Hispano Moresque Art by Barakat Gallery

H I S PA N O M O R E S QU E A RT

2 CATALOGUE Edited by: Gian Piero C. G. Milani Texts by: Fayez Barakat, Gian Piero C. G. Milani, Callum Foad Curated by: Callum Foad

Publication date: 04/03/2022. Published by: HANNA BELLA PUBLISHING www.barakatgallery.eu COPYRIGHT © BARAKAT GALLERY TEXTS © THE AUTHORS All rights reserved. No part of this book may be reproduced in any form of electronic or mechanical means including storage by information or retrieval systems without written permission of the authors except in the case of brief quotations embodied in critical articles or reviews.

All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.

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o n t e n t s

FURNITURE ............................... 15 ALHAMBRA PLASTER PLAQUES ....... 19 M E T A L W O R K S.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 3 VESSELS................................... 127 W A L L C H A R G E R S .. . . . . . . . . . . . . . . . . . . . . . . . 2 0 3

Introduction

During the Middle Ages, Arabs colonised the Spanish peninsula. The cultural contacts between ‘West’ and ‘East’ created one of the most wonderful examples of cultural impollination in European history. The great monuments built by the Arabs, or Moors as they were known, influenced Spanish and European architecture for centuries to come. In the same way, Arab craftsmen brought with them their particular styles of pottery making: use of enamels and vitreous glazes along with their preference for an-iconic motifs as dictated by their religious customs. The rediscovery of the Moorish heritage in the 19th Century caused a renewed interest in these artistic expressions which culminated in a true ‘Moorish-mania’ amongst European elites. Many artifacts presented in this catalogue testify of this extraordinary 19th Century fascination. We live in times where conflicts between cultures seem to be everywhere. I have been greatly inspired by the message of cultural conpenetration so strongly represented by Hispano Moresque art. It is a message of reconciliation and understanding powerfully represented by these artifacts which create a veritable bridge between ‘West’ and ‘East’. I hope these artefacts will be of interest to you as they have been to me.

Fayez Barakat President

FURNITURE

An exceptional example of 18th century Hispano-Moresque backless “Savonarola chair”. Savonarola chairs are a type of folding chair with a frame shaped like an X viewed from the front. The design of these chairs originated in the Late Middle Ages in Italy, and it spread through the entirety of Europe from there during the Renaissance. This design gave origin to the Dante chair in Italy and the Luther chair in Germany. The term “Savonarola chair” is a nineteenth century creation connected to the antiquarian trade. Savonarola chairs acquired a particular style in Spain from the 15th and 16th centuries, when they started to inlaid with ivory, bone, mother of pearl, and metals in the Moorish designs. These chairs came to embody some of the quintessential stylistic features of Hispano Moresque art, and continued to be produced for centuries after the end of the Moorish domination. They had a revival in the 19th century along with the developing taste for Alhambra art among the European elites. This particular chair pre-dates the 19th century revival and is probably inspired by earlier models which were preserved in the Alhambra palace. It is a backless X shaped chair with inlays in mother of pearl and a seat in leather. The inlays create a number of complex and exceptionally refined geometric patterns, typical of the un-iconic art of Muslim countries, which favours complex patterns and calligraphic decorations in obeisance to the prohibition to represent human beings or animals. The chair is constructed in a way that leaves the sides of the chair empty. This particular feature gives a sense of lightness to the artefact, creating a delightful contrast to the complexity of the inlays. This is an outstanding piece of Hispano Moresque art, testifying to the refinement and artistic prowess of Spanish artists in the 18th century.

Alhambra Spanish Folding Chair, 1700 CE 85 x 64cm Spain (CB.245)

ALHAMBRA PLASTER PLAQUES

Alhambra Plaster Plaques

Alhambra plaques are beautiful framed carved and polychrome- painted plaster reliefs replicating Moorish architectural facades inspired by the Nasrid fortress and palace complex of the Alhambra in Granada, Andalusia. These reliefs exhibit the typical motifs of Moorish architecture such as arches, dense arabesque patterns, and geometric designs. Rafael Contreras carried out a major restoration to the Nasrid fortress between 1847 and 1889, creating a substantially more “Moorish” and Oriental aesthetic in order to meet the foreign visitors’ expectations of the perfect exotic and picturesque stopover in their Grand Tour. After realising the economic potential of creating souvenir plaster model, Contreras started producing reduced scale models, usually 1:12, of idealised representation of the Alhambra, so popular among European royalty and nobility.

An Alhambra Plaster Plaque with arches and complex patterns made of vegetal and geometric motifs finely rendered in gold blue and red.

Alhambra Plaster Plaque, 1860 BCE - 1890 CE 12 x 18 x 2cm Spain (MS.1016)

An Alhambra Plaster Plaque with a arch and complex patterns made of vegetal, sebka, and caligraphic motifs finely rendered in gold blue and red.

Alhambra plaque in plaster, 1900 BCE (MS.1067)

An Alhambra Plaster Plaque with a arch and complex patterns made of vegetal, sebka, and caligraphic motifs finely rendered in gold blue and red.

Alhambra plaque in plaster, 19th Century CE 30.5 x 46 x 5cm (MS.1066)

An Alhambra Plaster Plaque with a arch and complex patterns made of vegetal, sebka, and caligraphic motifs finely rendered in gold, purple and green. The arch reveals a photograph of a women richly clothed.

Alhambra plaster plaque - 1900 CE 17.2 x 32.5cm CB.2876

An Alhambra Plaster Plaque with a arch and complex patterns made of vegetal, and sebka motifs finely rendered in gold, purple and green. The arch reveals a mirador.

Alhambra plaster plaque - 1900 CE 21.2 x 13.1cm CB.2878

An Alhambra Plaster Plaque with a arch and complex patterns made of vegetal, and sebka motifs finely rendered in gold, purple and green. The arch reveals a mirador.

Alhambra plaster plaque - 1900 CE 54 x 33cm CB.2879

An Alhambra Plaster Plaque with horseshoe arches and complex patterns made of vegetal, and sebka motifs finely rendered in gold, purple and green. The arch reveals a photograph with a moorish sight.

Alhambra plaster plaque - 1900 CE 49 x 47cm CB.2877

An Alhambra Plaster Plaque with horseshoe archnd complex patterns made of vegetal, and sebka motifs finely rendered in gold, purple and green. The arch reveals a photograph with a moorish sight.

Alhambra plaster plaque - 1900 CE 50 x 47cm CB.2873a

Alhambra plaster plaque - 1900 CE 45 x 33cm CB.2875

Alhambra plaster plaque - 1900 CE 45 x 33cm CB.2874

M E TA LWO R K S

A Gold Jewellery casket from Toledo Spain, in the form of a chest on four legs. The Casket is beautifully decorated with geometric paterns based upon that of the Alahambra Palace. The use of gold and intricate geometric patterns as seen here is a quintisential hallmark of Hispano-Moresque art. The functionality of the casket is also absorbed into the decorative nature of the piece, with the key hole being placed in the centre of the primary motif. We see a intricate use of perspective in the decoration of this piece, aiming to replicate the grand halls of the palace it depicts. Objects such as this were designed to be taken as mementos by elite visitors coming to Toledo as a part of their Grand Tour. This is an extraordinary piece of art, the creation of which required painstakingly long work by a master craftsman. Toledo workshop damascened jewellery casket, 19th Century CE - 20th Century CE 20 x 13 x 8 cm Toledo, Spain (CB.94)

Damascening is the art of inlaying different metals into one another —typically, gold or silver are inlaid into a darkly oxidized steel background—to produce intricate patterns, much similar to the technique of niello. The English term derives from a perceived resemblance to the rich tapestry patterns of damask silk. The technique of niello -a black mixture of copper, silver, and lead sulphides, used as an inlay on engraved or etched metal- has been attested in prehistoric Greece, with the earliest occurrence of damascening in the Aegean being a dagger from the Shaft49 Graves of Mycenae, dating to the latest Middle Bronze Age/Middle Helladic IIIB period (2000 BC. ca). Cities that are known for a rich history in Damascening and in which the art is still practiced are Malaysia, Indonesia, Toledo in Spain, Eibar in the Basque Country and Kyoto in Japan. The art of Damascening arrived to Toledo directly from Damascus and developed a very important industry around this craft, also known as Toledo Gold. The art of damascene has passed from generation to generation within the same family for centuries, and has become a hallmark of the city. Jewellery case in the form of a miniature cabinet on stand, the cabinet being furnished with a chest of six drawers. Although damascening is a term which sometimes is applied to the production of damask steel, it is properly the art of incrusting wire of gold (and sometimes wire of silver or of copper) on the surface of iron, steel or bronze. The surface upon which the pattern is to be traced is finely undercut with a sharp instrument, and the gold thread is forced into by hammering and is securely held by the minute furrows of the cut surface. Damascened jewellery case, 19th Century CE height 19.5 cm (CB.3100)

A beautiful jewellery case in Alhambra style made in Toledo, Spain. Toledo workshops during the 19th century specialised in the production of objects in Moorish style. These artefacts were very often realised with the technique of Damascening, that is the inlaying different metals into one another —typically, gold or silver are inlaid into a darkly oxidized steel background—to produce intricate patterns, much similar to the technique of niello. In this case the decoration is skilfully realised with intricate floral patterns.

