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Lot Essay
The inscription around the body reads 'Izz li-mawlana al-sultan al-malik al-nasir al-'alimal-'adil (sic) al-Mujahid ("Glory to our Master the Sultan the King the Victorious the Learned the Just").
The inscription around the neck reads 'Izz li-mawlana al-sultan al-malik al-nasir al-'alim al-f[a]dil al-mujahid al-murabit al-muthaghir ("Glory to our Master the Sultan the King the Victorious the Learned the Virtuous, Warrior of the Faith, Defender, Guardian of the Frontiers").
In the blazons, in cursive script 'Izz li-mawlana al-sultan ("Glory to our master the Sultan").
Philippe-Joseph Brocard began life as a restorer of glass, which gave him the capability of understanding in minute detail the techniques used. His first Works of Art in enamelled glass were presented at the Paris exhibition of 1867 and created quite a stir. Even then his most important pieces were enamelled glass mosque lamps. He continued to exhibit at international exhibitions and it is very probable that the present lamp was made to be shown at an Exposition universelle, possibly that of Paris in 1878. Although slightly smaller, an almost identical lamp by Brocard which sold at Christie's, 10 October 2006, lot 164 was dated June 1877 and probably made for the exhibition.
He was the first to revive this technique of large glass vessels with enamelled surface decoration copying Mamluk originals. Its popularity meant that he was copied in Paris by others including Giboin, Imberton, and subsequently, Gall and Daum, who developed the style into something completely different. A very similar lamp is in the Muse Adrien Dubouch at Limoges (Alain Gruber (ed.), L'art dcoratif en Europe, Paris, 1994, p.222).
The inscription around the neck reads 'Izz li-mawlana al-sultan al-malik al-nasir al-'alim al-f[a]dil al-mujahid al-murabit al-muthaghir ("Glory to our Master the Sultan the King the Victorious the Learned the Virtuous, Warrior of the Faith, Defender, Guardian of the Frontiers").
In the blazons, in cursive script 'Izz li-mawlana al-sultan ("Glory to our master the Sultan").
Philippe-Joseph Brocard began life as a restorer of glass, which gave him the capability of understanding in minute detail the techniques used. His first Works of Art in enamelled glass were presented at the Paris exhibition of 1867 and created quite a stir. Even then his most important pieces were enamelled glass mosque lamps. He continued to exhibit at international exhibitions and it is very probable that the present lamp was made to be shown at an Exposition universelle, possibly that of Paris in 1878. Although slightly smaller, an almost identical lamp by Brocard which sold at Christie's, 10 October 2006, lot 164 was dated June 1877 and probably made for the exhibition.
He was the first to revive this technique of large glass vessels with enamelled surface decoration copying Mamluk originals. Its popularity meant that he was copied in Paris by others including Giboin, Imberton, and subsequently, Gall and Daum, who developed the style into something completely different. A very similar lamp is in the Muse Adrien Dubouch at Limoges (Alain Gruber (ed.), L'art dcoratif en Europe, Paris, 1994, p.222).