- 432
A Nasrid revival architectural maquette and stand, Spain, 19th century
Estimate
40,000 - 60,000 GBP
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Description
- Wood and electroplate
in fitted parts, comprising a carved wooden base with calligraphic bands, interlacing geometric motifs and arabesques with clear green surface on the inside, surmounted by an electroplate architectural model with intricately designed decoration including muqarnas, inscriptive bands and columns rising from a marble base and domed roof above
Condition
In good overall condition. The wooden stand with few minor knicks. The electroplate model also in good condition with oxidisation, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
inscriptions
Repeat of the Nasrid motto: wa la ghalib illa allah
‘And there is no conqueror except God’
Playing on Nasrid architectural motifs and including the Nasrid motto 'And there is no conqueror except God', this intricately designed electroplate maquette appears to have been modelled on the pavilion in the Court of Lions in the Alhambra Palace. Set on a tall carved wooden stand, it represents the enduring fascination and admiration for Spain’s rich Islamic past.
The Nasrids, who came to power in 1232, ruled Granada and the territory of al-Andalus for over two hundred years, developing a highly sophisticated visual language based on complex geometric designs incorporated into the body of the architecture itself. Erected and built upon between 1325 to 1354, the Alhambra Palace came to epitomise Nasrid courtly architectural patronage, which is noted for the intricacy of its design that covers entire surfaces, creating an "ethereal three-dimensional depth” (Fernandez-Puertas 1997, p.88).
The Orientalist movement of the nineteenth century sparked a renewed interest in Islamic history and the Alhambra became a popular subject for intricately crafted and modelled souvenir maquettes such as the present example. It is notable that the Spanish Pavilion in the Paris International Exposition in 1878 was modelled on the architecture of the Almohad and Mudejar courts (Rosswer-Owen 2010, pp.136-7). In Spain, the renowned Contreras family, who was officially responsible for the restoration of the Alhambra Palace, also created miniature architectural models as high-end souvenirs. The models that were produced by Rafael Contreras (1826-90), continue to be admired and collected in their own right today. Another firm working within the Alhambra at this time (circa 1883) was that of Enrique Linares, who specialised in architectural models and interior views. Many foreign artists also travelled to Granada to study the Alhambra, such as Jules Goury (1803-34), Owen Jones (1809-74), Philip Henry Delamotte (1821-89), returning with highly detailed and precise drawings and photographs used by subsequent generations of artists.
The Victoria and Albert Museum in London holds an important collection of architectural casts, which play an important educational role. A comparable plaster, alabaster and walnut model of the Eastern pavilion in the Court of Lions, produced between 1850-1900 in Granada is housed in the collection, inv. no.927-1900 (see Rosser-Owen 2010, p.118, no.113).
Repeat of the Nasrid motto: wa la ghalib illa allah
‘And there is no conqueror except God’
Playing on Nasrid architectural motifs and including the Nasrid motto 'And there is no conqueror except God', this intricately designed electroplate maquette appears to have been modelled on the pavilion in the Court of Lions in the Alhambra Palace. Set on a tall carved wooden stand, it represents the enduring fascination and admiration for Spain’s rich Islamic past.
The Nasrids, who came to power in 1232, ruled Granada and the territory of al-Andalus for over two hundred years, developing a highly sophisticated visual language based on complex geometric designs incorporated into the body of the architecture itself. Erected and built upon between 1325 to 1354, the Alhambra Palace came to epitomise Nasrid courtly architectural patronage, which is noted for the intricacy of its design that covers entire surfaces, creating an "ethereal three-dimensional depth” (Fernandez-Puertas 1997, p.88).
The Orientalist movement of the nineteenth century sparked a renewed interest in Islamic history and the Alhambra became a popular subject for intricately crafted and modelled souvenir maquettes such as the present example. It is notable that the Spanish Pavilion in the Paris International Exposition in 1878 was modelled on the architecture of the Almohad and Mudejar courts (Rosswer-Owen 2010, pp.136-7). In Spain, the renowned Contreras family, who was officially responsible for the restoration of the Alhambra Palace, also created miniature architectural models as high-end souvenirs. The models that were produced by Rafael Contreras (1826-90), continue to be admired and collected in their own right today. Another firm working within the Alhambra at this time (circa 1883) was that of Enrique Linares, who specialised in architectural models and interior views. Many foreign artists also travelled to Granada to study the Alhambra, such as Jules Goury (1803-34), Owen Jones (1809-74), Philip Henry Delamotte (1821-89), returning with highly detailed and precise drawings and photographs used by subsequent generations of artists.
The Victoria and Albert Museum in London holds an important collection of architectural casts, which play an important educational role. A comparable plaster, alabaster and walnut model of the Eastern pavilion in the Court of Lions, produced between 1850-1900 in Granada is housed in the collection, inv. no.927-1900 (see Rosser-Owen 2010, p.118, no.113).