Colonel Ali Fahmi Bey, Colonel Abdellal Hilmi Bey","short_description":"Portrait of minister Arabi (Urabi) together with two officers. In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"fc3b1ec9-a4c8-5bb0-8563-67addfda87dd":{"name":"Portrait of the Marquess of Cerralbo in a Turkish Garment","description":"The Marquis of Cerralbo and his family visited Istanbul in 1889, and nowadays the Cerralbo Museum holds an interesting variety of pieces bought and collected as souvenirs from the family trip. When visiting a foreign country or city, being portraited by a famous photographer of studio was indispensable. In this case the photographers are the world-renowned Armenian Abdullah Frères, Photographes de S. M. I. le Sultan. This vignetted bust shot albumen portrait of Inocencia Serrano y Cerver, marquise of Cerralbo, shows the playful and aesthetic use of typical Turkish costume in the Abdullah Frères studio, perfect to satisfy the European desire of exoticism.","type":"Photograph","holder":"Cerralbo Museum","dates":"1889","location":"Madrid","dimensions":"16,6 x 10,9 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Portrait","women","souvenir","memorabilia","orientalism"],"materials":["Paper; albumen print"]},"fe6fa089-3083-5936-9e90-9d863dea6475":{"name":"Osman Hamdi Bey (During the excavation of Mount Nemrut)","short_description":"In the 19th century, efforts were in place to modernize the Ottoman Empire, as many of the leading statesmen were exposed to Western ideas through education and travel. The museum was founded by decree in 1891 as the Imperial Museum. The first curator and founder of the museum was Osman Hamdi. Hamdi began construction of the main building in 1881, and it achieved its present neo-Greek form in 1908. The architect was Alexander Vallaury. It is one of the prominent structures built in the neoclassical style in Istanbul. Osman Hamdi, during his tenure as museum director, launched the first Turkish scientific excavations. He carried out archaeological excavations at Mount Nemrut, Laguna and Sidon.","type":"Photograph","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Painting","Osman Hamdi Bey","orientalist Turkish painters,","archaeological excavations"],"materials":["Photograph"]},"feb66ca9-ced9-518b-8f58-1ac129aebdd4":{"name":"Lazar Sozich (2nd half of the 19th century – 1900)","short_description":"Portrait of Lazar Sozich. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"}}