World Art

Head of Osiris. The god is wearing the Atef crown. Two notches on the sides of the crown, one under the chin and a hole in the front were used to hold inlaid elements (feathers, false beard and uraeus), which have now disappeared. It is decorated with wide vertical stripes in ochre and green. The face is outlined in yellow. The chinstrap linking the crown to the false beard is indicated. In his notes, Jean Roudillon indicates that this head was given to him by his father for his eighteenth birthday. In Jean Roudillon's notes: "Gift from my father Marcel Roudillon for my 18th birthday on December 12, 1941". Stuccoed wood and black, ochre, yellow and green polychromy. Egypt, in the taste of the Late Period. H. 12.5 cm Provenance : - Given by Marcel Roudillon to his son Jean - Exhibited at Galerie Le Corneur Roudillon - Jean Roudillon Collection

Kichizô INAGAKI known as Yoshio (1876-1951) An inkwell sculpture of a sparrow on a lacquer base. Kichizô Inagaki, son of a great sculptor and master lacquerer, worked with his father, a palace carpenter, and won third prize in the master lacquerer competition in May 1899, confirming his talent and skills in the traditional arts. After graduating in July 1904 from the Tokyo School of Fine Arts, renowned for its conservatism, he moved to Hong Kong until 1906, where he worked for an antique dealer, mounting sculptures on wooden pedestals. He then set off to discover Europe, settling in Paris. Speaking little French, he survived by selling small sculptures of animals, fish or shells, such as this one, on the sidewalk, and quickly made a name for himself. Then came the great career we know him for, with prestigious collaborations such as with Rodin or Eileen Gray, and work with the greatest antique dealers from Paul Guillaume to Joseph Brummer, who nicknamed him "the Japanese", Charles Ratton, or Jean Roudillon, to whom he gave this splendid sparrow sculpture, characteristic of an ancient tradition of sculpture on burnt and brushed wood (Shou Sugi Ban) and the art of lacquer. A gesture he seems to have made to his best customers and friends. Wood and lacquer, signed with his stamp applied to the inside of the bird sculpture, also in lacquer (see photo on previous page). H. 6.6 cm and W. 9.8 cm See p. 96 to 105 for an article about Kichizô Inagaki by C.W. Hourdé in: Tribal Art n° 66 Winter 2012. Provenance : Jean Roudillon Collection

Snow goggles (ilgaak or inukhuk) for sun protection. Carved monoxyle from whalebone, these snow goggles look like an old boat from Alaska's northwest coast when turned inside out. Inuit, Alaska, U.S.A. Whalebone, small crack, old oxidation and beautiful patina of use Length: 15.3 cm Provenance : Jean Roudillon Collection

A Ci-Wara dance crest depicting an antelope and an anteater. We won't dwell too much here on the traditional aspects surrounding these famous sculptures, Ci-Wara dance crests, the Jo cult and the secret society of the same name, also known as Tyi-Wara. The Tyi-Wara society is one of the intermediary societies after initiation, and is more open and inclusive than other secret societies, integrating women and allowing children to join as well, particularly as the Tyi-Wara society deals mainly with agriculture and much of the farm work is also done by women. It is the particular creative genius of an artist who is the focus of our attention here, and who must be admired, just as he was the focus of Jean Roudillon's interest in preserving this rare work in particular. It is in the former collection of Gaston De Havenon, well known for his taste and collection of Ci-Wara crests, that we find the only other Ci-Wara crest by the same hand (or workshop), published many times since, that is comparable to this one. This work obviously caught the attention of another great connoisseur and connoisseur, forever attached to the history of knowledge of the Bambara world, and at the origin of a unique comparative study of these extraordinary sculptures that are the Ci-Wara cimers, in the person of Dominique Zahan, who identified it under the drawing referenced IM133 in his essential work: Antilopes Du Soleil. The various animals, bearers of numerous symbols, which inspire the artist in his feat of sculpting a Ci-Wara crest, are here probably more than two, and if the Ci-Wara crest formerly in the Gaston De Havenon collection is described in a book as an antelope (black hippotrague) and an anteater, the horns of the Ci-Wara crest from the Jean Roudillon Collection, stretched like swords, are more likely those of the oryx, which disappeared from Mali decades ago. Bambara, Mali Wood, visible missing parts, accidents and restorations to the horns (broken and glued), original parts and restoration of a buckle (in part), beautiful old patina. H. 63 cm See for the other Tyi-wara crest formerly in the G. De Havenon collection in: Antilopes Du Soleil, Arts et Rites Agraires d'Afrique Noire, Dominique Zahan, Ed. A. Schendl, Wien 1980 ref. IM 133 plate 39, and p. 217 n° 201 in: Bamana The Art of Existence in Mali, Jean Paul Colleyn, Ed. Museum for African Art NY 2001. Provenance : Jean Roudillon Collection

