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Persian Papier Mache Photo Album (unused) c.1910
An English-type album for mounting photographs with hand-painted Indo-Persian Papier Mache Board Covers and Persian hunting scene tissue leaves.
A late Victorian or Edwardian photograph album, unused with red silk cord binding with orange silk tassles. Front and back covers in papier mache hand-painted in a paisley pattern with raised bump 'Persian Pickles' and a central painted scene; the front with a view of the Khaju (Khajoo) Bridge and the back with a pair of lovers.
Pulp paper pages interleaved with patterned tissue paper, the back of the pages stencil-printed in white with a scene of Indo-Persian warriors on horse-back hunting deer and big cats with bow and spear. Waxed cotton spine.
Unused. In excellent condition - a little damage to the painting and lacquer on some of the raised 'bumps'
13.5" x 7.5"
Khaju Bridge (Persian: پل خواجو pol-e khajoo) is arguably the finest bridge in the province of Isfahan, Iran (Persia). It was built by the Persian Safavid king, Shah Abbas II around 1650 C.E., on the foundations of an older bridge. Serving as both a bridge, and a dam (or a weir), it links the Khaju quarter on the north bank with the Zoroastrian quarter across the Zayandeh River. Although architecturally functioning as a bridge and a weir, it also served a primary function as a building and a place for public meetings. This structure originally was ornated with artistic tile works and paintings serving as a teahouse; In the center of the structure, a pavilion exists inside of which Shah Abbas would have once sat, admiring the views. Today remnants of a stone seat is all that remains of the king's chair. This bridge highlights one of the finest examples of Persian architecture at the height of Safavid cultural influence in Iran. In words of Upham Pope and Jean Chardin, Khaju bridge is "the culminating monument of Persian bridge architecture and one of the most interesting bridges extant...where the whole has rhythm and dignity and combines in the happiest consistency, utility, beauty, and recreation."
Khaju Bridge has 23 arches and is 105 metres long and 14 metres wide. The pass way of the bridge is 7.5 meters wide, made of bricks and stones with 21 larger and 26 smaller inlet and outlet channels. The pieces of stone used in this bridge are over 2 meters long and the distance between every channel and the ceiling base is 21 meters. The existing inscriptions suggest that the bridge was repaired in 1873.
Khaju is one of the bridges that regulate the water flow in the river because there are sluice gates under the archways over the river. When the sluice gates are closed, the water level behind the bridge is raised to facilitate the irrigation of the many gardens along the river upstream of this bridge.
On the upper level of the bridge, the main central aisle was utilized by horses and carts and the vaulted paths on either side by pedestrians. Octagonal pavilions in the center of the bridge on both the down and the upstream sides provide vantage points for the remarkable views. The lower level of the bridge may be accessed by pedestrians and remains a popular shady place for relaxing.
Iranian urban architects, however, note their dismay with the recent, and modern renovations that have taken place at the Khaju.
Papier-mâché (French for "chewed paper"), alternatively, paper-mache, is a composite material consisting of paper pieces or pulp, sometimes reinforced with textiles, bound with an adhesive, such as glue, starch, or wallpaper paste.
Papier-mâché paste is the substance that holds the paper together. The traditional method of making papier-mâché paste is to use a mixture of water and flour or other starch, mixed to the consistency of heavy cream. While any adhesive can be used if thinned to a similar texture, such as polyvinyl acetate based glues (wood glue or, in the United States, white Elmer's glue), the flour and water mixture is the most economical. Adding oil of cloves or other additives to the mixture reduces the chances of the product developing mold. The paper is cut or torn into strips, and soaked in the paste until saturated. The saturated pieces are then placed onto the surface and allowed to dry slowly; drying in an oven can cause warping or other dimensional changes during the drying process. The strips may be placed on an armature, or skeleton, often of wire mesh over a structural frame, or they can be placed on an object to create a cast. Oil or grease can be used as a release agent if needed. Once dried, the resulting material can be cut, sanded and/or painted, and waterproofed by painting with a suitable water repelling paint.
In Persia and Kashmir, papier-mâché has been used to manufacture small painted boxes, trays, and cases. Japan and China also produced laminated paper articles using papier-mâché. In Japan and India, papier-mâché was used to add decorative elements to armor and shields.
Starting around 1725 in Europe, gilded papier-mâché began to appear as a low-cost alternative to similarly treated plaster or carved wood in architecture. Henry Clay of Birmingham, England, patented a process for treating laminated sheets of paper with linseed oil to produce waterproof panels in 1772. These sheets were used for building coach door panels, amongst other structural uses. Theodore Jennens patented a process in 1847 for steaming and pressing these laminated sheets into various shapes, which was then used to manufacture trays, chair backs, and structural panels, usually laid over a wood or metal armature for strength. The papier-mâché was smoothed and lacquered, or finished with a pearl shell finish. The industry lasted through the 19th century.
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