World Art

An ormolu and chased sconce decorated with two mermaids surrounded by foliage and reeds. The lower part forms a shell-shaped receptacle or stoup resting on a sheath. Second half of the 19th century, in the taste of Raoul LARCHE. Height 44 cm; Width 29 cm

Statue, Fang, Gabon Wood Height: 36.5 cm Provenance: Charles Ratton, Paris Charles Ratton, Paris André Derain Collection, Paris Sidney Burney, London Arthur S Rothenberg Collection, New York Sotheby's, New York, January 20, 1982, no. 242 Douglas Drake, New York Private collection, Hawaii Bonham's, New York, November 12, 2014, no. 299 Seymour Lazar Collection, Palm Springs Transmitted by descent Lempertz, Brussels, February 1, 2023, no. 30 Collection Richard Vinatier (inv. no. 546) This archaic example of Southern Fang statuary reveals the individuality of its creator in the singularity of its sculptural expression. Intended to symbolically evoke the ancestors - in this case, probably a lineage chief - this eyema byeri effigy had the function of protecting the relics of the clan's important deceased (cf. Perrois, Fang, 2006, p. 25). It is distinguished by the particularly expressive workmanship of the head. The impact of the "heart-shaped" face, with its features narrowed beneath the high, rounded forehead, is accentuated by the size of the eyes, once signified by circular copper plates, and whose presence remains in the traces of the resin used to fix them. This anatomical feature is relevant to a number of early Fang works, notably from the Okak/Mekè/Betsi region (Rio Muni and North Gabon). This feature is probably related to the symbolism of the ancestor statues' eyes, endowed with magical clairvoyance. The head also stands out for its interpretation of the axial-crested headdress (nlo-ô-ngo), whose sculptor has singularly amplified the shape of the side buns, to serve as a case for the face. Combining antiquity, originality of composition and subtle balance of volumes, this statue illustrates the individuality and mastery of a Fang artist, whose talent was at the service of community survival.

Seated statue, Baulé, Ivory Coast Wood, fabric, beads Height: 47.5 cm Provenance: Patrick Girard Collection, Lyon Patrick Girard Collection, Lyon, acquired ca. 1980 Collection Richard Vinatier, Avignon (inv. n0 607) Acknowledged and elevated to the rank of the primitive arts most appreciated by Westerners, Baoulé statuary has conquered aesthetes the world over for its symbolism, its delicate modelling and the peacefulness with which it is animated. Among the modernists, Vlaminck was one of the first to succumb. To his striking "introspective reflection" (Vogel, Baulé: African Art, Wester Eyes, 1997, p. 28) is matched by her rare, remarkable and intriguing seated posture, accentuating her quietude and lending her a meditative allure. The surface of this feminine figure, whose gestures are imbued with delicacy, shows a crusty patina and a few traces of kaolin, enabling it to be identified with an asie usu. It is said to represent, as dictated by the soothsayer (the komyienfwé), "a bush genie" in the form and features of a human corresponding to the classic iconographic criteria of Baule beauty. As intermediaries with natural and supernatural forces, conceived as a receptacle, a dwelling place for spirits, asye usu enabled