Collections | International Exhibitions | The diffusion of models and promotion of trade [36 Objects, 1 Monuments]

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The Pietroasa Treasure

4th century AD; discovered in 1837; exhibited in 1867

National Museum of Romanian History

Bucharest, Romania

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 Justification for this item

The Pietroasa Hoard, attributed to the Goths and dating from the 4th to the 5th century CE, was discovered accidentally in 1837. It was first exhibited on the international stage at the 1867 exhibition held in Paris, where it enjoyed a great success.

The Pietroasa Treasure

4th century AD; discovered in 1837; exhibited in 1867

National Museum of Romanian History

Bucharest, Romania

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Tunis 2

c.1852

Victoria and Albert Museum

London, United Kingdom

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 Justification for this item

Tunisia had been a participant at the World’s Fairs since the exhibition held in London in 1851. The Tunisian exhibits, including a Bedouin tent, aroused such interest on account of their peculiarity that they were selected at the end of the exhibition to be used in the newly opened Museum of Manufactures (later the V&A), to serve as inspiration for modern factories.

Tunis 2

c.1852

Victoria and Albert Museum

London, United Kingdom

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Model in plaster

2nd half of the 19th century

Cerralbo Museum

Madrid, Spain

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 Justification for this item

This polychrome plaster-cast recalls a window of the Alhambra Palace in Granada. It is possible that it was created in the workshop of Josè Contreras whose plasterwork brought him great success. His works, which were exposed initially at various World’s Fairs, were bought by private collectors and museums.

Model in plaster

2nd half of the 19th century

Cerralbo Museum

Madrid, Spain

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Model in plaster

2nd half of the 19th century

Cerralbo Museum

Madrid, Spain

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 Justification for this item

The plasterwork realised by the restorer-decorator José Contreras and his son, Rafael (1824–90) was very popular at the World’s Fairs and bought by private collectors and museums, such as the Museum of Manufactures in South Kensington, London (later the V&A).

Model in plaster

2nd half of the 19th century

Cerralbo Museum

Madrid, Spain

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Turkish jugs

3rd quarter of the 19th century

MAK – Austrian Museum of Applied Arts / Contemporary Art

Vienna, Austria

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 Justification for this item

These Turkish jugs were bought by the Österreichisches Museum für Angewandte Kunst at the World’s Trade Fair in Vienna 1873. International Exhibitions played a large part in the circulation of objects, which were often purchased by private collectors and museums. It is interesting to compare the actual jugs with the engraving of them, which was probably made for a catalogue.

Turkish jugs

3rd quarter of the 19th century

MAK – Austrian Museum of Applied Arts / Contemporary Art

Vienna, Austria

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Bowl

3rd quarter of the 19th century

MAK – Austrian Museum of Applied Arts / Contemporary Art

Vienna, Austria

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 Justification for this item

This bowl, produced in Ottoman Turkey, was bought along with the group of jugs by the Österreichisches Museum für Angewandte Kunst at the World’s Trade Fair in Vienna in 1873. The purchase relates to the museum’s interest in documenting the production of objects from various part of the Ottoman Empire.

Bowl

3rd quarter of the 19th century

MAK – Austrian Museum of Applied Arts / Contemporary Art

Vienna, Austria

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Little jar with crested handle

Second half of the 19th century

Museo Artistico Industriale, National Gallery of Ancient Art in Palazzo Barberini

Rome, Italy

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 Justification for this item

Murano glass tends toward bizarre shapes, often of zoomorphic inspiration, which though not particularly functional is extremely successful aesthetically. This little ewer resembles types from the 17th century. Venetian glass has a long history; a prominent promoter of Renaissance glass in the 19th century was the lawyer Antonio Salviati who opened several workshops and showrooms in Westminster, London, from 1866.

Little jar with crested handle

Second half of the 19th century

Museo Artistico Industriale, National Gallery of Ancient Art in Palazzo Barberini

Rome, Italy

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Cup with serpentine stem

Second half of the 19th century

Museo Artistico Industriale, National Gallery of Ancient Art in Palazzo Barberini

Rome, Italy

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 Justification for this item

The motif of glass filaments worked to look like crests has also been used in this cup with a snake-shaped stem. This object, produced by “The Venice and Murano Glass and Mosaic Company Limited”, are part of the collection at the Museo Artistico Industriale that was established in 1872 in Rome to represent products from antiquity to the 19th century and also as a school for the applied arts.

Cup with serpentine stem

Second half of the 19th century

Museo Artistico Industriale, National Gallery of Ancient Art in Palazzo Barberini

Rome, Italy

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Glass vessel (cista) with fenicio ('Phoenician') decoration

Second half of the 19th century (before 1881)

Museo Artistico Industriale, National Gallery of Ancient Art in Palazzo Barberini

Rome, Italy

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 Justification for this item

This cista, a sort of lidded casket inspired by a Spanish model known as a Façon de Venise, displays Phoenician decoration with evident influences of both “Eastern” and “Western” art. This type of product reproduced glass found by archaeologists. The mass emigration of Murano glass-workers to Spain during the 1600s saw the creation of numerous kilns, which worked according to Murano models but adapted it to the local taste.

