Null An antique 'Coptic Crucifix', Noord-Africa, 15th/16th C.

Dimensions: (W…

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An antique 'Coptic Crucifix', Noord-Africa, 15th/16th C. Dimensions: (W:5,1 x H:14,2 cm)

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An antique 'Coptic Crucifix', Noord-Africa, 15th/16th C. Dimensions: (W:5,1 x H:14,2 cm)

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Estim. 28 000 - 35 000 EUR

Tapestry from Oudenaarde (Flanders), late 15th century, early 16th century, Technical characteristics : Wool and silk Dimensions: Height: 310cm; Width: 255cm decorated with cabbage leaves or aristoloches and ferocious beasts. Here three wolves face a boar in the center, top left a peregrine falcon above a squirrel, then halfway up on the right a deer wolf also known as a lynx crunching a rabbit, further up on the right a Phoenix, in the top center of the tapestry a Renaissance castle, and in the background mountains. Beautiful border decorated with flowers, leaves and fruit. A tapestry from the same series with a similar border is reproduced in Jacqueline Boccara's book "Ames de laine et de Soie", published by Éditions d'ART MONELLE HAYOT, page 67. This one is entitled "Feuille de choux au Taureau" and shows an Auroch and a Phoenix. Oudenaarde owes its fame to its "verdures", and this reputation has remained attached to the town, even if something else was also produced here. Oudenaarde's verdure tapestries were already being exported to Italy in 1538. The "verdure" cartoons, whose backgrounds were filled with large-leafed plants - probably acanthus leaves rather than cabbage leaves - and peopled with animals and birds of all kinds, were generally used in turn, depending on the availability of looms and fluctuating prices, in the centers of Enghien, Gramont and Oudenaarde, which were very close to each other. Very often, therefore, these tapestries were populated with animals, be they noble, fantastic or even legendary. This showed that fantastic fauna was to be found everywhere, even on the outskirts of people's homes. These tapestries must have been ideal for recounting stories of hunting, counts and legends during the evenings. In times when the real and the fabulous were readily confused, certain animals had a special place in the popular imagination. The lynx was one such animal, both real and fabulous. Our elders knew, from their encounters in the countryside, an animal similar in every way to the one we call lynx today, which they called the loup-cervier (hawk-wolf). These naturalists of another era, influenced by mythology, alchemists and poets, claimed that the lynx or lynx was a fabulous but very real animal, on a par with dragons, chimeras or centaurs. They had proof: When a lynx has peed, its urine freezes. It forms a glistening stone the length of its little finger, which it covers with earth. This gem, called "Lapis lyncis", was found in abundance in the Caen region of Normandy. Skeptics claim they are yellow amber or succinic stones, but it would appear that these stones are actually belemnites, fossilized cephalopods shaped like rifle bullets. Lynchée, the argonaut, is the eponym of the lynx, for like him, he had such subtle discernment that he could see into the underworld. Is it not said that a prince has the eyes of a lynx, when he is so penetrating in affairs, and has such good spies, that he discovers all the secrets of his enemies and everything that goes on in his states? In the 18th century, the question was still being asked by the scientific community. Moderns believe he's fabulous, since he can see through walls. But a man named Jonston claimed he was real, as he was none other than the loup-cervier. Saliger even specifies that he is the male of the species. We are lynxes to our fellows and moles to ourselves. It's the same story as the mote and the beam in the eye: we see the slightest flaws in others, but we don't want to see our own imperfections. Gaston Phébus says that "some call it wolf-hounds, others catz-lous". He adds that "the loup-cervier differs from the chat forestier by its size and by the spots that adorn its coat" and ventures that "the hair that forms tufts at the tips of the ears is used to sense the direction of the wind". In 15th-century south-western France, where Gaston Comte de Foix had his hunting grounds, forest cats, "felis silvestri "s, and lynxes were still numerous. A large cat, weighing over 10 kg, can resemble a young lynx, so it was not uncommon for the two animals to be confused. Since the Middle Ages, the lynx has gradually disappeared from our territory. Eliminated from Ile de France in the 16th century, it took refuge in mountainous areas. In the Hautes-Alpes region, it remained common until 1870. The last lynx in the French Alps was seen watching marmots in 1913 at the foot of the Alps.

Antique Police Award 1927, Police Indoor Sports Festival Bremen, given by Sporthaus W. Kohlmey, dimensions approx. 34 x 17cm, collector's item internal no. A0200200007

Estim. 800 - 1 000 EUR

Cordovan of the 18th century. Embossed and gilded leather. Measurements: 72 x 118 cm; 84 x 128 cm (frame). Molded and embossed leather decorative panel on blue background. The ornamental pattern stands out for its elegance, based on a rhythmic and symmetrical structure with floral and vegetal motifs arranged rhythmically along the front. The guadamecil or guadamecí, also known as Cordoba leather, was a product that originated in North Africa and was introduced in Spain in the 9th century. In Spain, these embossed leather tapestries were known as guadamecí, after the Libyan city of Ghadames, while cordobanes ("Cordovan") meant soft goatskin. In 1316, a guild of Cuir de Cordoue (Cordoba leather) existed in Barcelona. Spanish golden leather was popular until the early 17th century. In the 15th or 16th century, the technique reached the Netherlands, first in Flanders and Brabant, where it developed further. Although there were craftsmen in several cities (such as Antwerp, Brussels and Ghent), the main center of gilt leather craftsmanship was Mechelen. It was also exported to Germany, Denmark, Sweden, China and Japan. The last gilt-leather merchant in Amsterdam, Willem van den Heuvel, closed around 1680, but trade and production continued in Flanders and northern France. With the advent of printed wallpaper from around 1650, often imported from China and manufactured in Europe, the much more expensive leather wall coverings began to decline, although they continued to be used, in a rather revivalist spirit, in very luxurious homes.

Estim. 5 000 - 6 000 EUR

Spanish school; XV century. "Angels". Marble. Presents faults and restorations. Measurements: 35 x 97 x 10 cm. Gothic carving made in marble representing a procession of angels, all of them arranged as a frieze. Both the material and the dimensions indicate that originally this piece was part of a larger ornamentation, probably an architectural site dedicated to devotion, so iconographically it was probably part of a sculptural cycle. The piece that stands out for its quality presents us with five angels, two of them, located on each side, in profile before the spectator while the others have been carved with a strict frontality. The piece stands out for its symmetry and hieratism, typical of the aesthetics of the period. In any case, the naturalistic and expressive style of the carving allows us to attribute it to the Castilian school of the 15th century, a time when the influences of the last international Gothic and the new Flemish realism penetrated with force in the Hispanic territory, leading art towards a new aesthetic where expression and naturalism, the imitation of physical reality, are increasingly important values. During the 15th century, the realistic style of the Netherlands had a great influence abroad, especially in Spain, but in the 16th century the panorama was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the center of the Flemish school, displacing Bruges and functioning as a center of penetration of Italian influences. In this way, Mannerist influences arrived in the Netherlands and Spain, superimposed on the style of the 15th century. It presents faults and restorations.

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