Alhambra style, casket (Toledo) 19th Century, 1800 CE - 1900 CE 11.4 x 17.8 x 11.4 cm (MS.1323)

An Alhambra style gold inlaid circular dish, produced in Toledo in the 19th Century. This dish is ornately decorated in a style which is indicative of traditional Moorish art. The piece is a perfect example of Islamic an-iconic decoration, which is to say the prominent use of repeating gemoetric shapes as opposed to any pictoral depiction. This is due to the depiction of human and animals being banned in islamic religious scripture. The decoration of this dish also relies heavily on the use of gold, which is another quintissential feature of HispanoMoresque art. These decorative stipulations result in a beautiful and intricate design.

An Alhambra style gold inlaid circular dish (Toledo workshop) 19th Century, 1870 CE - 1910 CE width 9 cm (MS.1337)

An Alhambra style pin dish, featuring a striking floral motif and gold decoration. The piece makes heavy usage of reoccuring gemoetric motifs including the central depiction of flowers in a beautifully contrasting gold, which is something that is greatly emblematic of the hispano-moresque style of the 19th century. This piece would have been produced as one of the many souvenir style items to leave Toledo in this era, designed to capitalise on the economic boom created in the area as a result of the increasing number of European elite visitors there.

An Alhambra style, gold inlaid, pin-dish (Toledo workshop), 19th Century 11.4 x 11.4 cm (MS.1265)

Gold inlaid rectangular cigarette case with the Palacio de Monterrey in Salamanca. The Monterrey palace is located in the centre of the city of Salamanca and it was constructed in the Italian Renaissance style for don Alonso de Zúñiga y Acevedo Fonseca, the 3rd count of Monterrey in 1539. It has been declared a Historic National Monument of Spain since 1929. Damascening is the art of inlaying different metals into one another—typically, gold or silver are inlaid into a darkly oxidized steel background—to produce intricate patterns, much similar to the technique of niello. The English term derives from a perceived resemblance to the rich tapestry patterns of damask silk. The art of Damascening arrived to Toledo directly from Damascus and developed a very important industry around this craft, also known as Toledo Gold. The art of damascene has passed from generation to generation within the same family for centuries, and has become a hallmark of the city.

Toledo workshop damascened cigarette case, 19th Century 8.9 x 7.6 cm (MS.1264)

A beautiful overlaid plate in Alhambra style made in Toledo, Spain. Toledo workshops during the 19th century specialised in the production of objects in Moorish style. The decoration consists of complex floral and geometric pattern radiating from the centre of the plate.

An Alhambra style gold overlaid plate (Toledo workshop), 19th Century CE width 10 cm (GM.0030)

The damascening art, which consists in inlaying noble metals on iron or steel, has its origin in similar works that go back to ancient times. Damascene-style work is said to have been practiced by the ancient Egyptians, Greeks, and Romans, but was developed into a high art by the craftsmen of Damascus, Syria more than 2,000 years ago. It was first introduced to Spain by the Moors who conquered the peninsula in 711 AC (Al-Andalus). Toledo, so open through the centuries to the aesthetics and cultural contributions of various cultures and people, maintained this amazing tradition thanks to the vocation and ability of its master craftsmen.

Toledo workshop damascened cigarette case, c. 1900 CE 5.1 x 8.9 cm (CB.154)

An alahambra casket, featuring a domed lid and standing upon four short legs. The process of gold overlay which we see on this chest, the result of forging gold onto a base metal such as copper, results in a striking finish which is greatly emblematic of Hispano Moresque art. This piece is also ornately decorated with a complex geomertric design, featuring floral motifs and repeating patterns. This finish is therefore an example of Islamic an-iconic practise, which is based upon the scriptures demands that no humans or animals may be depicted in art. A casket such as this would therefore be of great appeal to the European 19th century travelers for whom it was made, as its striking design would be of great contrast to the christian forms of art to which they were acustomed. Pieces such as this would therefore be a greately lucrative form of commerce throughout the 19th century.

An Alhambra style, gold overlaid, casket, 19th Century CE 10.2 x 5.1 x 5.1 cm (CB.120)

A stunning jewellery casket on four feet realised in the 19th century in Toledo. Damascening is the inlaying different metals into one another —typically, gold or silver are inlaid into a darkly oxidized steel background—to produce intricate patterns, much similar to the technique of niello. In this case the decoration consists in a number of panels bearing floral and geometric decorations reminiscent of the intricate architectural details of the 19th century restoration of the Alhambra.

Damascened domed and footed bronze jewellery casket from a Toledo workshop, 1800 CE - 1900 CE 5 x 5 x 5 cm (MS.1332)

A beautifully embellished Damascened Jewellery case, from Toledo Spain. The decorative elements of the casket take centre stage in this piece, as the functional componenets are set into the design, such as the key to the casket which is inlayed in direct geomtric acordance with the arch ways above. The design of this piece is a striking example of Hispano Moresque art, based upon the interior of the Alahambra palace. This is evidenced by the arch ways, pillars and geometric motives, which replicate the standing architecture of the restored islamic palace. This chest would therefore provide a perfect souvenir piece for any who had visited the area.

Toledo workshop damascened jewellery casket -, 19th Century CE - 20 CE 7.6 x 12.7 x 6.3 cm Toledo, Spain (CB.110)

A beautifully ornate Damascened box, originating from a Toledo workshop in the 19th century. This piece features a striking octagonal domed lid, as well as ornately styled feet. This piece displays a wonderful repeated geometric motif, making use of stars and crosses throughout. This design is something which we often see in islamic art, as a result of the prohibition of iconic depiction in islamic texts and doctrines. This striking design is heightened by the use of Damascening, a process of inlaying different metals into one another to create a rich and intricate decoration, reminiscent of the ornate tappestries from which the technique gains its name.

Toledo workshop damascened box, 1800 CE - 1900 CE 11.4 x 7.6 cm Toledo, Spain (CB.153)

Damascened rectangular casket with curved lid, the decoration consists of floral and geometric motifs reminiscent of the intricate architectural details of the 19th century restoration of the Alhambra. 79

The art of Damascening arrived to Toledo directly from Damascus and developed a very important industry around this craft, also known as Toledo Gold. The art of damascene has passed from generation to generation within the same family for centuries, and has become a hallmark of the city.

Toledo workshop gold damascened casket, 19th Century CE - 20th Century CE 8.9 x 7.6 x 5.1 cm Toledo, Spain (CB.95)

A Gold overlaid casket in the style of a chest, standing on four, short legs. The casket features detailed decoration reminiscent of the Alahambra palace, into which its practial functions have been integrated. This piece features an incredibly detailed depiction of the Islamic palaces interior, from the use of decorated archways to carefully considered perspective inviting the viewer to consider the rooms beyond. The entire casket is also presented to us in a bold gold colour, something which is quintisential in Hispano-Moresque art such as this. The casket follows the common design hallmarks therefore of many souvenir pieces produced in the city at the time, mimicking the ancient islamic art which was once prominent in the area.

An Alhambra style, gold overlaid, casket (Toledo workshop) 19th century, 1870 BCE 1900 BCE 11.4 x 7.6 x 6.3 cm Toledo, Spain (MS.1307)

A Toledo style trinket box, featuring a domed lid and four short legs. This piece is finished in a very striking style which is indicative of its production. utilising a strong contrasting design between the black background and the gold patterned decorations, as well as traditional islamic an-iconic decoration, this piece is a beautiful example of Hispano-Moresque art. Pieces such as this would be crafted with the burdgeoning practise of european travel in mind, which brought many Europeans into Toledo as a significant stopping point on their way through to Italy and beyond.

Toledo workshop damascened trinket box, 19th Century CE - 20th Century CE 5.1 x 7.6 cm Toledo, Spain (CB.90)

This elaborately decorated minature trinket box is a beautiful example of the work produced by the Toledo workshops of the 19th century. It features a red velvet lining and stands upon beautifully ornate golden legs. The intricate floral motifs featured on this casket are the result of islamic an-iconic depiction, in which the portrayal of animal and humanistic depictions was banned. As such we are presented with an incredibly delicate and complicated symmetry across the face of this box, in a gold contrast which is incredibly indicative of Hisapno Moresque art.