Glass vessel (cista) with fenicio ('Phoenician') decoration

Second half of the 19th century (before 1881)

Museo Artistico Industriale, National Gallery of Ancient Art in Palazzo Barberini

Rome, Italy

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Alhambra vase

c.1862 (made)

Victoria and Albert Museum

London, United Kingdom

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 Justification for this item

The ceramist Joseph-Théodore Deck, who is well known for his “bleu de Deck”, realised this vase from a copy of an extremely rare, so-called “Alhambra vase”, found at the Nasrid-era Alhambra Palace. Deck’s vase was probably shown at the exhibition held in London in 1862. Owen Jones made a study of the Alhambra Palace and its decoration. Built by the Arabs in Spain, the palace became the symbol of the rediscovery and re-interpretation of Islamic art and inspired the production of many objects.

Alhambra vase

c.1862 (made)

Victoria and Albert Museum

London, United Kingdom

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Assyrianising pendant

1865–1870

The British Museum

London, United Kingdom

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 Justification for this item

The jewellery created by Alessandro and Augusto Castellani, exhibited at several International Exhibitions, was inspired by antique Etruscan, Greek and Middle Eastern jewellery. The Castellani were among the founders of the Museo Artistico Industriale in Rome.

Assyrianising pendant

1865–1870

The British Museum

London, United Kingdom

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Moorish Kiosk in Linderhof Palace Park

1867

Ettal, Germany

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 Justification for this item

The fairy-tale interior of the “Moorish Kiosk” was the Prussian contribution to the exhibition held in Paris in 1867. It was reconstructed in 1876 by Ludwig II for Linderhof Palace Park.

Mosque lamp

1867

The British Museum

London, United Kingdom

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 Justification for this item

Brocard, who was one of the first to revive Islamic enamelling techniques, exhibited his work at the Paris exhibition of 1867, making this lamp one his earliest and best executed documented pieces. Brocard’s mosque lamps earned him immense success; they were exhibited in London in 1871, Wien in 1873 and Paris in 1878.

Mosque lamp

1867

The British Museum

London, United Kingdom

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Print

1867 (printed)

Victoria and Albert Museum

London, United Kingdom

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 Justification for this item

The English architect Owen Jones designed this menu card for a banquet commemorating the exhibition held in Paris in 1867. International Exhibitions played an important role in introducing ornamental styles from abroad; the design of this card echoes illuminated Persian manuscripts, which Jones included in his book The Grammar of Ornament.

Print

1867 (printed)

Victoria and Albert Museum

London, United Kingdom

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Dish

c. 1865

Victoria and Albert Museum

London, United Kingdom

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 Justification for this item

This Moroccan dish, displayed at the 1871 exhibition in London and now in the collection at the Victoria and Albert Museum, is an example of an original that was collected by George Maw, a British manufacturer of ceramic tiles, as a source of inspiration for the products produced in his factory.

Dish

c. 1865

Victoria and Albert Museum

London, United Kingdom

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Mosque lamp

1330’s; acquisition date: 1869

The British Museum

London, United Kingdom

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 Justification for this item

This mosque-lamp, created in Egypt around 1345, is a good example of how Philippe-Joseph Brocard was inspired by original objects. Mosque lamps were luxury objects and are among the most spectacular achievements of enamelled glass ware from Egypt and Syria during the Mamluk period of the 12th‒14th centuries. They were avidly collected in Paris and elsewhere in Europe during the 1860s.

Mosque lamp

1330’s; acquisition date: 1869

The British Museum

London, United Kingdom

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Bottle and stopper

c. 1870

Victoria and Albert Museum

London, United Kingdom

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 Justification for this item

This bottle, made in Fez, was displayed at the 1871 exhibition held in London and donated by George Maw, founder of Maw & Co., to the V&A. His factory became one of the most important centres of ceramic production at the time, thanks largely to the use of modern steam presses.

Bottle and stopper

c. 1870

Victoria and Albert Museum

London, United Kingdom

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Medal of the World Trade Fair in Vienna

1873

Kunsthistorisches Museum, Coin Cabinet

Vienna, Austria

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Medal of the World Trade Fair in Vienna

1873

Kunsthistorisches Museum, Coin Cabinet

Vienna, Austria

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Jugs from Tunis

1873

MAK – Austrian Museum of Applied Arts / Contemporary Art

Vienna, Austria

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 Justification for this item

These Turkish jugs were bought by the Österreichisches Museum für Angewandte Kunst at the World’s Trade Fair in Vienna 1873.

Jugs from Tunis

1873

MAK – Austrian Museum of Applied Arts / Contemporary Art

Vienna, Austria

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Diploma awarded to the Vista Alegre factory

1873

Vista Alegre Museum

Vista Alegre, Ílhavo, Portugal

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Diploma awarded to the Vista Alegre factory

1873

Vista Alegre Museum

Vista Alegre, Ílhavo, Portugal

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