A whale tooth engraved with a Marquesan warrior with a tattooed body and face, holding a u'u club, and surrounded by a coconut tree, with a mountain or volcano in the distance. We take up Jean Roudillon's listing in his second sale, after the historic one of December 4-5, 1961 at Hôtel Drouot with Maurice Rheims, of another part of the Voyage de la Korrigane collections on Monday May 31, 2010 in Rennes at Bretagne Enchères : "Whale tooth "Tabua" Called "Scrimchaw" (name in Anglo-Saxon dialect) they were engraved by whaling sailors using a sailing needle. The Fijians exchanged them with the whalers, pierced them with a hole and transformed them into pendants by means of a braided fiber cord, regarding them as symbols of strength. Private collection, not listed in the Musée de l'Homme See: Highlights of the collection of the Fiji Museum 1980 p. 6 ". Marquesas Islands Engraved whale tooth, beautiful patina, engraved inside: GANAY. H. 12 cm Provenance: - Collected during the voyage of La Korrigane (between August 20 and September 7, 1934) - La Korrigane sale, Rennes Enchères, lot 18 - Jean Roudillon Collection Exhibition and publication: Bretagne Enchères sale in Rennes from May 28 to 31, 2010, reproduced on p. 4 lot 18 of the catalog.

Oscillum depicting, after a Hellenistic model, on one side the three standing Graces - Thalie, Euphrosyne and Aglaé - and on the reverse the three bathing Graces, one squatting to wash her hair, another pouring the contents of a hydria and the third presenting her with an alabaster of perfumed oil, as well as a strigile. The sculptor's work is particularly well executed and balanced, with many details. These female figures, representing abundance, joy and splendor, are directly linked to Bacchic cults, since each of them is the fruit of the union between Bacchus and Venus. Marble (minor dents, particularly at the border). Roman art, 1st century B.C. - 1st century A.D. Diameter: 45 cm Provenance : Acquired from Galerie KOUTOULAKIS, Paris.

Mosaic depicting a duck. Inscribed in a circle, the duck stands in the center, looking to the left, surrounded by vegetation, probably reeds. Its webbed feet appear to be in motion. The bird's wings and neck are highlighted by darker tesserae, as is the mosaic's perimeter. Colored marble tesserae Roman Empire, 4th-6th century D. approx. 60 cm Provenance : Jean Roudillon Collection

A representation of a raft with a dignitary seated in the center flanked by four other figures. It was Sebastian Mojano de Belalcazar, one of Pizarro's lieutenants, who heard in Quito this legendary account of a ceremony involving the Muisca lord of Guadavita, one of the smaller Muisca states that had been absorbed by a larger neighbor shortly before the Spanish conquest. Like the Inca lords, the lord of Guadavita claimed to have descended directly from the sun, and in a sacrificial ritual, adorned with all his gold jewels, he was led on a raft by four dignitaries to the center of the lake "at the top of the mountain", where he was sprinkled with gold powder, and receiving the sun's rays, he stood upright like an idol, shining brightly before the gaze of his people gathered on the shores of the lake. It was this legend, then, that motivated Mojano De Belalcazar to set out with two hundred of his intrepid and rapacious co-religionists to conquer the gold of El Dorado. André Emmerich writes: "In 1856 an extraordinary gold object was discovered in Lake Siecha, long present in German museum collections, but lost during the Second World War. It consisted of five Tunjo-type figures on a raft representing a chief and his companions". This obviously echoes the legend, but the drawing based on a photograph of the object in question, published by André Emmerich in his seminal work Sweat of The Sun and Tears of The Moon, Gold and Silver in Pre-Columbian Art (p. 88 fig. 107), does not correspond to his description of the object, but to that of a dignitary surrounded by at least nine figures on a circular raft. Our raft, on the other hand, features five figures. Could this be the famous raft described by Emmerich, or another legend? Jean Roudillon, a history enthusiast, having certainly followed this lead, had the Muisca raft in his collection tested by a laboratory specializing in the scientific analysis of ancient or supposedly ancient objets d'art. The results of these analyses appeared to be consistent with the ancient manufacturing techniques of an authentic piece and are described as such by the people who carried out the study (see this analysis report sold with the object). André Emmerich reminds us that for a long time, the watermarks on tunjos misled many authors who misrepresented the manufacturing techniques of these objects, which are in fact always cast in a single piece with no watermarks added later. Muisca, presumed period 1000 to 1550 A.D. (no guarantee), Colombia Tumbaga (alloy of gold, copper and agent) H. 4.5 and L. 6 cm See pp. 83-88 for Tunjo figurines, and p. 88 fig. 107 for a drawing of a work from the corpus lost during the war and originally in German museum collections in: Sweat of The Sun and Tears of The Moon, Gold and Silver in Pre-Columbian Art, André Emmerich, Hacker Art Book, New York 1977. See: a CIRAM analysis report, dated 02 / 08 / 2018, concordant according to its authors with ancient manufacturing techniques and compatible again according to its authors with the presumed period. Provenance : Jean Roudillon Collection