An Alhambra style, gold overlaid, casket (Toledo workshop) 19th Century 10.2 x 6.3 x 6.3 cm Toledo, Spain (MS.1325)

An Alahambra style gold overlaid letter opener, in the shape of a duelling sword. This minature cutlas ( a type of sword characterised by an exaggerated handguard), is ornately decorated in the traditional style of Hispano Moresque art. This is particularly apprent on both the hilt and handguard of this piece, which features a great usage of gold as is a quintisential feature of art produced in Toledo from this era. We can also see bold geometric patterns across this piece, something which is again a hallmark of the islamic art which inspired this pieces creation. This piece would be designed as a perfect souvenir piece for any visiting the Alahambra palace in this era, who wished to bring something home with them. This is something which would only be heightened by the practical nature of a letter opener.

An Alhambra style gold overlaid letter opener in the form of a duelling sword (Toledo workshop), 19th Century CE 24cm (MS.1275)

An Alhambra style gold overlaid letter opener, appearing in the form of a dagger. We can see in this object many of the design elements which are indicative of Hispano Moresque art from this era. We see for example a great use of repeated patterns across the piece, from the hilt of the dagger to its sheaf. Utilising a striking contrast which is created by the overlaying of gold upon a black background, the piece is intended to be a perfect souvenir piece for anyone who would be visiting the Toledo region during the 19th century. We see upon the blade of this dagger an inscription of a name, utilising a niello technique. This piece is therefore entirely representative of the tourist trade which inspired its creation, which would have brought the creator of this object a great deal of business.

An Alhambra style gold overlaid letter opener in the form of a dagger (Toledo workshop) 19th Century 17.8cm (MS.1269)

An Alhambra style gold overlaid letter opener, produced in the Toledo workshop during the 19th Century. This letter opener, in the form of a dagger, featues intricate patterns and designs, known as an-iconic depiction, something which was of great importance in Islamic art. The patterning is conducted across the entire piece from the ornate sheath, across the balde and to the hilt. This letter opener also features the inscription ‘Toledo’ at the top of its blade, a proud makers mark from the workshop whih produced it.

An Alhambra style gold overlaid letter opener (Toledo workshop), 19th Century CE 20.3 cm (MS.1256)

A beautiful jewellery box in Alhambra style made in Toledo, Spain. Toledo workshops during the 19th century specialised in the production of objects in Moorish style. These artefacts were very often realised with the technique of Damascening, that is the inlaying different metals into one another —typically, gold or silver are inlaid into a darkly oxidized steel background—to produce intricate patterns, much similar to the technique of niello. In this case the decoration features an architectural detail, a mirador: a room projecting from the exterior commanding scenic views of gardens or of the city.

An Alhambra style gold overlaid box (Toledo workshop), 19th Century CE 4.1 x 6.6 cm (GM.0029)

A Toledo Workshop pill box, created in an octagonal design. this piece is crafted with the intention of being sold as a souvenir to the tourists visiting the Alahambra Palace and as such features many of the design elements which we would expect from an object such as this. We see for example a striking use of repeated geometric designs, which spread across the face of this box. Due to the an-iconic nature of Islamic art, intricate geometric designs such as this became the expected way to express meaning in works such as this. When coupled with the heavy usage of gold, something which was again a quintisential feature of islamic art, we are presented with a piece which would have been greatly attractive to any passing visitors to the region, for whom such designs would have been far removed from that which they were accustomed to.

Octagonal Toledo workshop gold inlaid pill-box 7.6 x 5.1 x 2.5 cm (MS.1263)

A beautiful pin dish in Alhambra style made in Toledo, Spain. Toledo workshops during the 19th century specialised in the production of objects in Moorish style. These artefacts were very often realised with the technique of Damascening, that is the inlaying different metals into one another —typically, gold or silver are inlaid into a darkly oxidized steel background—to produce intricate patterns, much similar to the technique of niello. In this case the decoration is skilfully realised with a complex scene beautified through the use of different inlays to create an illusion of depth and transparence.

An Alhambra style, gold inlaid, pin-dish, 19th Century CE 16.5 x 16.5cm (CB.122)

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An Alhambra style gold inlaid vase, prdouced in Toledo during the 19th century. This piece features long, sloping gold handles, which accentuate the elongated neck of the vase, along with stylised architectual motifs.

An Alhambra style gold inlaid vase, 19th Century CE gold inlaid 17.8cm (CB.117)

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An Alhambra style gold inlaid vase, produced in the 19th century. This was a period in which many visitors would be attracted to the Toledo region and as such objects such as this would be produced as striking souvenir pieces in orer to capitalise. This vase features a long, elegant design making great use of gold motifs, something which we see in many pieces of Hispano Moresque art. The central motif of a bird amongst flowers in this piece is particuarly beautiful.

An Alhambra style gold inlaid vase, 19th Century CE gold inlaid 14cm (CB.118)

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An Alhambra style gold inlaid vase, produced in the Toledo region of Spain during the 19th Century. This vase features striking gold inlays, the result of a gold alloy being added onto the existing vase through a process called niello. This results in a strong contrast between the black colour of the vase and these golden highlights, something we see often in HispanoMoresque art.

An Alhambra style gold inlaid vase, 19th Century CE gold inlaid 14cm (CB.116)

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An Alhambra style gold inlaid vase, from the Toledo workshop of the 19th century. This piece features an elegant, elongated design, and strong floral motifs, which are applied through a process of niello. The floral motif is continued through the entirety of the vessel, in which we see many different arrangements of leaves and petals. A vase such as this would have been particuarly striking for any visitors to the Toledo region through the 19th century, for whom this piece was produced.

An Alhambra style gold inlaid vase (Toledo workshop), 19th Century height 27 cm (MS.1418)

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An ornate decorative vase, produced in the Toledo workshop during the 19th century. This piece features a long, elegant design, with an accentuated handle and body. The piece is also decorated with gold, floral motifs, which are greatly accented by the contrasting black background. Vases such as this would be created during the great travel era of 19th century, as a desirable souvenir piece for any european travelers to the region.

Damascened interlaced with gold elegant Toledo workshop vase with handle 17.8cm (MS.1293)

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An ornamental plate, produced in the Toledo Workshop during the 19th ceentury. This plate features an intricate, repeating design, with the insignia of a double headed eagle in the centre. This plate is a fine example of the process of damascening, which is the art of inlaying metal upon metal, replicating the rich texture of the tapestries from which the name derives. This process became perfected in Toledo, becoming a hallmark of any pieces originating from this region. 111

Toledo workshop damascened plate with crest of double headed eagle, 1830- 1910 CE Steel height 25 cm (CB.3474)

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A bronze, double handled Hispano-Moresque vase, produced during the 19th century. This piece features intricate and finely molded decoration in accordance with the islamic principle of an-iconic depiction, which is to say that no humans or animals may appear in islamic works. Instead stories are therefore told through ornaate symbolism such as we see here.

Bronze Hispano-Moresque vase, 19th Century CE bronze 55.9cm (CB.134)

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Toledo workshop damascened plate, featuring a central motif of a mother and her children collecting flowers by a river bank. Above them, we see a portrait of a mans face on the rim of the bowl. The art of Damascening arrived to Toledo directly from Damascus as its name would suggest, from which a very important industry around this craft known as Toledo Gold. since its arrival in the region the craft became perfectted as it was passed through the generations, and has since has become a hallmark of the city.

Toledo workshop damascened plate, 19th Century CE Steel width 30 cm (CB.3475)

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A Toledo workshop damascened plate, featuring a central motif based upon the story of Don Quixote, a popular Spanish tale. The scene depicts Don Quixote upon a horse, while his follower, Sancho Panza, knocks upon a door for him. This scene is presented in avery ornate way in the centre of the dish, through the complicated process of inlaying gold known as Damascening. This prominent use of gold is something which is quintisential to Hispano Moresque art from this era.

Toledo workshop damascened plate with Don Quixote and Sancho Panza Steel width 30 cm (CB.3476)

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An Alhambra style gold overlaid miniaturistic plate, Produced in the Toledo workshop during the 19th century. This plate, which features a central motif of a bird in flight amongst flowers and foliage, is a perfect example of the work of the Toledo workshops during this era. It makes heavy use of golden highlights which are contrasted against the plates black background, the result of a process of overlaying. 123 This ornate and decorative plate would have been produced as a souvenir piece, for visitors to the region during the 19th century period of great travel.

An Alhambra style gold overlaid miniaturistic plate (Toledo workshop), 19th Century CE 10.2 cm (CB.3119)

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An ornamental plate, produced in the Toledo Workshop during the 19th ceentury. This plate features an intricate, repeating design, with a striking geometric design in the centre. This plate is a fine example of the process of damascening, which is the art of inlaying metal upon metal, replicating the rich texture of the tapestries from which the name derives. This process became perfected in Toledo, becoming a hallmark of any pieces originating from this region.

