Null Mosque lamp; Syria or Egypt, 19th century. 

Colorless and partially gilded…
Description

Mosque lamp; Syria or Egypt, 19th century. Colorless and partially gilded glass. Measurements: 34 x 25.5 x 25.5 cm. Mosque lamp of colorless glass ornamented with vegetal elements and kufic writing on the entire surface except the perimeter of the lip. The globular body piece has two small handles and a flared neck that opens to a flat profile mouth. Mosque lamps are oil lamps that usually have a large, round body and a narrower neck that widens toward the top, as in this case. They were often made with internal vessels that were filled with oil and a wick to produce light. They are usually made of enameled glass, often with gilding. Some were also made of Islamic pottery, although this was much less efficient for actual illumination. These lamps were usually hung from a circular metal frame and suspended by chains passing through a series of loops on the outside of the body. Circular frames are still used today in many mosques, but with plain or frosted glass lamps for electric lighting. The techniques used are typical of contemporary Islamic glass: the enameled decoration is applied to a pre-fired plain body and the whole is subjected to a second firing. The colored decoration may include verses from the Qur'an, especially the first part of Ayat an-Nur or "Verse of Light" (24:35, see below), inscriptions and heraldic emblems recording the donor, as well as purely decorative motifs.

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Mosque lamp; Syria or Egypt, 19th century. Colorless and partially gilded glass. Measurements: 34 x 25.5 x 25.5 cm. Mosque lamp of colorless glass ornamented with vegetal elements and kufic writing on the entire surface except the perimeter of the lip. The globular body piece has two small handles and a flared neck that opens to a flat profile mouth. Mosque lamps are oil lamps that usually have a large, round body and a narrower neck that widens toward the top, as in this case. They were often made with internal vessels that were filled with oil and a wick to produce light. They are usually made of enameled glass, often with gilding. Some were also made of Islamic pottery, although this was much less efficient for actual illumination. These lamps were usually hung from a circular metal frame and suspended by chains passing through a series of loops on the outside of the body. Circular frames are still used today in many mosques, but with plain or frosted glass lamps for electric lighting. The techniques used are typical of contemporary Islamic glass: the enameled decoration is applied to a pre-fired plain body and the whole is subjected to a second firing. The colored decoration may include verses from the Qur'an, especially the first part of Ayat an-Nur or "Verse of Light" (24:35, see below), inscriptions and heraldic emblems recording the donor, as well as purely decorative motifs.

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Zangaki a. Gabriel LékégianCollection of 42 original photographs. Circa 1890. Vintages, albumen. Each measuring approx. 29 x 23 cm. Each mounted on cardboard backing. Folio. HLdr. d. Zt. with colored paper endpapers and three. Gilt edges (somewhat rubbed and bumped). Egypt Zangaki a. Gabriel Lékégian Collection of 42 original photographs. Circa 1890. vintages, albumen. Each measuring approx. 29 x 23 cm. Each mounted on cardboard. Folio. HLdr. d. Zt. with colored paper endpapers and three. Gilt edges (somewhat rubbed and bumped). Mostly signed in the plate and titled in French, some with numbering. A photograph by Arnoux. - Gabriel Lékégian (1853 - around 1920) was an Armenian painter and photographer who worked in Constantinople and Cairo from the 1880s to the 1920s. The Adelphoi Zangaki (Zangaki brothers) were two brothers of Greek origin who worked as photographers in Ottoman Egypt from the 1860s to the 1890s. Both Lékégian and the Zangaki brothers documented Ottoman Egypt at the turn of the 20th century with their numerous photographs. - Shows numerous ethnographic images, including individual and group portraits, street vendors, veiled women, musicians, farmers at harvest. Also straw transportation on the Nile, a shadoof, cafés, etc. Famous monuments and places in and around Cairo such as the Muhammad Ali Mosque, Sultan Kait-Bay Mosque, ar-Rifa'i Mosque, Caliph Tombs, Qasr El Nil Street, Bab El-Wazir Street, Qani Bey as-Saifi Mosque of Emir Akhor, École de la Validé, banks of the Nile, bridges, etc. - A few prints with small marginal tears or holes. Some with slight signs of age. Album pages somewhat bent, one almost detached. Backing boards occasionally with slight losses and somewhat stained. Overall well preserved. Egypt - Collection of 42 original photographs. Vintages, albumen prints. Each mounted on cardboard. Folio. Cont. half leather with colored paper endpapers and gilt edges (slightly rubbed and bumped). - Mostly signed in the plate and titled in French, some with numbering. One photograph by Arnoux. - Gabriel Lékégian (1853 - around 1920) was an Armenian painter and photographer who worked in Constantinople and Cairo from the 1880s to the 1920s. The Adelphoi Zangaki (Zangaki brothers) were two brothers of Greek origin who worked as photographers in Ottoman Egypt from the 1860s to the 1890s. Both Lékégian and the Zangaki brothers documented Ottoman Egypt at the turn of the 20th century with their numerous photographs. - Shows various ethnographic images, including individual and group portraits, street vendors, veiled women, musicians, farmers at harvest. Also straw transport on the Nile, a shadoof, cafés, etc. Famous monuments and places in and around Cairo such as the Muhammad Ali Mosque, Sultan Kait-Bay Mosque, ar-Rifa'i Mosque, Caliph Tombs, Qasr El Nil Street, Bab El-Wazir Street, Qani Bey as-Saifi Mosque of Emir Akhor, École de la Validé, banks of the Nile, bridges etc. - A few prints with small marginal tears or losses. Some with slight signs of age. Album pages somewhat bent, one almost detached. Cardboard backings occasionally with slight marginal defects and somewhat stained. Overall well preserved.