men, and the diviner himself, to appease, honor and communicate with them. Embodying the spirit of nature, art fulfilled a higher function designed to: "To overcome instinct and irrationality, to overcome the disorder of the world, to inscribe a balance in clear plans and precise contours, to dominate impulsiveness, to immobilize the volatile spirit, to fix for it the constraint of a measure, of a musicality. [...] Impose on an indocile, turbulent being an architectonic, a density, harmonious, gently curving lines" (Boyer, Baulé, 2008, p. 33-34). The elaborate hairstyles, here made up of fine rows of braided plaits, as well as the refined scarifications animating the bust and belly, and the face of this seated female figure, they were according to Susan Vogel "signs of the civilized person" expressing the fact that "the once savage and destructive energies will henceforth work for the good of their human host." (From the Visible to the Invisible, p.237). The power of symbolism is matched by beauty: the more beautiful the statue, the more benevolent the spirit. Its forms complement each other, reflecting each other in perfect harmony. The angular lines of the slender, pointed breasts, bent knees and elbows, contrasting skilfully with the soft oval of the face, with the exaggerated roundness of the belly, on which her hands are carefully placed, suggesting fertility, contribute to the rhythm of the composition. With its proud, dynamic seated posture (the bent legs expressing concentrated energy), its majestic allure and the exaltation of a perfectly mastered beauty, this statue strongly reflects the approach of the most powerful Komyen diviners who, to assert their powers, commissioned the most eloquent sculptures. To approach, to admire, Baule art is to consider the particular and specific visual culture of this society. Nian dan, meaning to stare at a work of art, is socially unacceptable; "in the visual practice of the Baoulé, looking at a work of art, or at objects of spiritual significance, is most of the time a privilege and a potential danger." (Susan Vogel, From the Visible to the Invisible, Art and Visual Culture, page 110). As Boyer (in Joubert, 2016, p.136) and Bernard de Grunne (In Fischer & Homberger, 2015, p.84) point out, with only 5% of examples depicted in a seated position, the rarity of the seated woman sums up the Baoule aesthetic concept in a delicate way. Through its beauty, its sacred symbolic power and its rare posture seated on a stool, it unites the sacred object with the everyday object, two conceptions that are very different from one another. According to oral tradition, the Akan people from Ghana introduced the art of goldsmithing to Côte d'Ivoire in the 18th century. At the heart of Akan mythology, the beings and objects that populate the universe are creatures of Odumankaman and man. Odumankaman created non-material beings and objects, and Odumankaman creates material beings and objects. In the first group, the Akan classify speech, spirits, genies and air. In the second, they mention water, earth, stone, metals, elements of flora, elements of fauna and humans. The Creator of the Universe also created animate and inanimate beings. All these creatures came into being before man, and all these creatures are beings that are born, live and die.