Toledo workshop damascened plate, 19th Century CE width 25 cm (CB.3115)

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VESSELS 127

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The Hispano-Moresque ware is a style of pottery initially created in Muslim Spain, which continued to be produced under Christian rule in styles blending Islamic and European elements. It was the most elaborate and luxurious pottery being produced in Europe until the Italian maiolica industry developed sophisticated styles in the 15th century, and was exported over most of Europe. The industry’s most successful period was during the 14th and 15th centuries. Around 711AD , the Moors conquered Spain and over the following centuries, they introduced two ceramic techniques to Europe: glazing with an opaque white tin- glaze and lustreware, which imitates metallic finishes with iridescent effects. Hispano-Moresque wares use both processes, applying the paint as an overglaze which is then fired again. Lustreware was a speciality of Islamic pottery, at least partly because the use of drinking and eating vessels in gold and silver, which was the ideal of a luxurious lifestyle in ancient Rome and Persia as well as medieval Christian societies, is prohibited, resulting that simple pottery and glass were the main materials used for tableware by the Muslim elite, when Christian medieval elite would still normally used precious metals for both dishes and cups. At first centred on Malaga in the south, and using typical Islamic decoration, by the 15th century the largest production was around Valencia. Wares from Manises and other Valencian towns were mainly for the Christian market, and exported very widely. In the early 14th century, the town of Manises, in the municipality of Valencia, became the most important production centre of Moorish lusterware. Vessels were covered entirely with lead glazes containing tin oxides, which appear matt offwhite to pale pink. Hand- painted in copper and silver oxides, motifs appear metallic pinkish-purple to pinkish- brown. Stylized foliage motifs remain the main decorative motif. In this case the rich foliage enclosed the representation of two fronted animals, their legs rendered with outstanding delicacy. Further vegetal motifs on the rim.

Cache pot with arabesque decorations Earthenware (CB.3446)

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A beautiful vase with a combination of vegetal and calligraphic motifs, following the traditional pattern of Islamic art commanding an-iconic representations. The Hispano-Moresque ware is a style of pottery initially created in Muslim Spain, which continued to be produced under Christian rule in styles blending Islamic and European elements. It was the most elaborate and luxurious pottery being produced in Europe until the Italian maiolica industry developed sophisticated styles in the 15th century, and was exported over most of Europe. Vessels were covered entirely with lead glazes containing tin oxides, which appear matt off-white to pale pink. Hand- painted in copper and silver oxides, motifs appear metallic pinkish-purple to pinkish- brown. Stylized foliage motifs remain the main decorative motif.

Large earthenware basin with Islamic inscription Earthenware (CB.3444)

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Glass making workshops have been known in Bohemia since at least the 13th century. In the 17th century, Czech glassware became as prestigious as jewellery and was sought-after by the wealthy and the aristocracy of the time. Czech glass could be found in the palaces of the French king Louis XV, Maria Theresa, Empress of Austria, and Elizabeth of Russia. During the 19th century Bohemian workshops specialised in single colour opaque glass or in two-colour cased glass. These were decorated in thickly enamelled flower subjects that were painted with great speed. A number of these vases started to bear the foliage and calligraphic motifs typical of the Hispano Moresque Art that had become so highly sought at the time.

A Pair of Hispano Moresque style Bohemian Alhambra Vase Amphora with Gold Decoration, 19th Century Glass, enamel, gold enameling 87 x 23 x 23 cm each Czech Republic (HK.2329)

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A pair of ornate vases, produced in Spain during the 19th century. These vases feature a highly stylised design, with an elongated neck, and two large handles which protrude back to the body of the vessel. The vessel is decorated in an ornate repeating motif of blue and red leaves, with two matching figures being presented at the centre of both vases. Motifs of foliage as can be seen on the majority of this piece were incredibly common in Hispano Moresque vases produced during this era.

Pair of Hispano-Moresque vases, 19th Century CE height 56 cm Spain (CB.990)

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A pair of Spanish Vases, produced in the 19th entury by the Toledo workshops. These porcelain pieces are ornately decorated with repeating floral patterns, in a taditional Islamic An-Iconic manner. Pieces such as this would have been greatly desirable for any visitors to the Alahambra palace, upon the architecture of which these vases are based.

Hispano Moresque Style Spanish Porcelain Alhambra Vases, 19th Century Porcelain 37 x 15 x 15 cm Toledo, Spain (HK.2283)

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A pair of ornate vases, produced in Spain during the 19th century. These vases feature a highly stylised design, which we can see evidenced in the elongated neck, and two large handles which protrude back to the body of the vessel. The vessel is decorated in an ornate repeating motif of blue and red leaves, with two matching motifs depicting a man in Islamic dress being presented at the centre of both vases. The motifs of foliage finished in a striking red and blue on this piece were incredibly common in Hispano Moresque vases produced during this era.

Pair of Hispano-Moresque amphoras, 19th Century CE Earthenware height 43.7 cm (CB.991)

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A pair of Hispano Moresque Amphora vases, produced during the 19th century. These vases both feature shield motifs in their centre, bearing the cypher of a lion in contrasting red and blue. These contrasting red and blue elements are continued across the entirety of the vase through foliage motifs, something which was common in Hispano Moresque vases produced during this era.

Hispano-Moresque amphora, 19th Century CE Earthenware height 57.1 cm (CB.993)

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A Hispano-Moresque amphora, produced between 1860 and 1910 CE. This piece features large, elongated arms, which protrude from the enlongated neck of the vase down to its body. The piece is then finished with a striking red and blue repeated motif, something which is indicative of the style of works produced in the south of Spain during this era.

Hispano-Moresque amphora, 1860 CE - 1910 CE (CB.558)

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A Hispano Moresque Amphora vase, produced during the 19th century. This vase bears a prominent shield motifs in its centre, depicting the cypher of a lion in blue contrasting against its red background. These contrasting red and blue elements are continued across the entirety of the vase through foliage motifs, something which was common in Hispano Moresque vases produced during this era.

Hispano-Moresque Amphora, 1860 BCE - 1920 CE Height 45.7m (CB.562)

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A Hispano-Moresque Ewer, produced between the 18th and 19th Centuries. This piece makes great use of traditional repeating geometric patterning, something which is of great significance in Islamic art. The piece also makes great use of contrasting blue and red colours, as we often see in Islamic works from this era.

Hispano-Moresque ewer, 18th-19th Century CE height 30 cm (CB.994)

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Exceptional pair of Bohemian glass amphoras with gold enamel decoration, realised in transparent blue glass. The decoration in gold enamel represents the foliage motifs that form a quintessential part of the iconographic repertoire of Hispano Moresque Art. Glass making workshops have been known in Bohemia since at least the 13th century. In the 17th century, Czech glassware became as prestigious as jewellery and was sought-after by the wealthy and the aristocracy of the time. Czech glass could be found in the palaces of the French king Louis XV, Maria Theresa, Empress of Austria, and Elizabeth of Russia. During the 19th century Bohemian workshops specialised in single colour opaque glass or in two-colour cased glass. These were decorated in thickly enamelled flower subjects that were painted with great speed. A number of these vases started to bear the foliage and calligraphic motifs typical of the Hispano Moresque Art that had become so highly sought at the time.

A Pair of Hispano Moresque style Bohemian Alhambra Vase Amphora with Gold Decoration, 19th-20th Century Glass, enamel, gold enameling 63.5 x 23 x 15cm each (HK.2434)

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Exceptional pair of Bohemian glass amphoras with gold enamel decoration, realised in transparent green glass. The decoration in gold enamel represents the foliage motifs that form a quintessential part of the iconographic repertoire of Hispano Moresque Art. The shape clearly recalls the one of the large vases made for the Alhambra in Granada. During the 19th century Bohemian workshops specialised in single colour opaque glass or in two-colour cased glass. These were decorated in thickly enamelled flower subjects that were painted with great speed. A number of these vases started to bear the foliage and calligraphic motifs typical of the Hispano Moresque Art that had become so highly sought at the time.

Pair of green vases with gold decoration Glass (HK.2542)

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In the early 14th century, the town of Manises, in the municipality of Valencia, became the most important production centre of Moorish lusterware. Vessels were covered entirely with lead glazes containing tin oxides, which appear matt off-white to pale pink. Hand-painted in copper and silver oxides, motifs appear metallic pinkish-purple to pinkish-brown. Stylized foliage motifs remain the main decorative motif. The shape of this amphora is the one of the large vases made for the Alhambra in Granada during the original Muslim domination, imitated during the 19th century revival of Hispano Moresque art. Complex foliage encloses the representation of two fronted animals render with exceptional care and delicacy.