Jewelry set: - A pair of silver hoop earrings adorned with a polyhedral garnet bead. - A silver and garnet fibula ornament featuring a rosette with a missing central button. - A silver and garnet bezel ring with rosette motif. - An enameled bronze fibula ornament, with enamel remnant Silver, garnet, bronze and enamel Merovingian period, 5th-7th century. D. between 2.5 and 4.5 cm Provenance : Jean Roudillon Collection

A birdstone sculpture, possibly from the last period of the Mound Builder culture. Birdstone carvings remain mysterious to this day. They have been found in large numbers from the northeast in Canada's Nova Scotia province to the banks of the Mississippi in the west, testifying to their popularity in ancient times, particularly in the Great Lakes region. Originating from the so-called Hopewell or Mound Builders cultures, these enigmatic bird-shaped sculptures, often with protruding eyes, were interpreted as hunting thruster handles, headdress ornaments and more. They are always carved in exceptional hard stone, veined or porphyritic as is the case here. Their extraordinary plasticity, with its rare and flattering modernity, has also motivated many counterfeits, which often make it impossible to guarantee their authenticity in the absence of a discovery in their original context. Here, however, we note the very fine quality of the porphyry-type stone with its black and marbled inclusions, as well as the very fine polish of the entire surface. Stylistically, this example from the Jean Roudillon collection is comparable to a very similar one from the John Wise collection, also carved in a porphyry-type stone. Probable period, 1500 to 500 B.C., Michigan or Ohio (Great Lakes region,) U.S.A. Porphyry stone with black and marbled inclusions, very fine polished patina, handwritten label by Jean Roudillon inscribed: Oswego Michigan Mound Builder. L.: 12 cm See for five other examples in: the online collections of the Musée du Quai Branly-Jacques Chirac in Paris, including four donated by John and Dominique de Ménil to the Musée de l'Homme in 1966, and one from the former D. H. Khanweiler collection donated by Louise and Michel Leiris. See for the copy from the John Wise collection in: vente Loudmer du 5 décembre 1992, lot 226. Provenance : Jean Roudillon Collection (Acquired in the U.S.A. according to his notes)