DEUX GRANDS OUSHEBTIS - in siliceous clay and turquoise-blue glaze. Both feature a striated tripartite headdress that surrounds a face with an Osirian beard. The hands are crossed, clasping a hoe and a cord at the end of which is a dorsal grain bag. The rest of the slender body features hieroglyphs (different from each other). The plain dorsal pillar joins a rather large trapezoidal base, typically Saite, which supports the upright mummy. Ancient Egypt, XXVIth dynasty. 6th century B.C. Height: 18 cm (Very good overall condition, minor accidents) Mounted on porphyry pedestals

Malagan ceremonial dance crest mask, Tatanua, Tabar Island, New Ireland Wood, plant fibers, natural pigments Late 19th century Height: 33cm Provenance Dr. Jan Olof Ollers, Stockholm French private collection acquired at Sotheby's (Lot 26), New-York, November 15, 1985 In the north of New Ireland and the surrounding Tabar Islands, ritual life was punctuated by long, complex funeral ceremonies known as malagan. In this ceremonial quest for ritual commemoration, a wide variety of figures, whose totemic motifs varied almost ad infinitum, and masks with very specific functions were conceived. Among this rich corpus, Tatanua masks are the most emblematic and best-known. According to the earliest accounts provided by the German ethnologist Richard Parkinson, the tatanua embodies and represents the spirit or soul of a deceased person. A symbol of timeless beauty, strength, poise and power beyond death, the tatuana was traditionally worn by the young men of a village at public dances, either in pairs, groups or ranks. According to Peekel, tatanua masks would have represented and embodied important people, as often during a dance one would hear someone call the mask by the name of the deceased (P. Gerh. Peekel, Die Ahnenbilder von Nord-Neu-Mecklenburg. Eine kritische und positive Studie, Anthropos, vol. 22, 1./2, Jan.-April 1927, p.33). Parkinson was the first to emphasize their festive and social character. He sees them as a manifestation of the Neo-Irish ideal of masculine beauty (R. Parkinson, Dreissig Jahre in der Südsee, Stuttgart 1907, p. 647). Characterized by their large, imposing, astonishing crested hair called a mulai (Peekel, ibid.), which faithfully corresponded to the tradition of hairstyles adopted to represent and signify mourning: "this particular hairstyle was obtained as the relatives of the deceased grew long hair which was then induced with burnt lime and colored yellow. During the funeral ceremony, the hair was shaved off at the sides, leaving a crest in the middle down to the nape of the neck [...] the sides were then induced with a thick layer of limestone and various ornaments were produced..." (Parkinson, ibid.). (Parkinson, ibid.) This Tatanua mask illustrates - through the remarkable elaboration of its headdress and iconography - the power of fascination exerted by the arts of New Ireland as soon as they were discovered by by Europeans at the end of the 19th century. Intended to provoke a visual shock when the mask is turned, the headdress is divided into two parts, one in the shape of a skull, subtly decorated alternately with black fibers, fabric and scrollwork, and an imposing, vigorous crest, exceptional here, embellished with tufts of raised red plant fibers. The majesty and beauty of the headdress accentuate the strength of the face, with its tight features and carnivorous expression. Enhanced by the finesse of the sculpted and painted motifs, it underlines the criteria of masculine beauty in New Ireland: a broad nose, with widely hemmed nostrils, a large mouth with lips projected forward, and teeth marked by alternating black and white pigments. The eyes, set with cowrie shells, accentuate the intensity of the gaze and the presence of the mask. His open mouth, with its fleshy jaw, invigorates the face, reinforcing the aggressive, combative expression of the mask intended to chase away evil spirits.

BELL-SHAPED CRATER depicting two maenads standing on either side of a basin. One holds a pyxis and a crown, the other a circular dish and a bunch of grapes. Opposite, two draped men in conversation. Red-figured ceramic. Broken and glued. Restorations Magna Graecia, 4th century B.C. Height: 34.5 cm Provenance: private collection. Under foot, Château de Villetard, 1999.

Charles CATTEAU (1880-1966). Boch Keramis art deco box with Iznik decoration. D.69 Diameter: 13 cm.

Mask Pende, Democratic Republic of Congo H. 51 cm Please ask for condition reports before the sale: they are not included in the listing.

MOSER Henri. - Oriental weapons and armor. H. Moser-Charlottenfels Collection. Leipzig, Karl W. Hiersemann, 1912. Large folio (52 x 42 cm). In filled green percaline folder, oriental-style decorated boards, gold title on spine, gilt head, in slipcase. xvii pp. with 1 frontispiece title in a color illuminated cartouche and 44 lithographed plates, 10 in color, mounted on tabs and protected by serpents, and figures in the text including Moser's portrait. An edition of 300 copies, of which 125 are in German, 75 in English and 100 with French text, all numbered by the press. The French version is no. 94. Ex-libris. This precious Collection of Oriental Arms was put together, as the author admits, at a time when the taste for Oriental art was far from reaching the degree of development it has today. In his touching preface, Moser recounts how, as a mere lieutenant, he left with the Russian army in 1868 to conquer Turkistan. One of the first, after Vambéry, to visit Bukhara, he was even detained for a time in the Emir's prisons. He sometimes acquired marvellous Damascus blades for a bottle of vodka; or "attached to the first embassy sent to the Emir of Bukhara by H.M. Emperor Alexander III, I received from the hands of General Prince Frederic Sayn-Wittgenstein, the very arms of Shamyl, the great hero of the Caucasus". After the preface, this luxurious edition opens with three watercolors by Scott, reproduced like the rest of the plates by the Vienna printing house and forming a magnificent introduction to the complete armor, rider and horse equipment, helmets, armbands, sabers, daggers, rifles and pistols. A brief description of the plates, with oriental names (Arabic, Persian, Turkish and Indian) given in transcription.

