Dutch scholar Eloy Koldeweij in his book “Goudleer-Kinkarakawa” states the border originates from Amsterdam around 1660. On page 123 there is a picture of this border form the collection of the Rijksmuseum Amsterdam.
French scholar Henri Clouzot in his book “Cuirs décorés ” 1920 pictures on page XI of book 2 a Rose & Tulip border form the collection of the Museum “Vleeshuis” Antwerp. He dates the panel simply as 17th century and originating form Flanders. The border pictured by H. Clouzot is attached to a panel, when looked closely at one can see some putti and as central theme a fruit basket perhaps an allegory on the abundance ?
The Border we have was originally a reproduction made for restoration purposes by Van Herck Antwerp, a dynasty of antique dealers and restores. I was told the wooden blocks to reproduce the leather panels on cardboard paper were made at the end of the 19th century yet flipping a bend edge revealed a stamp of Van Herck dated 1925. This doesn’t proof the mould was made in the early 20th century yet I confess I would have expected to see 1892 for ex.
As you can see the border is framed by a cabochon and diamonds edge which we unfortunately have not on our border as the original panel we took the print from had a poor definition of this part of the sculpture event though it looks good on the picture.
Eventually it would be worth while to dig into the history of the Van Herck family in Antwerp …… maybe later……
Despite her classic education her art is resolutely contemporary.
Drawing and painting is a passion that never left Lut and its with constant renewed energy and vision that she explores unbeaten paths. In her work she mixes techniques and mediums.
She makes bas-reliefs, paints or draws with ample, strong and harmonious movements.
She uses charcoal and includes in her works techniques that escapes the control of her leading hand, thus reflecting the incertitude of our daily life.
Her architectural mind setting reflects in the way she builds her works, often with underlying geometrical patterns and by the use of construction materials. She pays great attention to perspectives and optical effects.
She claims her work is a reflection and expression of her inner self, showing ordered anarchy in a confined environment.
This funny bird is long time companion of us, we bought it ages ago in our home town, Ghent.
Its a drinking flask, in which one could transport some brandy for his personal comfort during the longer walks or hunting party’s in wintertime.
Snow and cold wears one down and than a sip from the flask will brighten the spirits and lift up the moods.
On these walks it was not uncommon to meet some acquaintance, than all of a sudden the flask becomes a partner in a merry gathering.
The leather from the flask was shaped in the form of a bird, the screw plug is made in horn. There is a seal painted on the belly I believe it to be a brand but its unreadable.
The flask is painted in a superficial way yet not without artistry, to me the bird looks a little sad, maybe because he is out of use for such a long time?
Where was this flask made ? I think it could have been made any-where in eastern or northern Europe. I did as we all do nowadays, I googled along but google avoided my questions by serving me obviously wrong answers. Google knows a lot but this time google was mute.
So the 50 pence question is there for you readers to ponder.
Where and When was this flask made ? If you should have the answer to this enigma, or even the slightest hint that will help us forward, do not hesitate to contact me.
A while ago we made two versions of a poly-chrome Dragon: one on a antiqued silvered ground with no background painting and the other one a poly-chrome panel on a silvered ground and the background painted in an aubergine colour.
As you can see from this picture the panel with the painted background was chosen.
This is the only picture I have form this project, probably taken with an I-phone, at least it gives us some idea of the final result.
It also illustrates how hard it is to get good pictures of interiors we supplied leathers for.
Though I regret it I also understand the meaning of the word “discretion” perhaps its the price to pay to be involved and work for high-end designers and their anonymous clients.
Wish you all a Merry Christmas and a Happy New Year May this blessed season engage the whole world in a conspiracy of peace and love.
I’m indeed a great admirer of Vervoordt’s work. He has a way of selecting quality Art, objects, furniture and accessories and bring them together in an wonderfully complicated yet ordered way. All sits in the right place and its been thought of, even though it seems as if this is merely an accumulation of information and the result a lucky hand.
Here a vue d’ensemble of Vervoordt’s booth
Note: Alongside the central cupboard a gilt leather screen.
Above the arches a faded wall paper blends in with the carved wood, this type of wall paper design is a great classic, we have a similar design in our collection the “Domino” as illustrated here under, with the right colour scheme it would be a close match.
Unfortunately we have not been involved in this wonderful project, but we could have ….
As proves this amazing interior.
We supplied Lauderdale panels for the walls, the panels are separated by Cabochon borders. Inside the hidden bar they used the Abondance and Marot border.
The inside of the door is lined with Soleil panels, framed by Marot borders at the top and bottom of the door and cabochon borders alongside the Soleil panels to span the width of the door with embossed gilt leather.
A remarkable painter of Dutch interior scenes of the 17th century.
He is often compared to Vermeer or at least mentioned in the same phrase, De Hooch being 3 years older than Vermeer.
However Vermeer’s paintings are more emotional. Vermeer is a master in creating an atmosphere, the interior being an accessory to help express the feelings he brushes down so delicately.
De Hooch is more precise, making the interior communicate with the exterior by opening doors and windows, using tiled floors to accentuate the perspective. The interior scene an elegant way to allow painting elaborated surroundings.
Before 1660 De Hooch lived in Delft there he painted middle class interior scenes.
When he moved to Amsterdam his clientele being wealthier the interiors reflect this. High ceilings, rich furniture, paintings on the walls, elaborated tapestries and indeed gilt leather