Large Hispano-Moresque amphora, 19th Century CE Earthenware 53.3cm (CB.992)

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When the Moors conquered Spain and over the following centuries, they introduced two ceramic techniques to Europe: glazing with an opaque white tin- glaze and lustreware, which imitates metallic finishes with iridescent effects. Hispano-Moresque wares use both processes, applying the paint as an overglaze which is then fired again. Lustreware was a speciality of Islamic pottery, at least partly because the use of drinking and eating vessels in gold and silver, which was the ideal of a luxurious lifestyle in ancient Rome and Persia as well as medieval Christian societies, is prohibited, resulting that simple pottery and glass were the main materials used for tableware by the Muslim elite, when Christian medieval elite would still normally used precious metals for both dishes and cups. Vessels were covered entirely with lead glazes containing tin oxides, which appear matt off-white to pale pink. Hand- painted in copper and silver oxides, motifs appear metallic pinkish-purple to pinkish- brown. Stylized foliage motifs remain the main decorative motif as beautifully displayed in this amphora, whose shape recalls the one of the large vases made for the Alhambra in Granada during the original Muslim domination, imitated during the 19th century revival of Hispano Moresque art.

Hispano-Moresque glazed earthenware vase, 1700 BCE - 1800 CE Earthenware height 32 cm (CB.3152)

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A beautiful vase with a combination of vegetal motifs, following the traditional pattern of Islamic art commanding an-iconic representations. The Hispano-Moresque ware is a style of pottery initially created in Muslim Spain, which continued to be produced under Christian rule in styles blending Islamic and European elements. It was the most elaborate and luxurious pottery being produced in Europe until the Italian maiolica industry developed sophisticated styles in the 15th century, and was exported over most of Europe.

Hispano-Moresque Alhambra style vase, 19th Century CE earthenware 50.8cm (CB.133)

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A Hispano-Moresque globular vase, produced in the 19th Century. This piece makes great use of repeated floral motifs and geometeric patterns across the entirety of its surface area, as is commonly found in Hispano Moresque pieces. The contrast of red and blue against the white background too demonstrates well the innfluence of islamic art upon this piece.

Hispano-Moresque globular vase, 1800 CE - 1900 CE Earthenware 37.6cm (CB.995)

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A Hispano-Moresque amphora, produced in the 19th century. This piece, with its large body and monochromatic blue decoration, bears a great deal of resemblence to other Christian pieces produced throughout Europe during this era. The patterns depicted however remain strongly innfluenced by Islamic tradition, which renders this piece testiment to the cultural exchange which existed in the South of Spain.

Hispano-Moresque amphora, 1800 CE - 1900 CE Earthenware 52.1cm (CB.2742)

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Ceramic vase of globular form with stylised vegetal decoration in copper metallic overglaze, whose shape recalls the one of the large vases made for the Alhambra in Granada during the original Muslim domination, subsequently imitated during the 19th century revival of Hispano Moresque art.

Hispano-Moresque vase, 17th to 18th Century CE (MS.1977)

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A beautiful ewer in earthenware with tin glaze and luster decoration. A ewer, or pitcher, would originally have been placed in the basin. Together they would have been used for washing one’s hands.

Hispano-Moresque ewer, 19th Century CE Earthenware 32.5cm (CB.988)

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A Hispano Moresque Albarello type vase, produced in the 19th Century. This piece makes great use of repeated geometric patterning, based upon folliage in contrasting red and blue. Patterns such as this were indicative of the work being produced by the Hispano Moresque workshops during this era.

Hispano-Moresque albarello type vase, 19th Century CE earthenware 63.5cm (CB.996)

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A Hispano-Moresque amphora-type vase, featuring a prominent depiction of two deer surrounded by floral motifs, in a blue and red contrast which was indicative of Hispano Moresque art produced during this era. The contrast between the Islamic patterns across this piece with the Christian depiction of deer remains evidence of the two innfluences upon the art of southern Spain during this era. By the illegible arabic text found on this piece however, we can tell that it was made by Christian craftsmen.

Hispano-Moresque amphora-type vase, 19th Century CE Earthenware 53.3cm (CB.2743)

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A Hispano-Moresque amphora-type vase, featuring a prominent depiction of two deer facing each other, which are surrounded by floral motifs. The entire vase is finished in a striking blue and red contrast which was indicative of Hispano Moresque art produced during this era. Although the piece is predominently decorated with Islamic patterns which are innfluenced by An-Iconic depiction, this is contrasted with the Christian depiction of deer , which was forbidden in traditional islamic art. This fact coupled with the illegible arabic text found on this piece shows that it was made by Christian craftsmen.

Hispano-Moresque amphora, 19th Century CE Earthenware 50.8cm (CB.2744)

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A Hispano Moresque amphora type vase, produced in the 19th entury by the Toledo workshops. This porcelain piece is ornately decorated with repeating floral patterns, in a taditional Islamic An-Iconic manner. Pieces such as this would have been greatly desirable for any visitors to the Alahambra palace, upon the architecture of which these vases are based.

Hispano-Moresque amphora-type vase, 1800 CE - 1900 CE (CB.561)

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An early example of a Hispano Moresque Style Vase, produced between the 17th and 19th Centuries. This piece makes great use of emphasising a central motif through contrasting its blue colouring against a red and white background. Amongst the geometric patterning across the vase our eye is drawn to the central motif which is a depiction of the tree of life, something which was of great importance in Islamic art.

Hispano-Moresque large albarello, 17th- 19th Century CE Earthenware 40.6cm (CB.997)

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A fine example of a Hispano Moresque Albarello, produced between the 18th and 19th Centuries. This piece makes great use of repeated geometric patterning, based upon folliage in contrasting red and blue. Patterns such as this were indicative of the work being produced by the Hispano Moresque workshops during this era.

Hispano-Moresque albarello, 1700 CE - 1900 CE (CB.559)

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A large Hispano-Moresque albarello, produced between the 17th and 19th centuries. This piece is adorned by many different geometric designs, making great usage of the contrasts created between red and blue upon a white base, such as we see in the checkerboarding at the centre of the albarello. This style of decoration, coupled with the colours utilised, are greatly indicative of Hispano Moresque art and were used in many pieces dating from this era.

Hispano-Moresque large albarello, 17th- 19th Century CE Earthenware 38.1cm (CB.998)

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A large Hispano-Moresque albarello, produced at the end of the 19th century. This piece makes great use of traditional Islamic floral designs, which are an a feature of great importance in Islamic works. We see in this piece a great use of contrast between the red and blue colours used on the Albarello, as was tradition in Hispano Moresque pieces such as this. This results in an incredibly visually striking design.

Hispano-Moresque albarello, 1870 BCE - 1910 CE (CB.567)

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A great example of a large Hispano-Moresque albarello, produced in the south of Spain in the 19th Century. This piece features intricate repeating patterns, based upon Islamic An-Iconic art. This is something we see across all pieces of Islamic art, from its architecture to Earthenware pieces such as this. Thesse patterns are then further highlighted through the use of contrast between the red and blue colouring of the piece.

Hispano-Moresque large albarello, 19th Century CE Earthenware 33cm (CB.989)

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In Islamic society, the use of gold and silverware, which was considered the ideal of a luxurious way of life in ancient Romans, Persians, and medieval Christian society, was forbidden to drink or eat, so the upper class of medieval Christians used plates made of precious metal. Even while cups were used, the Muslim upper class still used simple porcelain and glassware. This allowed for the development of luster ceramics in Islamic society. In the early days, typical Islamic patterns were worn around the Malaga region in the south, and by the 15th century the largest production was around Valencia. In addition to Manises ceramics, Hispano-Moresque ceramics made in other Valencian villages were made for the Christian market and exported to many countries. By the beginning of the 14th century, Valencia’s Manises became the most important production center for Moorish-style luster ware. They are entirely coated with a lead glaze containing tin oxide, which gives them a matte white or pale pink hue. By hand, copper and silver oxide are added to the surface, and the patterns appear pinkish purple or pinkish brown, which looks like the surface of metal. The schematic leaf pattern was the most widely used.

Hispano-Moresque albarello, 16th Century CE - 18th Century CE (CB.555)

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An early example of a Hispano Moresque Style Vase, produced during the 15th Century. This piece makes great use of emphasising a central motif through contrasting its blue colouring against a red and white background. The motifs displayed, which are a repeated depiction of the tree of life, are incredibly common features in Islamic art.

Hispano Moresque Style Spanish Porcelain Vase, 15th Century Porcelain (HK.2282)

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An excellent example of a Hispano-Moresque terracotta vase, produced during the 19th century. 199

This piece is ornately patterned, with many different An-Iconic motifs being displayed across the entirety of the surface area. We also see depicted two deers, which contrast against the An-Iconic nature of the piece. Like much of Hispano Moresque work therefore this piece stands as an example of an exchange between two contrasting cultures.