Large KYLIX with shiny black varnish. Intact. The center is decorated with incised circles and two series of delicate stamped palmettes. GREAT GREECE - 4th c. BC D: 21.5 cm - D with handles: 29.5 cm

Charles CATTEAU (1880-1966). - Charles CATTEAU (1880-1966). Set of two small Boch Keramis vases with Iznik decoration. D.69

Charles CATTEAU (1880-1966). - Charles CATTEAU (1880-1966). Boch Keramis art deco vase with Iznik decoration. D.69 Ht : 31 cm.

NOT VENU

A Chalice, gilt brass mounted with enamelled medallions, Gothic Revival. Six medallions with images of the four evangelists in their tetramorph, Christ and The Virgin Mary with a 'Sacred Heart'. Circa 1900. Condition report: The chalice is in used condition. Dimensions: (H:21,5 x D:13 cm)

PAPUA NEW GUINEA, Ceremonial and combat shield, carved with engraved decoration, symbolizing the Bipane pendant worn by chiefs. Wood, natural red, white and black ochre pigments. Asmat, Papua, Indonesian Papua, Western New Guinea. H. 146 x 41 cm Reference: Carlos MICHAUD, "Un sourd chez les Papous", 2002, reproduced p31 Expert: Serge Reynes Provenance: Collection of Carlos Michaud

Singarin mask Bas Sepik, Papua New Guinea Wood Height: 27, 4 cm Provenance Roberta Nochimson, New York French private collection Unmistakably different from the classic stylistic corpus of masks from the region near the mouth of the Sepik River, often characterized by a long, lanky face and imposing nose, this mask with its softer, more delicate features, rendered by its oval-shaped face, played a primordial role in rites of passage to adulthood, embodying a powerful ancestor-spirit. A sacred intermediary between the ancestor it represented and the person who owned it, it was alternately exhibited at ceremonial dances, or preciously preserved in the "House of Men", a place of worship and transmission of knowledge. They were also displayed at ceremonial dances. The harmony and softness of its oval curves, reinforced by its concave shape, is skilfully contrasted with the power of its serious, austere expressivity conferred by its pinched mouth. Her eyes, magnified by the raised superciliary arches, are hollowed out, tapered and almost pleated, piercing the viewer and seeming to probe the world of the living with acuity. Beautiful patina ranging from auburn to darker brown. For a comparable work from the Pierre Langlois Collection.

A large collection of embroidered parts and fragments of Chasubles and religious Vestments.

Oshe Shango Yoruba Nigeria Wood, pigments Late 19th - early 10th century Height: 33 cm Eugène Betra base Provenance: Private collection, Belgium Private collection, Belgium Private collection, France Olivier Larroque, Nîmes Richard Vinatier Collection, Avignon (inv. n°149) Bibliography: Object published in Danse avec Shango, dieu du thonnerre, Richer Xavier, Joubert Hélène, Somogy, Paris, 2018, p.78 and 79. Shango, god of lightning and thunder, stands out among the many Orisha deities of the Yoruba pantheon for his remarkable power. A protean entity, taking on the identities of man, king or nature spirit, he embodies one of the many spiritual forms deployed to radiate the grandeur and power of Olodumare, supreme god of Yoruba mythology. Alongside Ogun, god of iron, war and hunting, Shango represents Olodumare's "wrath". The legend behind the cult recounts that Shango, a military general, became the fourth king of the Yoruba empire of Oyo. Fascinated by magic, he created lightning, but accidentally caused considerable damage, including the death of his own children and wives. At the end of his days, terrifying thunder storms appeared, interpreted as the wrath of this fallen king, who was then deified as an orisha. Among the attributes conferred on Shango, the Oshe scepters express, in the words of Hélène Joubert, "the creative power of sculptors inspired by Shango's inexhaustible vitality." (Dance with Shango, God of Thunder, 2018). They display a double iconography, linked to the figure of the orante and that of the divinity. The female figure is shown kneeling on a circular base, holding a gourd-shaped rattle in her left hand and an offering bowl in her right. The face is dominated by large hemmed eyes with finely incised lids and a mouth with thick lips. The dome-shaped headdress is topped by the stylized double-axe adu ara emblem attributed to Shango. The ensemble is enhanced by the superb blue hues on the headdress and axe, as well as by highlights of osun - a mixture of camwood powder, laterite (red earth) and shea butter. Ritual use is evidenced by the beautiful old honey-tinted lacquer patina, as well as by the many traces of wear. Yoruba daily life is shaped and interpreted through the power of the orishas, and each deity is celebrated for several weeks. These sticks, part of the ritual accessories during dances and songs in honor of Shango, were brandished above the head to provoke his clemency. Our object stands out for the touching emotion of its curves, whose shiny patina and traces of plaster underline its ritual importance. In contrast to the power and unpredictability of the Shango deity, the impression of refinement and softness conveyed by the modelling perfectly reflects the care given to these individual sculptures, accompanying "the experience of a direct encounter with the god of thunder." (Richer Xavier, Joubert Hélène, Danse avec Shango, Dieu du tonnerre, 2018)