An ipu ehi coconut vessel with engraved decoration. We reproduce here in full Jean Roudillon's listing in his second sale, after the historic one of December 4-5, 1961 at Hôtel Drouot with Maurice Rheims, of another part of the Voyage de la Korrigane collections on Monday May 31, 2010 in Rennes at Bretagne Enchères: "Lot 47. An engraved and polished coconut vessel, decorated with faces and splintered elements of the tiki also found on tattoos that sometimes covered the entire body. Used to store water or liquid foods. Various cracks. Marquesas Islands Height 12.5 cm - Diameter of opening 8 cm Private collection, not listed in the Musée de l'Homme Similar to no. 1, p. 86 of the catalog "Le voyage de la Korrigane dans les mers du sud", Musée de l'Homme Editions Hazan, Paris 2001". In addition, our ipu ehi vessel is incredibly similar to another engraved coconut vessel of the same type, with strictly the same iconography and style. Exhibited at the Metropolitan Museum in New York as part of the exhibition Adorning The World - Art of the Marquesas Islands (reproduced no. 75 p. 108 and 109), it is said to have been collected by the famous Captain David Porter (commander of the frigate USS Essex), who settled on the island of Nuku Iva in 1813 to, among other things, repair damage, and even attempted to take possession of the island on behalf of the United States. The "korrigans", as they liked to call themselves, were also on the island of Nuku Iva, but between September 1 and 8, 1934, over a century later. In any case, these two vessels are certainly not "curios" or objects intended for passing sailors, but real artifacts bearing witness to the very rare arts originating from the Marquesas Islands. Marquesas Islands Coconut, cracked, broken-glued (original piece), minor trace of glue, small chip, an old label inside indicating GV and another label lot 47 of the aforementioned sale. H. 12.5 cm and D. 15.5 cm See: p. 108 & 109 n° 75 for another similar ipu ehi vessel from the Blackburn collection in Adorning The World, The Metropolitan Museum of Art, Ed. TMMOA & Yale University Press New York 2005 See: p. 287 n° 85 for the same aforementioned ipu ehi vessel in Polynesia The Mark and Carolyn Blackburn Collection of Polynesain Art, Adrienne L. Kaeppler, Ed. M. & C. Blackburn 2010 See: p. 72 to 77 for the voyage calendar in Le Voyage de la Korrigane dans les mers du Sud, Musée de l'Homme, Ed. Hazan Paris 2001 Provenance : - Collected during the Voyage de La Korrigane (between August 20 and September 7, 1934) - Bretagne Enchères sale, May 31st 2010, lot 47 - Jean Roudillon Collection Exhibition and publication : Sale Bretagne Enchères in Rennes from May 28 to 31, 2010, reproduced on p. 8 lot 47 of the catalog.

A stone sculpture of ten figures. This astonishing sculpture, reminiscent of the tiki friezes of the Austral Islands, is in fact a sculpture from the Marquesas Islands. We know the subject of several tiki carvings aligned horizontally across the putaiana female ear ornaments carved in marine ivory or human bone, but this rare sculpture in grey volcanic tuff is part of a corpus of Marquesan carvings that has been little studied until now, but does exist. It is comparable to another sculpture published by Karl Von den Steinen in 1925, also representing ten figures, photographed on the island of Hivaoa and described by K. Von den Steinen as a family consisting of an eldest son and nine children. Although not exactly identical, the positioning of the figures on the sculpture reproduced by K. Von den Steinen is relatively similar to that of the sculpture in the Jean Roudillon collection. It includes two figures on either side carved laterally and four figures carved on each side, so some of the "tiki" have their arms folded over their bodies in the same way as this other sculpture described as a Hivaoa family. Another sculpture, this one with four tiki carved back to back, in the collections of the Stuttgart Museum, is also reproduced in Von den Steinen's book on the same plate. Examination of the surface and patina of this rare sculpture bears witness to its authenticity. Marquesas Islands Stone (gray tuff), small visible chips and old accidents, oxidation, very fine patina and old erosion H. 18 cm - L. 25 cm For two other sculptures with several tiki (or figures), see Vol. 3, Plate C, nos. 7 and 8 in Die Sammlungen de Die Marquesaner und ihre Kunst, Karl Von den Steinen, Ed. Dietrich Reimer / Ernst Vohsen 1925. Many thanks to Vincent Bounoure for his invaluable help with this work. Provenance : Jean Roudillon Collection

A calabash bowl encircled by a silver mounting and engraved with superb idyllic scenes from the colonial era in a lavish setting, and destined for a "sub-prefect of Lucanas", one of the eleven provinces of the Ayacucho region of Peru. In Jean Roudillon's notes: "Pre-Hispanic America, 16th / 17th century Peru Bowl cut from a gourd, engraved with a Renaissance-inspired décor of flowering branches, birds, monkeys, Indians shooting birds with bows, Europeans picking fruit and Europeans following a heavily laden mule. The background features a rose window and the border is inscribed in Spanish with the words "dedicado pa el sr dr jose manuel caceres sub prefeto de lucanas". Silver mount with cut edge and pearl band, two movable rings in the mouth of a lion in high relief. Former Boban and Le Kalevala collection. Probably 18th century or earlier Calabash, silver, old oxidation, excellent condition D. 20 cm and H. 6 cm Provenance: - Eugène Boban Collection (the oldest French dealer in early American art, born in 1834 and deceased in 1908, whose provenance has become mythical) - Le Kalevala Collection - Jean Roudillon Collection

