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‎Venice. ‎

‎Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma‎

‎Auld, Sylvia: Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma. London: Altajir World of Islam Trust, 2004. 350pp with 210 monochrome illustrations. Cloth. 26.8x20.7cms. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmud's double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman 'White Sheep' dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called 'azzimina, but to prove that they could do better.‎

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

‎The Mosaics of San Marco in Venice: Part 1 : Eleventh and Twelfth Centuries (2 VOLS.; PART 2 : THE THIRTEENTH CENTURY)‎

‎University of Chicago Press 1984 1604 pages 34 54x14 99x35 56cm. 1984. Cartonné + emboîtage. 4 volume(s). 1604 pages. The Mosaics of San Marco in Venice: Part 1 : Eleventh and Twelfth Centuries (Text + Plates) + Part 2 : The thirteenth Century (Text + Plates)‎

‎Bon état bonne tenue couvertures et emboîtage un peu défraîchies intérieurs propres‎

‎Venice Biennale 1991: The Fifth International Architectural Exhibition Venice B‎

‎Venice Biennale 1991: The Fifth International Architectural Exhibition Venice Biennale 1991: Quinta Mostra Internazionale Di Architettura. In Italian /Venetsianskaya Biennale 1991: Pyataya Mezhdunarodnaya Arkhitekturnaya VystavkaVenice Biennale 1991: Quinta Mostra Internazionale Di Architettura. In Italian Venice Electa 1991, 273 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalbdb00ea71f014af1f.‎

‎Venice (Venice). Photo album. In Italian (ask us if in doubt)./Venezia (Venetsiya). Fotoal'bom.‎

‎Venice (Venice). Photo album. In Italian (ask us if in doubt)./Venezia (Venetsiya). Fotoal'bom. In Italian. Italy. Unspecified. 1900s. 36 photos on a unit hp enlarged album format 310x220. An album with black and white views of Venice late XIX century beginning of XX century. SKUalb87e796114cd55bd4.‎

‎Venice . - Lot of 7 books together: 1) Morris, J.: Venice (1983) / 2) Ruskin, J.: The stondes of Venice (1960) / 3) Links, J.G.: The Venetian Empire - A Sea Voyage (1980) / 4) Morris, J.: A Venetian Bestiary (1982) / 5) St Aubin de Terán, L.: Venice- the four seasons (1992) / 6) Norwich, J. J.: A history of Venice.‎

‎ 1980, in-8vo, original wrappers.‎