A large collection of embroidered parts and fragments of Chasubles and religious Vestments.

Algeria, Grande Kabylie Silver cuff bracelet with polychrome enamel and coral cabochons North Africa H. 6.5 cm - D. 6 cm Gross weight: 132 g (very slight lack of enamel and slight deformation)

Set of three Persian pen trays, two in damascened iron and one in papier maché with floral decoration. Early 20th century. L.: +/- between 20cm and 23.5cm.

BRAZIL, AMAZONIA, bent wooden ring and brow decorated with three feathers. H. 53 cm Hyacinth macaw midnight blue rectrix feather. Anodorhynchus hyacinthinus. I/A. Yellow and blue macaw rectrices. Ara ararauna. II/B. Reference: A CITES export certificate may be issued to the purchaser. We would like to thank Maître Isabelle Boudot de La Motte for this detailed information. Provenance: Collection of Carlos Michaud

Crochet mask Rao / Romkun population, Central River Region Ramu // Upper Goam River, Madang Province Province, Papua New Guinea Carved wood, black pigment Early 19th century Height: 43cm Provenance: Kevin Conru Collection, Brussels Kevin Conru Collection, Brussels Galerie Flak, Paris Literature: Galerie Flak, Sepik. Crochets, Figures & Masques, Paris, 2018. Reproduced on page 34. André Breton, fascinated by the artistic creation of Oceania, saw in it "the greatest immemorial effort to account for the interpenetration of the physical and the mental, to triumph over the dualism of perception and representation, to go beyond the bark and up to the sap." (André Breton, in L'Art magique, 1957) Art as an intermediary means of transcending physical realities, exploring, suggesting and revealing the very essence of existence and spirituality. From the artistic dimension emanated the metaphysical dimension. Behind the sculpted "bark" lies the "sap", the spiritual force and sacred energy through the object's incredibly inventive plastic solutions. This crochet mask, whose very rare corpus is poorly documented, presents a skilful and complex architecture that plays on volumes and planes with ingenuity. Set in an elongated, stretched oval with sharp, pointed ends, the stylized face is articulated around a resolutely ingenious, original and structured composition. From forehead to chin, a series of interlocking, curved hooks deeply carved into the wood surround the face, accentuating its features and expressiveness. The circular, tubular eyes in relief, the slim, hooked nose extending disproportionately far into the protrusion of the mention espouse a similar shape, one joining the other to form a median axis, thus accentuating by contrast and linear opposition, the rhythm conferred by the repeated curves around the perimeter of the hook mask. The small oval mouth with slightly raised, half-open lips. According to John Friede (Friede, 2005. Vol1, page 152. Vol2, n°128), this type of mask, with its curved hooks, similar and comparable to the faces of the Romkun anthropomorphic sculptures of the Rao, was attached by means of fibers, at each end in the shape of a button, to long bamboo tubes up to 4 meters long, used to modify the voice. This voice modification created the illusion that the sound emanated from supernatural entities. This type of sacred instrument was played during initiation rites (Friede, New Guinea Art. Guinea Art. Masterpieces from de Jolika Collection of Marcia and John Friede, 2005: 152, fig.128 (vol.I), 102, n°128 (vol.II), exhibition catalog, Gallery de Young, Golden Gate Park, San Francisco, October 2005).

