Null A380. MSN13. BELLY FAIRING. Rectangular panel of the belly fairing with tra…

Description

A380. MSN13. BELLY FAIRING. Rectangular panel of the belly fairing with trapdoor. By unit. Dimensions: 166cm X 132cm. COMMENT: Panel located under the aircraft, between the landing gear.

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A380. MSN13. BELLY FAIRING. Rectangular panel of the belly fairing with trapdoor. By unit. Dimensions: 166cm X 132cm. COMMENT: Panel located under the aircraft, between the landing gear.

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Estim. 900 - 1 000 EUR

Russian icon from the Old Believers' Workshops, 19th century. "The Virgin of Burning Bush". Tempera on panel. It presents losses in the pictorial layer. Measures: 31,5 x 26,5 cm. The Virgin of the Burning Bush is one of the most complex and symbolic Marian icons in Orthodox iconography. It alludes to the homonymous passage of the Old Testament. At the symbolic level it develops different facets of Christian worship related to the appearance of Christ, based on the Old Testament stories. This Old Testament Epiphany was commemorated with the creation of a chapel in honor of the Burning Bush, which was built behind the altar of the Cathedral of the Monastery of St. Catherine, at the foot of Mount Sinai. The iconography is known from proto-Christian times, when the Praying Virgin, or in some cases the Odigidria, was depicted enclosed in the Burning Bush, together with Moses contemplating her on his knees. In the middle of the 16th century, coinciding with the rule of Ivan the Terrible, the icon of the Virgin of the Burning Bush changed its appearance, enriched with symbols and allegories. In those times Old Russia was experiencing a significant expansion of the territory towards Siberia, Astrakhan and Kazan. Russia has become the most important Orthodox center in the world. Likewise, the Virgin and the Burning Bush came to be represented half-length, holding the Child Jesus in her arms, within a bicolor eight-pointed star, which is composed of two rectangles, red, symbol of the Burning Bush, and green, which in some cases can be emerald-green, as in the case of the icon auctioned, symbolizes the growing bush. In the corners of the green rectangle we find the angels, protectors of the Virgin, and on the green clouds rest the elements of nature. In the corners of the red rectangle are the tetramorphs, and in the red clouds the corresponding evangelists. In the corners of the icon rest four independent miniatures, alluding to different prophets, which in turn enrich and complete the Epiphany. Variations can be found. In the case of the icon of interest, these are Moses, in the upper left corner, prophet Isaiah, in the upper right corner, Ezekiel, in the lower right corner, and, finally, Jacob's ladder, in the lower left corner. On the sides there are abundant inscriptions, which accompany the visual iconography, explaining each scene. This interest in explaining biblical scenes by means of inscriptions developed in Moscow around the middle of the 16th century in intellectual ecclesiastical circles and became very popular in the iconography of the Old Believers. Another more obvious symbol, which indicates that this icon belongs to the workshops of the Old Believers, is the blessing with two fingers.

Estim. 4 000 - 6 000 EUR

Lot consisting of box with Tuareg trousseau and Ehel scepter. Amazigh-speaking Tuareg peoples. West Africa, Sahel Region, Mauritania, late 19th century-early 20th century. . . Lot consisting of box with Tuareg trousseau and Ehel scepter. Amazigh-speaking Tuareg peoples. West Africa, Sahel Region, Mauritania, late 19th century-early 20th century.Ehel, Marriage Ceremonial Sign for Curtain.Carved wood, metal inserts (bronze, copper, silver).Although a functional object, the ehel offered here differs from other specimens held in international museum collections in the exquisite refinement of the carving, rendered by an abstract geometric texture with a cadenced modular rhythm. The object, which is functional in nature but, in turn, also a demarcator of status, consists of two parts: the rod, which was inserted into the sand to support and demarcate the space of the bridal chamber, and the richly decorated upper part, which served as a support for fine leather panels and/or decorative mats given to the bride and groom, or to hold up the couple's travel bags. The geometric latticework was embellished by the application of thin decorative slats of silver, copper and brass, attached with studs, which in turn were engraved with geometric motifs of Berber heritage, also found in the jewelry used by women. The presence of precious material is indicative of the object's dual functionality: when the tent was disassembled during travel, the Tuareg leader of the group distinguished himself through the use of the ehel which, from being a ceremonial object acquired the role of an insignia of power, thus doubling its significance. In addition, the dark patina observable on the object's surface suggests prolonged use over time, placing it probably between the late 19th and early 20th centuries.Jewelry box. Carved wood, metal inserts (bronze, copper, silver, brass), pigments.Splendid rectangular jewelry box made of ebony embellished externally with delicate metal plates of white and silver brass, red copper and yellow copper, two of which also serve as hinges suitable for opening the object. While the outer perimeter of the casket features a simple metal decoration punctuated by small spheres that continues on the short sides and back, the front and top are filled with combinations of intricate geometric patterns that feature refined engravings. The Tuareg aesthetic purely favors a figuration of triangles, rectangles and squares, as they are imbued with symbolism. Triangular shapes, for example, are used and worn as protection against evil spirits. In addition, silver is also considered to have beneficent value, capable of attracting to bakara, or blessings, happiness and good luck.The casket, made entirely by hand by one or more Tuareg artists, was used by a new bride to store within it her dowry, consisting of precious jewelry and talismans inherited from her mother and given to her by her husband after the wedding. Typically, the amount and type of jewelry used demarcates the social status of the woman, signaling whether she was unmarried, married or widowed.The rarity of the object is found inside, as the wood is leather-lined and richly painted with natural pigments recreating protective and auspicious symbols for the bride. Among the talismans found can be seen a hand of Fatima, a symbol of protection, good luck and joy.The box features padlock with original fully functioning key decorated in finely worked metal.Telek, wrist dagger. Wood, metal inserts, leather, pigments.At local festivals and weddings where camel-riding competitions are held, Tuareg men use to adorn their robes with a telek, a short-bladed wrist dagger, and a sword (takoba).The exquisite telek in question, complete with original case made of wood, metal and leather dyed green, features a pointed blade forged of iron, and hilt of wood and metal worked with delicate geometric engravings recalling the rich Tuareg symbolism. The telek was inserted in the inner part of the forearm and hooked to the robe by means of leather strips knotted to the two rings attached to the sides of the case. Typically, the hilt of the telek is positioned toward the wrist for ease of removal.Flask. Coconut, cork, rope, metal inserts (bronze, copper, silver).Rare specimen of coconut dried and reused by Tuareg men as a flask to carry liquids, probably water, distilled water or alcoholic substances. The uniqueness of the object lies in the cover made of metal with bronze and silver lozenge inserts, inci

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