Hispano-Moresque terracotta vase, 19th Century CE Terracotta 22.9cm (CB.56)

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WA L L C H A RG E R S

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Hispano-Moresque pottery is a style of pottery produced for the first time in a region dominated by Islam in Spain. It is characterized by a combination of Islamic and European elements in the period when Christianity was the main religion. By the fifteenth century, until the Italian Marjolica pottery industry developed in a sophisticated style, Hispano-Moresque ceramics were regarded as one of the most sophisticated and colorful ceramics in Europe and were exported across Europe. The industry was most booming in the 14th and 15th centuries. Around 711 AD, the Moors, an Islamic ethnic group living in northwestern Africa, conquered Spain and introduced two pottery techniques into Europe–glazing a ceramic surface with opaque milky tin, and making luster ceramics that imitates the metal surface by giving it a different color depending on the viewing angle. Hispano-Moresque ceramics are created by using both of these processes to glaze the ceramic surface twice and fire it twice.

Hispano Moresque Style Spanish Porcelain Plate, 17 - 19th Century Porcelain 5.5 x 39.5cm (HK.2261)

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Hispano Moresque Style Spanish Porcelain Plate, produced in Spain. This style of plate makes use of traditional islamic techniques which were introduced into the country and incorporated with existing European traditions. This plate makes great use of islamic scripture, which is displayed in a contrasting blue and gold, with intricate floral motifs filling the four corners of the face. This plate is therefore a great example of Hispano Moresque cermaic work, which was for centuries considered to be the best in Europe.

Hispano Moresque Style Spanish Porcelain Plate, 17 - 19th Century Porcelain 4.3x 36.5 cm (HK.2257)

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A Hispano Moresque Style Porcelain Plate, produced in the style which dominated the southern regions of Spain between the 17th and 19th Centuries. This plate is a great example of Hispano Moresque porcelain, featuring many of the design hallmarks of the tradition. We see intricate, woven motifs across the face of thew plate, ranging from foliage surrounding the central figure to elongated patterning around the rim. This plate makes great usage of contrast betweeen the blue and red elements of the design, something which was a common element of plates produced in this era.

Hispano Moresque Style Spanish Porcelain Plate, 17 - 19th Century Porcelain 5 x 40.2cm (HK.2287)

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A pair of Hispano Moresque Plates, both depicting the same hunting scene in which a woman is shown drawing a bow, shooting a small man with her arrow. The pair are surrounded by a repeating floral motif, indicative of moorish art. The plates are finished in a way which is typical of Hispano Moresque ceramics, creating a deep lustre to the copper coloured decoration on these pieces.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 40 x 40cm (HK.2264 HK.2265)

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A Hispano Moresque Style Porcelain Plate, produced in the South of Spain between the 17th and 19th Centuries. This piece features the depiction of a man in the central motif contemplating the moon and stars. This piece demostrates well the traditional Hispano Moresque process of ceramic making, notably the process of applying a tin glaze over a design traced in coblat blue, upon which metalic elements could be added after the first firing. The result of this process was a beautiful lustre to each work produced, which was considered the best in Europe for many centuries.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 6.7 x 39cm (HK.2971)

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A Hispano Moresque porcelain Plate, featuring intricate floral motifs, surrounding a central figure playing a stringed instrument. This design of this plate is heavily influenced by the intricate patterns that became common in islamic art based upon islamic an-iconic depiction. These traditions would be then incorprated into existing christian design styles, resulting in an interesting blending of the two styles.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 6 x 39.5cm (HK.2970)

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A Hispano Moresque Style Spanish Porcelain Plate, featuring intricate floral patterning, eminating from the centre of the plate outwards in a blue and red which is indicative of Hispano Moresque work from this period. In the centre of this work, we see a motif of arabic text. Works produced in the South of Spain in this era made great use of text such as this as decorative features, which were often either deliberately misspelled or illegible, evidencing work being taken over by Christian craftsmen. Pieces such as this therefore demonstrate the elements of cohabitation between Islamic and Christian cultures in Spain during this time.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 8 x 42cm (HK.2963)

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Here we have a Hispano Moresque plate, which is ornately decorated in a red and blue colour, something which is quintisential to this style of ceramics. In this piece, we can see evidence of the cultural exchange existing between the Christian and Islamic elements in Spain during this time. For example, The piece is decorated in elaborate Islamic patterns, something which is known as An-Iconic depiction, which arose as a way of telling a narrative without depicting humans or animals as was forbidden by religious scripture. The central presence therefore of a male figure on this plate shows to us therefore that it was most probably made by Christian craftsmen, who had adopted the Islamic style for themselves.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 41 x 41cm (HK.2969)

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A Hispano Moresque Style Spanish Porcelain Plate, finished in a deep copper lustre which was a common feature of the ceramic process of the time. This piece makes great use of floral motifs, which are contrasted against the metallic copper elements of the bakground. This is the result of firing the pieces twice, and applying a metalic pigment in between. This resulting copper iridesence is what made Hispano Moresque ceramics so desirable at the time of production.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 42.5 x 42.5cm (HK.2968)

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A Hispano Moresque Plate depicting a central figure on horseback, wearing armour and holding a lance, suggesting them to be a Christian style Knight.The figure is surrounded by a repeating floral motif, indicative of moorish art. The plate is finished in a way which is typical of Hispano Moresque ceramics, creating a deep lustre to the copper coloured decoration of this piece.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 48 x 48cm (HK.2967)

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A Porcelain Plate, which features ornate and delicate decoration based upon the traditional style of Hispano Moresque art. The repeating geometric patterns featured across the entirety of this plate were a common occurance in Hispano Moresque ceramics, based upon Islamic An-Iconic depiction. This results in a beautiful and intricate finish to the plate, helping works such as this to be the most treasured in Europe until the emergeance of Italian maiolica ware in the 15th century.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 42.5 x 42.5cm (HK.2961)

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A Hispano Moresque Porcelain Plate, finished in a striking blue and yellow contrast. This piece makes great use of traditional islamic decoration, which is presented to us through intricately detailed repating geometric designs across the plate. Designs such as this became greatly treasured throughout Europe until at least the 15th century, then seeing a revival again in the 19th century due to the increase of tourism to the South of Spain.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 34.5 x 34.5cm (HK.2291)

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A Hispano Moresque Style Moroccan Porcelain Plate, featuring swirling geometric patterns in a sebka style. The plate is finished in a striking blue and white, resulting in a greatly eye catching piece.

Hispano Moresque Style Moroccan Porcelain Plate, 17-19th Century Porcelain 42.5 x 43 cm (HK.2288)

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A Porcelain Plate, featuring blue and red floral motifs which are traditional to pieces produced by Hispano Moresque craftsmen. This piece features a central coat of arms depicting castles and bulls, as well as a Christian script around the rim of the plate. This piece demonstrates therefore the elements of cultural exchange that took place in the South of Spain during this era.

Hispano Moresque Style Spanish Porcelain Plate, 17 - 19th Century Porcelain 6 x 47cm (HK.2264)

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A Hispano Moresque Style Spanish Porcelain plate, finished in a rich copper colour which was common in pieces produced in the South of Spain during this era. The piece makes great use of repeating floral motifs, which eminate out from and around a central red and white motif.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 40 x 40cm (HK.2960)

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A Hispano Moresque Heraldic Plates, featuring a depiction of an eagle with out-stretched wings, with a triangular shield bearing the cyphers of the armiger. The eagle is enclosed by foliage rendered in light blue.

Pair of Hispano-Moresque heraldic plates, 19th Century CE Earthenware 26.7 x 6.3 cm (CB.986)

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Hispano Moresque Style Spanish Porcelain Plate, bearing intricate repeating geometric patterns. The Hispano-Moresque ware is a style of pottery initially created in Muslim Spain, which continued to be produced under Christian rule in styles blending Islamic and European elements. It was the most elaborate and luxurious pottery being produced in Europe until the Italian maiolica industry developed sophisticated styles in the 15th century, and was exported over most of Europe. Vessels were covered entirely with lead glazes containing tin oxides, which appear matt offwhite to pale pink. Hand- painted in copper and silver oxides, motifs appear metallic pinkish-purple to pinkish- brown. This piece therefore is an excellent example of this craft.

Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 42.5 x 42.5cm (HK.2961)

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A Hispano Moresque Deep Lustre Bowl, bearing a repeating foliage pattern, centred around a large feather motif. This is an early example of the Hispano Moresque ceramic craft, being produced in the 17th century. We see however that many of the hallmarks of the Hispano Moresque design were already in place.

Hispano Moresque deep lustre bowl, 17th Century CE Earthenware 29.2 x 12.7 cm (CB.985)

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A Hispano Moresque Deep Lustre Bowl, finished in a contrasting red and white, and bearing a repeating foliage pattern, centred around a large motif. This is an early example of the Hispano Moresque cermaic craft, being produced in the 16th century, during which works such as this were becoming of great innfluence to Italian Maiolica styles.