An ovoid vase with a flat base, tapering towards the top. The wide opening is bordered by a flat, slightly protruding lip. The shoulder is adorned with two perforated tubular handles. The surface is polished, unlike the interior of the vase, which is marked with concentric striations. Blood-marbled stone (crystalline limestone). Chipped lip. Egypt, Thinite Period, circa Nagada II-III (3150-2700 B.C.) H. 6 cm Note: these vases disappeared at the beginning of the First Dynasty.

A feminine wakasona statuette The Baule statuette in the Jean Roudillon collection, of superb age, is an example of its kind. She stands proudly, arched and haughty, her hands resting on either side of her superbly scarified, slightly rounded belly, implying the idea of maternity. Her temples and entire body are adorned with ancient-style, squared-grain scarification. The sculpture of her braided chignon hairstyle is a thing of beauty, expressing, as is rarely the case, the tension of pulled hair and the voluptuous curve of the chignon. Her large arches give her a heart-shaped face, and her beauty as much as her disdainful pout embodies a feminine ideal that indicates she must undoubtedly have embodied a bride from beyond (blolo bla). Sifted by Kichizô Inagaki, it's not surprising that Jean Roudillon kept only this one. Baule, Ivory Coast Wood, cotton cord, age cracks, superb patina, mounted on a tenon base signed by Kichizô Inagaki H. 30 cm Provenance : Jean Roudillon Collection

Hache ostensoir - The handle is covered with leaves held in place by coconut fiber and dogfish hair ligatures. The upper part features a dark green jadeite disk with white veining and cloudy highlights. This disk is pierced by two biconical holes, undoubtedly made by a primitive tool. Dark green jadeite with white veining and cloudy highlights, coconut fiber and dogfish hair ligatures, leaves. Kanak, New Caledonia, 19th century. 50 x 20.5 cm Provenance: Henri Seydoux collection MILLON sale, Monday June 27, 2016, catalog no. 226. Former collection of Colonel Louis Vesigné (1870-1954)

Anthropomorphic oil lamp featuring a head with an open mouth (wick hole) stretched out, and two applied ears on either side. Similar lamps with zoomorphic subjects have been found in the Pompeii region. Bronze, fine patina and age-old oxidation Rome, imperial period, 1st century. L.: 8.5 cm - H.: 3 cm Provenance : Jean Roudillon Collection

Tubular handle featuring a lion's head at the end. The fawn is depicted with its mouth open, fangs visible and tongue hanging out. Radiating mane. The circular handle is decorated with foliage. Bronze Roman art, 2nd-3rd century. L.: 14 cm In Jean Roudillon's notes: "Antique Green patina bronze whip handle featuring a lion's head comes from the former Alfred and Arthur Sambon collection." Provenance: - Alfred and Arthur Sambon Collection - Jean Roudillon Collection

Beige sarcophagus mask. It is adorned with a blue and yellow striped tripartite wig. Stuccoed wood on fabric (accidents and missing parts). Egypt, Late Period, c. 664-332. Height : 28 cm

Royal blue blown glass amphora. The ovoid body is decorated in the center with a frieze of volutes, framed by a gadroon motif on the shoulder and lower part. Two small handles applied to the shoulder and folded under the mouthpiece. Small cylindrical foot. Royal blue glass, one handle broken and glued. Eastern Mediterranean, Lebanon, probably Sidon. H. 7 cm Note: Sidon is located in present-day Lebanon and has been a center of glassmaking for several millennia, probably the birthplace of glass. In Roman times, Sidon continued to be active in the production of glass vases. These small blown-molded vessels, which can have various colors or decoration, have been found in the region and can be dated to the 1st century. Provenance : Jean Roudillon Collection

Haut de harpe - depicting a standing nude figure with marked musculature. Wood, metal, old brown patina and wear marks Fang, Gabon 21.5 x 5.5 cm

JAPAN, Meiji period (1868-1912). A black patina bronze floriform vase with hemmed neck, decorated in low relief with an elephant in the reeds. H.28 cm. Slight marks and wear. Expert : cabinet Ansas-Papillon-De Léry.

