Tunisian funerary stele. Islamic art, 15th century
Marble.
Provenance: Collin du Bocage, December 5, 2009, lot 199; private collection of François Antonovich, Paris, France; Collin du Bocage, December 5, 2009, lot 189.
Accompanied by a report by William Greenwood, curator and specialist in Islamic collections at the British Museum, signed and dated June 2, 2025.
Measurements: 80 cm long; 33 cm wide; 11 cm high.
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DESCRIPTION
Tunisian funerary stele. Islamic art, 15th century
Marble.
Provenance: Collin du Bocage, December 5, 2009, lot 199; private collection of François Antonovich, Paris, France; Collin du Bocage, December 5, 2009, lot 189.
Accompanied by a report by William Greenwood, curator and specialist in Islamic collections at the British Museum, signed and dated June 2, 2025.
Measurements: 80 cm long; 33 cm wide; 11 cm high.
An important Islamic funerary stele in marble, of a longitudinal format and slightly trapezoidal in cross-section, decorated with a Kufic inscription and ornamental motifs carved in relief. The piece belongs to a funerary typology characteristic of the North African Islamic world, where epigraphy played a central role as a vehicle for memory, piety, and prestige.
The surface features a visually striking inscription, arranged in a longitudinal band running along the lower part of the piece. The calligraphy, with its monumental strokes and dense ornamentation, serves not only a textual function but also an aesthetic and spiritual one. In Islamic art, the written word takes on a sacred and decorative dimension, becoming one of the primary means of symbolic representation.
Marble, a noble and durable material, reinforces the work’s commemorative character. The carving combines epigraphic areas with plant motifs and ornamental elements, creating a composition of remarkable visual richness. The patina, surface wear, and erosion in some areas are consistent with its funerary function and its age, without hindering the overall reading of the piece or its formal impact.
Its provenance from the collection of François Antonovich—a leading figure in the field of collecting and in the international market for Islamic and Oriental art—adds significant documentary value. Furthermore, the accompanying study by William Greenwood, curator and specialist in Islamic collections at the British Museum, dated 2025, provides particularly significant academic support for its cataloging.
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