Hispano-Moresque deep lustre bowl, 16th Century CE Earthenware 30.5 x 7.6 cm (CB.984)

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A Hispano Moresque Bowl, finished in a contrasting red and white. This piece bears the central motif of a bird, who is surrounded by large feathers and other geometric patterns. Pieces such as this show the increasing innfluence of Christian art on Hispano Moresque works at the time, as the depiction of animals was forbidden in traditional Islamic art. Pieces such this therefore stand as testiment to the cultural exchange that existed in the south of Spain during this era.

Hispano-Moresque copper lustre bowl, 17th Century CE Terracotta 33 x 7.6 cm (CB.68)

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A Hispano Moresque bowl produced in the 18th century, finished in a striking copper iridesence and bearing a repeated pattern of feathers. The striking copper lustre of this bowl is the result of firing the pieces twice, and applying a metalic pigment in between. This resulting copper iridesence is what made Hispano Moresque ceramics so desirable at the time of production.

Hispano-Moresque copper lustre bowl, 1700 CE - 1800 CE (CB.549)

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A Hispano Moresque Porcelain Plate, finished in a deep copper lustre and bearing featuring a depiction of an eagle with outstretched wings. The eagle is enclosed by repeated geometric patterns, in a traditional Islamic style. This piece is characterised by the prominesence of metallic copper elements. This is the result of firing the pieces twice, and applying a metalic pigment in between. This resulting copper iridesence is what made Hispano Moresque ceramics so desirable at the time of production. Hispano Moresque Style Spanish Porcelain Plate, 17-19th Century Porcelain 39.8cm (HK.2294)

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A fine example of a Hispano-Moresque deep lustre bowl, which was produced between the 16th and 18th Centuries. This piece depicts a striking central motif of a bird, surrounded by feather motifs. These motifs are finished in a bold red colour, through whih they contrast greatly with their white background. This piece therefore is an excellent example of the sophistication of Hispano Moresque ceramic techniques in this era.

Hispano-Moresque deep lustre bowl, 16th Century CE - 18th Century CE Earthenware 35.6 x 8.9 cm (CB.982)

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A Hispano Moresque Deep Lustre Bowl, produced between the 16th and 18th centuries. This piece is finished in a contrasting red and white, highlighting a central motif of a bird, which is surrounded by feathers and Islamic patterning. This is an early example of the Hispano Moresque ceramic craft, being produced in the 16th century, yet we see many of the designs hallmarks are already in place.

Hispano-Moresque lustre bowl, 16th Century CE - 18th Century CE Earthenware 47 x 4cm (CB.981)

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A beautiful example of a Hispano Moresque wall charger, produced during the 19th Century. This piece feautres many different examples of islamic patterns, ranging from geometric symetery to floral motifs. The central motif is reminscent of Islamic architectual practise featuring interlocking designs which form a floral Zellij motif. This is a great example therefore of the Islamic innfluence of Hispano Moresque art works from the south of Spain.

Hispano-Moresque, 19th Century CE Earthenware 47 x 13.2 cm (CB.980)

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A great example of a Hispano Moresque wall Charger, finished in a striking red and blue. This piece makes great use of traditional Islamic decorative patterning, a result of the practise of An-Iconic depiction. We see beautiful repeating red and blue floral motifs across the face of this plate, something which was very common in Hispano Moresque art.

Hispano-Moresque wall charger, 19th Century CE earthenware 36.8 x 5.1 cm (CB.975)

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An intricate Hispano Moresque Wall Charger, making great use of contrasting red and blue design elements. We see in this piece the depiction of many different animals, ranging from deer around the centre of the bowl, and a lizard depicted prominently in the middle. The heavy depiction of animals in this piece show that it was most likely produced by Christian craftsman, as such realistic depictions were banned in Islamic art.

Hispano-Moresque wall charger, 19th Century CE Earthenware 15.5 x 2 (CB.971)

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A fine example of a Hispano Moresque Wall Charger, produced during the 19th century. This piece features bold repeated floral motifs, which are highlighted in a rich blue against the red and white background. We also see a great deal of floral decoration across the cente of the charger plate, a direct influence of Islamic art.

Hispano-Moresque wall charger, 19th Century CE earthenware 36.8 x 5.1 cm (CB.976)

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A Hispano Moresque wall Charger, featuring a depiction of an eagle with out-stretched wings, with a triangular shield in the centre. The eagle is enclosed by a repeating foliage design. We see as well the prominence of a contrasting blue text around the rim of the plate, paying testiment to the heavy Christian innfluence upon its production.

Hispano-Moresque wall charger, 19th Century CE earthenware 43.2 x 5.6 cm (CB.965)

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A Hispano Moresque Wall charger, produced during the 19th century in the south of Spain. This piece bears a striking blue insignia across its face, culminating in a royal crown across the top of the charger plate. This is contrasted against the red floral motifs which dominate the rest of the space on this piece. The prominent usage of circular motifs across this plate are reminiscent of the Islamic art which inspired its creation.

Hispano-Moresque wall charger, 19th Century CE Earthenware 38.1 x 7.6 cm (CB.977)

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A Hispano-Moresque wall charger produced in the 19th century. This piece bears a striking repeated foliage motif of red upon a white background, something which is incredibly common in Hispano Moresque art, due to the Islamic influence upon its production. This results in a beautiful and ornate patterning acoss the plate.

Hispano-Moresque wall charger, 19th Century CE 35.6 x 5.8 cm (CB.968)

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A Hispano Moresque Plate, produced during the 19th century. We see in this piece a central motif of an eagle, with its wings outstretched. eminating from this we see traditional Islamic patterning, reminiscent of arabic Keffiyeh designs. We also see many floral motifs, which are common in Hispano Moresque artworks.

Hispano-Moresque plate, 19th Century CE Earthenware 38.6 x 5.1 cm (CB.972)

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A beautiful example of a Hispano Moresque Wall Charger, produced in the 19th Century. This piece features a bold contrast between its red and blue colourings, a traditional feature of Hispano Moresque art. This piece features in its centre Arabic text, which we see often in these pieces. This texts are often purely decorative however, often being the ilegible result of Christian craftsmen.

Hispano-Moresque wall charger, 19th Century CE Earthenware 40.1 x 3.8 cm (CB.113)

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A 19th Century Hispano-Moresque wall charger, finished with repeating floral motifs across the face of the piece. Due to strict rules regarding An-Iconic practise in Islamic art, floral motifs such as this were common features in Islamic art, in order to avoid a focus on concepts such as realism, such as humans or animals, as well as concepts such as growth or life.

Hispano-Moresque wall charger, 19th Century CE Earthenware 30.5 x 5.1 cm (CB.987)

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A 19th century Hispano Moresque wall charger, featuring heavy usage of a repeated blue and red floral design, which was incredibly prominent in Hispano Moresque artwork of the time. We see at the centre of this piece the depiction of a Christian style castle, which hints at the craftmen behind this piece. Pieces such as this therefore pay great testiment to the levels of cultural exchange in the south of Spain.

Hispano-Moresque, 19th Century CE Earthenware 38.1 x 5.1 cm (CB.978)

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A beautiful Terracota Hispano-Moresque Wall Charger produced in the 19th Century. This piece is a great example of the metalic lustre of Hispano Moresque pottery, which comes as the result of a glaze being applied between two rounds of firing. This piece depicts a Christian king upon his throne, holding a septre and orb of coronation. His is accompanied by two angels bearing shields.

Hispano-Moresque decorated Wall Charger, 1800 BCE - 1900 CE Terracotta 18.5 x 1.5cm (CB.61)

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A Hispano Moresque Wall Charger, produced in the 19th Century. This piece makes great use of a striking red colour, on which we see many repeating floral patterns based upon Islamic An-Iconic depiction. Contrasting against this, we see blue highlights across the piece, such as the blue heraldic lion at the centre.

Hispano-Moresque wall charger, 19th Century CE 43.2 x 8.1 cm (CB.962)

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An excellent example of a Hispano-Moresque wall charger, featuring a floral pattern of contrasting red and blue leaves, as is common practise in Hispano Moresque art. At the centre of this piece we see a Cockerel, which is finished in the same contrasting blue and encased as well in floral patterning. This encasement of a animal depiction in AnIconic patterning shows the cultural exchange which was present in the south of Spain.

Hispano-Moresque wall charger Earthenware 5.1 x 47 cm (CB.60)

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Hispano-Moresque wall charger Earthenware 40.6 x 5.6 cm (CB.59)

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A Hispano Moresque Wall Charger, produced during the 19th Century. This piece makes great use of ornate, flowing designs, which are overlayed on a striking blue and red background. We see around the rim of this piece Islamic text, which was written in an intentionally illegible way by the pieces Christian craftsmen. A piece such as this depicts many odf the hall marks of the Hispano Moresque tradition and as such stands as testiment to the production of this region.