Canakkale ewer called "Demoiselle d'Avignon "Demoiselle d'Avignon" in glazed terracotta with floral decoration 19th century Turkey.

Gurunsi statue, Burkina Faso Made of wood. Dimensions: 76.5 x 12.5 x 9.5 cm Provenance: Private collection, Paris: Private collection, Paris Renaud Vanuxem, Paris Like the statuary of the neighboring Lobi, Gurunsi effigies have a crusty patina and are used for divinatory and therapeutic practices. This small, rare corpus is similar to Nuna objects from a nearby region. Gurunsi also share common features, such as the crusty patina, with Lobi statues, but are more sophisticated in their decoration and finish. Carved in dense, rough wood, the male effigy is animated by a quiet strength rendered by its slender dimension, its legs whose lower limbs have disappeared, the wood gullied, seem infinitely long. Firmly curved, with rounded pelvis and buttocks, rounded belly and flattened upper torso, revealing small, square shoulders. The thick, almost non-existent neck supports a face with strong, powerful features reinforced by a subtle interplay of relief planes and concave and convex shapes. The concave shape of the lower face accentuates the pout of the small, forward-projected mouth, and the circular, high-relief eyes, whose intensity is heightened by a linear, raised arch of the eyebrows. The figure is topped with a summit crest.

REPUBLIQUE DEMOCRATIQUE DU CONGO, Bust representing a standing nude ancestor, hands placed on his generous belly as a sign of abundance. His face displays a beautiful hieratic expression, accentuated by his half-closed almond-shaped eyes. His headdress is carved with a cruciform symbol, arranged in a circular back bun. Wood with brown patina, weathering on the lower part. Hemba, Democratic Republic of Congo, 20th century. H. 44.5 cm - L. 16 cm Reference number: Expert : Serge Reynes Provenance: Former collection of Jean-Hugues Gürr, Geneva

BRAZIL, AMAZONIA, Model of a boat, with two indeterminate objects. Carved wood with traditional brown decoration. People, Carajà ( Karajà ), Rio Araguaia valley, Brazilian Amazonia. 53 x 28 cm Reference number: Expert : Serge Reynes

BRAZIL, AMAZONIA, a bow and two arrows in a frame. Bow composed of : - two wing feathers or primary remiges of yellow and blue Ara. Ara ararauna. II/B. - two secondary remiges feathers of chicken. NR. Arrows composed of : Three primary wing feathers of raptors genus Buteo or Parabuteo , Accipiter spp (it is very difficult to know exactly which species these are). 200 x 24 cm Reference: We would like to thank Maître Isabelle Boudot de La Motte for this precise information. A CITES export certificate can be provided to the buyer. Condition: Arrow feathers in very poor condition Provenance: Collection of Carlos Michaud

MANGBETU HARP with female face in wood. Democratic Republic of the Congo. 44x41.

BRAZIL, AMAZONIA, Carajàs. Set consisting of two "Pidjua" combs and a woven basket containing three children's bracelets. People, Carajà (Karajà), Rio Araguaia valley, Amazonia. Reference: Carlos MICHAUD, Deaf man among the Indians, object reproduced p. 98-106. Expert: Serge Reynes Provenance: Carlos Michaud Collection: Collection of Carlos Michaud

* Set of two Ottoman embroideries, 19th century Linen and cotton embroidered with polychrome silk threads. The first, a fragmentary canvas embroidered with curved floral stems repeated in lines, the second, a hammam towel, probably Greek, decorated with four rows of floral bouquets framed on either side by floral friezes or colored bands, bangs at the edges. 102 x 38.5 cm and 49 x 47 cm Tears, chips, stains and wear Attached is an Ottoman-style embroidered square, probably Turkey, 20th century, the polychrome silk thread embroidery on cotton depicting a pseudo-tughra in a central medallion surrounded by stylized flowers, the whole encircled by a band of Arabic pseudo-calligraphy. 90 x 90 cm (stains, wear, some faded colors)

