Recueil de cent estampes representant differentes nations du Levant, gravees sur les tableaux peints d'apres nature en 1707 & 1708, par les ordres de M. de Ferriol, ambassadeur du roi a la porte, et mis au jour en 1712 & 1713 par les soins de M. Le Hay
Ferriol, Charles Marquis de. Recueil de Cent Estampes Representant Differentes Nations du Levant. A Paris : Chez Basan, graveur. 1714.
Ferriol, Charles Marquis de (1714) Recueil de Cent Estampes Representant Differentes Nations du Levant. A Paris : Chez Basan, graveur.
Ferriol, Charles Marquis de, Recueil de Cent Estampes Representant Differentes Nations du Levant. A Paris : Chez Basan, graveur. 1714.
This important work forms the "basic prototype for Levantine costume plates" (Atabey). The most luxurious edition of this book, with hand-colored plates heightened with gold and mica. In addition to the sixty or so plates depicting Turkish Court, noble, military and other costume, the work illustrates the regional, religious or national costume of several other parts of the Turkish Empire.
These include Greeks (10); Albanians (2); Jews (3); Hungarians (2); Wallachians (3); Bulgarians (2); Crimean Tartars (1); Armenians (5); Persians (2); Indians (2); Arabs (1); Barbary Coast (4); and Moors (1).
The plates for this work were commissioned by Charles de Ferriol (1652-1722), the French ambassador to the Porte between 1699 and 1709. The plates were engraved after drawings by the Flemish artist J.B. van Mour, who lived and worked in Constantinople for many years during the first part of the eighteenth century. It has been suggested that van Mour came to Constantinople with the entourage of Ferriol in 1699.
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When the paintings were complete, Ferriol helped Le Hay to publish the present prints of the pictures. Le Hay's work was an instant success and the plates quickly became the principal source of turqueries for artists and publishers throughout Europe. In recognition of van Mour's talents, he was granted the unique post of 'Peintre ordinaire du Roi en Levant' in 1725.
Van Mour's paintings (and the plates that derive from them) show Constantinople as a cosmopolitan place with Muslims and non-Muslims uniting in shared 'Ottoman' pleasures. Armenians, Franks, Greeks and Persians are shown drinking coffee, playing mankeh (a version of backgammon), or making music.
The illustrations comprise 1 leaf of engraved music, 100 numbered engraved plates, 2 unnumbered engraved plates. The 2 unnumbered plates and plate no. 100 are printed on double-size leaves, folded at center. The plates have guard tissues. All plates save for the engraved music are hand colored. The 3 double plates at end depict a Turkish wedding, a Turkish funeral and dancing dervishes.
The engravers of the plates after Jean-Baptiste Vanmour's paintings are: Philippe Simonneau, Gerard Scotin the older and Gerard Scotin the younger, Claude Du Bosc, Jean-Baptise Haussard, Charles-Nicolas Cochin, Bernard Baron, Jacques de Franssieres and Pierre de Rochefort.
 pages, , 100,  leaves of plates (3 double) : 52 cm (fol.)
Atabey 429; Blackmer 591; Cohen de Ricci 619; Colas 1819; Lipperheide 413; Bobins 140.
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Publisher: A Paris : Chez Basan, graveur
Date Added: 2019-05-03