Hispano-Moresque wall charger, 19th Century CE Earthenware 45.7 x 4.6 cm (CB.115)

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An interesting Hispano-Moresque wall charger, produced during the 19th Century. This piece makes heavy usage of an intricate floral design, which we see continued across the rim of this piece until the centre, which is finished in a contrasting blue. 289

In the centre of this piece we see depicted Hedgehogs amongst stars, which is evidence of a Christian craftsman as this would bely Islamic An-Iconic practise.

Hispano-Moresque wall charger, 19th Century CE 47 x 7.6 cm (CB.958)

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A 19th Century Hispano-Moresque wall charger, finished in a contrasting red and white which is indicative of this provenence. This piece features a man and a woman, most probably man and wife, wearing traditional Europen dress, suggesting that this piece was of Christian origin. The couple however are surrounded by a floral motif, which is innfluenced by Islamic An-Iconic design, showing the connfluence between the two cultures in pieces such as this.

Hispano-Moresque wall charger, 19th Century CE 45.2 x 6.3 cm (CB.961)

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A Hispano Moresque wall Charger, featuring a depiction of an eagle with out-stretched wings. The eagle is enclosed by a repeating foliage design, which is reminiscent of traditional Islamic decoration. The merging of this two stylistic heritages is greatly symbolic of the exchange which occured between the two cultures in the south of Spain.

Hispano-Moresque wall charger, 18th Century CE - 19th Century CE Earthenware 38.1 x 5.1 cm (CB.974)

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A 19th Century Hispano-Moresque wall charger, finished with repeating floral motifs across the face of the piece. The piece is finished in a contrasting red and blue, which was a hallmark of pieces produced in this region of Spain. Due to strict rules regarding An-Iconic practise in Islamic art, floral motifs such as this were common features in Islamic art, in order to avoid a focus on concepts such as realism, such as humans or animals, as well as concepts such as growth or life.

Hispano-Moresque wall charger, 19th Century CE Earthenware 36.8 x 5.8 cm (CB.970)

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A Hispano Moresque wall charger, produced during the 19th century. We see in this piece a central motif of interlacing geometric designs, reminiscent of the Islamic Zellij. Eminating from this we see traditional Islamic patterning, reminiscent of arabic Keffiyeh designs. We also see many floral motifs, which are common in Hispano Moresque artworks. 297

Hispano-Moresque wall charger, 19th Century CE Earthenware 36.1 x 4.6 cm (CB.973)

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An interesting Hispano Moresque Wall Charger, produced in the 19th century. This piece, finished in a contrasting red and blue, bears a very full decoration, depicting two fishermen struggling with fish amongst blue waves. This depiction of life shows the Christian innfluence behind this pieces production.

Hispano-Moresque, 19th Century CE Earthenware 48.3 x 7.6 cm (CB.979)

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A 19th Century Hispano-Moresque wall charger, finished in a contrasting red and blue which is indicative of this provenence. This piece features a man and a woman, stood either side of a central tree motif in a striking blue.The couple are wearing traditional Europen dress, suggesting that this piece was of Christian origin. The couple however are surrounded by a floral motif, which is innfluenced by Islamic An-Iconic design, showing the connfluence between the two cultures in pieces such as this.

Hispano-Moresque wall charger, 19th Century CE Earthenware 46.2 x 5.1 cm (CB.960)

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A 19th Century Hispano-Moresque wall charger, finished with repeating floral motifs across the face of the piece and a striking geometric design in the centre, reminiscent of Zellij. The piece is finished in a contrasting red and blue, which was a hallmark of pieces produced in this region of Spain. Due to strict rules regarding An-Iconic practise in Islamic art, floral motifs such as this were common features in Islamic art, in order to avoid a focus on concepts such as realism, such as humans or animals, as well as concepts such as growth or life.

Hispano-Moresque wall charger, 19th Century CE Earthenware 38.1 x 5.8 cm (CB.114)

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A 19th Century Hispano-Moresque wall charger, finished in a contrasting red and white which is indicative of this provenence. This piece featurestwo birds feasting from a central tree of life, which was an important design factor in Islamic art. The depiction of the two birds however belys the islamic An-Iconographic nature of the charger, showing the connfluence between the two cultures in pieces such as this.

Hispano-Moresque wall charger, 19th Century CE Earthenware 38.1 x 5.6 cm (CB.966)

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A 19th Century Hispano-Moresque wall charger, finished with repeating floral motifs across the face of the piece with a central Zallij style geometric design. Due to strict rules regarding An-Iconic practise in Islamic art, floral motifs such as this were common features in Islamic art, in order to avoid a focus on concepts such as realism, such as humans or animals, as well as concepts such as growth or life.

Hispano-Moresque wall charger Terracotta height 41.9 cm (CB.64)

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An earthenware Hispano Moresque Wall Charger, finished with a beautiful blue and red contrast which is a hallmark of Hispano Moresque craft in this era. This piece makes great use of contrasting floral motifs, which eminaate around the rim of this piece, leading the eye towards the central motif of an eagle with spread wings.

Hispano-Moresque wall charger, 19th Century CE 41.9 x 6.3 cm (CB.956)

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A 19th Century Hispano-Moresque wall charger, finished with repeating floral motifs across the face of the piece with a central Zallij style geometric design. The piece is finished in a red and blue contrast, which was a hallmark of Hispano Moresque art of this era. 311

Due to strict rules regarding An-Iconic practise in Islamic art, floral motifs such as this were common features in Islamic art, in order to avoid a focus on concepts such as realism, such as humans or animals, as well as concepts such as growth or life.

Hispano-Moresque wall charger Terracotta 43.2 x 3.8 cm (CB.65)

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A 19th Century Hispano-Moresque wall charger, finished with repeating floral motifs across the face of the piece, leading to a central motif which protrudes outwards in eight directions. Due to strict rules regarding An-Iconic practise in Islamic art, floral motifs such as this were common features in Islamic art, in order to avoid a focus on concepts such as realism, such as humans or animals, as well as concepts such as growth or life.

Hispano-Moresque wall charger, 19th Century CE 38.1 x 5.1 cm (CB.957)

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A 19th Century Hispano-Moresque wall charger, finished with repeating floral motifs across the face of the piece. Produced in a subtle contrast against the white background. Floral techniques such as this were a common feature of Islamic art, due to the importance of An-Iconic design. This piece is therefore testiment to the Islamic influence on art from this era.

Hispano-Moresque lustreware charger Terracotta 39.4 x 8.9 cm (CB.62)

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A Hispano Moresque wall charger, produced during the 19th century. We see in this piece a central motif of a mythical creature, with the head of man upon a winged, four legged body. Eminating from this we see traditional Islamic patterning, reminiscent of arabic Keffiyeh designs. We also see many floral motifs, which are common in Hispano Moresque artworks.

Hispano-Moresque wall charger, 19th Century CE 47 x 7.1 cm (CB.959)

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A fine example of a Hispano-Moresquewall charger, which was produced during the 17th Century. This piece depicts a striking central motif of a bird, surrounded by floral motifs. These motifs are finished in a bold red colour, through which they contrast greatly with their white background. The effect of this is then heightened by the piecces rich metalic finish, produced as the result of a glaze being added between two firing processes.

Hispano-Moresque wall charger, 17th Century CE 38.1 x 8.1 cm (CB.69)

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A Hispano-Moresque deep lustre bowl, which was produced between the 18th and 19th Centuries. This piece depicts a striking central motif of a bird, surrounded by feather motifs. These motifs are finished in a bold red colour, through which they contrast greatly with their white background. 321

Hispano-Moresque Charger 1700 CE - 1900 CE 38.1 x 8.9 cm (CB.63)

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A Hispano-Moresque wall charger, produced between the 18th and 19th centuries, finished with repeating floral motifs across the face of the piece with a central geometric design. This charger is a perfect example of An-Iconic practise in Islamic art, featuring contrasting floral motifs in order to avoid a focus on concepts such as realism, such as humans or animals, as well as concepts such as growth or life.

Hispano-Moresque copper lustre charger, 1750 BCE - 1890 CE (CB.550)

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An earthenware Hispano Moresque Wall Charger, finished with a deep iridesence which is a hallmark of Hispano Moresque craft in this era. This piece makes great use of contrasting floral motifs, which eminaate around the rim of this piece, leading the eye towards the central motif of Christian castle. ] Due to these contrasting design elements, this piece exists as a testiment to the two different cultures which coexisted in the south of Spain during this era.

Hispano-Moresque copper lustre wall charger, 19th Century CE Earthenware 39.4 x 6.3 cm (CB.106)

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Hispano-Moresque wall charger, 19th Century CE Earthenware 41.9 x 5.1 cm (CB.967)

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Hispano-Moresque wall charger, 19th Century CE 44.5 x 3.8cm (CB.963)

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Hispano Moresque Art

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