Thirteen sealed theca with relics for Apostles, Jesus Christ and True Cross. A small pendant with a relic for the true cross SaintJoachim Patris B.M.V. Saint Jacobi Major, Apostle Ex Sepulchro D.N.J.C. Saint Anna Matris B.M.V. Ex Ossibis Mathiae, Apostle, Apostle Matthew Saint John, Apostle (Pendant) Beata Mariae Virginis (B.M.V.) Saint Jacobi Major. Apostle Saint Mathiae Apostle (Pendatn) De Pallio S. Josephi Sp. B.M.V. Saint John The Baptist Santci Petri, Apostle (Peter the Apostle)

An insence burner, bronze in a Gothic Revival style. Circa 1900. Dimensions: (H:34 cm)

A Chasuble, Maniple, Stola and Chalice Veil, Thick gold-thread embroideries. The chasuble with an embroidered image of Saint Francis Xavier. The further Lithurgical Vestments arestola, maniple, bursa and Chalice veils

Ciwara Crest Bamana, Mali H. 29 cm Please ask for the condition reports before the sale: they are not included in the data sheets.

Pierre-Henry FAVIER (1809-?) - Pierre-Henry FAVIER (1809-c.1870), a pair of wine and water cruets, silver. France, 950/1000. 501g. One cruet with an embossed image of grape vines and grapes, Wine. The other cruet has an embossed image of aquatic plants, (Cattails), for water. The cruets and tray with maker's mark for Favier à Paris. Further with a French Minerva mark, 1st grade silver, 950/1000. On the underside of the platter engraved SLB. A similar pair of cruets by the same maker can be found in Amiens, in the collection of the cathedral:https://tresor-cathedrale-amiens.culture.gouv.fr/fr/page/chapelle-favier Total gross weight: 501g. Condition report: Use marks and dents. One missing a lid. Otherwise, The set is in good condition. Dimensions: (L:16,5 x W:27,5 x H:14 cm)

A silver and vermeil Chalice, France, 1819-1838. Provincial mark, 1st grade silver, 950/1000. The mark was used between1819-1838. Further with a Guarantee mark for the provinces, with the assay office number 6 and 7, for South-West. Total gross weight: 464g. Condition report: The chalice has a small dent in the base. Otherwise in excellent condition. Dimensions: (H:30 x D:15,5 cm)

Ten sealed theca with relics, True Cross, Apostles and Jesus Christ. Sancti Martini and Jacobi Major, Apostle Ex Ossibus Thaddai, Apostle Sancti Marci, Evang. Sancti Tomaei, Apostle Sancti Mattaei, Apostle, Evangelist Sancti Andreae Apostle Sancti Pauli, Apostle Sancti Joannis Apostle, Evangelist Sancti Petri Apostle De Ligno S.S. Crucis

Quinze pions de jeu d'échecs ayyoubides - A group of fifteen Ayyubid chess pieces, Probably Syria, 11th-12th century Yellow, green and blue molded glass flask with slight iridescence. D. at base 1.7 to 3.2 cm / H. 2.8 to 4.2 cm. As early as the eighth century, caliphal decrees banned the game of chess (whose pieces are usually depicted) for iconoclastic reasons. It is likely that abstract chess pieces, such as those shown here, replaced figurative ones in order to circumvent these decrees. Provenance : Public sale, France, collection of M. de Wilde (1929-2019). Bibliography: Published in R. de Wilde, Poids, Balances et Pions des Civilisations Anciennes, 2017, p. 230, reproduced on p. 257. Oeuvres comparables / Similar works : Metropolitan Museum of Art, New York, Chess Piece, Pawn, 8th-11th century, Accession Number: 67.151.4. et 1972.9.1 Al-Sabah Collection, Kuwait, Inv. N°LNS 1438 G, Probably Egypt, 10th-12th century. Al-Sabah Collection, Kuwait, Inv. N°LNS 1429 G, 1437 G, East Iranian region, 9th-11th century A group of fifteen Ayyubid chess pieces, Probably Syria, 11th-12th century As early as the eighth century, Caliphate decrees banned the game of chess (whose pieces are usually figurative) for iconoclastic reasons. It is likely that abstract chess pieces, like the ones shown here, replaced the figurative ones in order to circumvent these decrees.

GABON, "Circumcision", Scene of daily life in carved wood. 20 x 18.5 x 13 cm Reference: Expert : Serge Reynes

Set of two Boch Keramis vases modeled Iznik. Height: 22 cm and 24 cm.

Small Iranian high-necked silver decanter with damascened and nielloed decoration of deer and flowers. Isfahan work Iran, 20th century Height 16.8 cm; Weight: 348.8 g. Expert : Laure SOUSTIEL

A reliquary crucifix with a sealed theca and relic of the True Cross. De Ligno S. Crucis D.N.J.C.

BRAZIL, AMAZONIA, Set of two small jars and two bowls in polychrome terra cotta. Carajà ( Karajà ) populations, Rio Araguaia valley, Amazonia Vases : H. 5.5 and 7 cm - Cups : D. 9 and 7 cm Reference number: Expert Serge Reynes Provenance: Collection of Carlos Michaud

Six 'Mother Of Pearl' shells with religious scènes, 19th C. The adoration of the magi Madonna with a child A Calvary/Golgotha Images of The Life Of Christ Various saints, Apostles and Evangelists. Dimensions: (D:15,5 cm)

BRAZIL, AMAZONIA, Bow and four arrows in a frame. Bow: - inner rectrix feathers of Toucan ariel (orange-red feathers). Ramphastos vitellinus. II/B. - some yellow inner wing feathers of Yellow and Blue Macaw, Ara ararauna. II/B. Arrows: - 1 internal wing feather of yellow and blue Ara. Ara ararauna. II/B. - 4 yellow and blue macaw wing feathers trimmed and cut. Ara ararauna .II/B. - 1 primary remige feather of raptor genus Buteo or Accipiter spp. - 2 trimmed and cut brown chicken feathers. NR. Frame size: 200 x 24 cm Reference number: A CITES export certificate may be issued to the purchaser. We would like to thank Maître Isabelle Boudot de La Motte for this detailed information. Provenance: Collection of Carlos Michaud

Two lecterns, silver-plated metal and bronze in a Gothic Revival style. Dimensions: (W:35 x H:29 cm)

Twelve sealed theca with relics for saints. Saint Pacifici As. Servat? Saint Franciscus Hieronymus Saint Libutni Presb. Saint Marculphi the Abbott Saint Livini Bishop and Martyr Saint Francisci Salesi - Francis De Sales Saint Lamberti Bishop and Martyr Ex Veste Saint Ignatii Loy - Ignatius of Loyola Beati Fausti Martyr Saint Gregorii Mag. E. D., Saint Gregory The Theologian Saint Gorgonii Martyr Saint Anthony Patavini - Anthony of Padua

LEKANIS and its lid decorated with a woman's profile and palmettes. Orange ceramic with black and white glaze. Magna Graecia, Apulia, 4th century B.C. . Height: 11 cm Provenance: Collection of Mrs. H. acquired at public auction in 1980-1990.

PAPUA NEW GUINEA, Set of two Adzes, used for making pirogues. Wood, polished stone and rattan, old patina and wear marks. Koroway, Papua New Guinea. 71 x 29 cm - 53 x 32 cm Reference: Carlos MICHAUD, "Un sourd chez les Papous", 2002, reproduced on p. 141. Expert: Serge Reynes Provenance: Collection of Carlos Michaud