A large kava kumete or tanoa bowl This large kava cup was collected by Count Rodolphe Festetics de Tolna during his eight-year epic journey across the Pacific and Indian Oceans, through Polynesia, Micronesia, Melanesia and Indonesia, before landing on an islet in the Maldives, This voyage, too often romanticized as a honeymoon, was indeed a voyage of adventure, but also of collecting, where Count Festetics was in some places in real competition with other professional collectors who supplied German museums in particular. From a very early collection, the presence of its stylization, the elegance of the curved lines of its crucible and its rebounded belly, its size testifying to a community life, everything here testifies to the most beautiful ancient style of this large kava bowl. Fiji Islands or Samoa, 19th century. Wood, rattan, native restoration of a visible old crack, very fine old patina. D. 73.5 cm and H. 20.5 cm Provenance : - Collection of Count Rodolphe Festetics de Tolna, collected by him before 1896 - Collection of Dr. Stéphen Chauvet (acquired at auction, closed case, no inventory) - Jean Roudillon Collection Exhibition: L'Aristocrate et ses Cannibales Le voyage en Océanie du Comte Festetics de Tolna (1893-1896) at the Musée du Quai Branly, from October 23, 2007 to January 13, 2008.

A sculpture representing the head of a "fang deity". Apart from the Tiahuanaco culture, lithic art was not very widespread in ancient Peru, particularly in the Recuay culture, but also in the ancient horizon or "formative" period, with the great Chavin culture, which extended over a very wide territory and gave rise to an original art form that greatly influenced the art of succeeding cultures, such as the Mochica. Divinities with mouths adorned with fangs appear at this formative period on numerous sculptures, such as soft stone vases, and despite the absence of metal at this time, also on the very many heads that adorned the walls of religious buildings, the most famous of which is the temple of Chavin de Huantar. The head of the fanged divinity in the Jean Roudillon collection, made of basalt and sculpted by bush-hammering, is impressive in its presence and volume, and stands out for its rare iconography. Its anthropomorphic nose and the striations between its two fangs could represent the sacrificial blood flowing from the deity's mouth. The characteristic treatment of the eyes in concentric circles is comparable, albeit more meticulous here, to the eyes of many monoliths from the Recuay culture, heir to this tradition of stone sculpture. Chavin culture, ancient horizon, 900 to 400 B.C., Peru Stone (basalt), missing dents and visible ancient accidents, very fine oxidation and ancient erosion H. 33 cm See pp. 6 and 7 for a stone vase and examples of fang-embellished tenon heads in: Inca -Peru 3000 Ans d'Histoire, S. Purini, Musée Royaux d'Art et d'Histoire, Brussels, Ed. Imschoot uitgevers 1990. Provenance : Jean Roudillon Collection before 1970

Alabastron in opaque blue-black glass. It is decorated with white and turquoise blue horizontal fillets on the top of the body, continuing in a "sawtooth" pattern from the handles. The lip is outlined on the outside with a turquoise blue fillet. It is adorned with two applied handles forming duck heads. Glass paste. Superb glazing. Phoenician or Greek art, 5th century B.C. H. 12.5 cm Note: these vases, fashioned on clay cores, were mostly found in the Black Sea and Mediterranean regions. Provenance : Jean Roudillon Collection

DOGON, Mali. Eroded hardwood. Ancient "Dyommo" mask representing a rabbit, admired by the Dogon for its speed and vigilance. According to popular belief, the "Walu performance" shows a hunting scene in which a hunter (sometimes also a hyena) chases several rabbit masks across the dance floor, who flee in all directions and hide among the spectators gathered in the village square. Height: 59 cm

Statuette - depicting a figure with hands symbolically resting on his chin, wearing a ceremonial headdress Wood with reddish patina, old wear marks Yaka, Democratic Republic of Congo 22,5 x 6,5

An anthropomorphic monolith sculpture, representing a cross-legged figure with his hands resting on his knees, wearing a so-called winged headdress. This monolithic sculpture from the Jean Roudillon collection is part of a corpus of well-known sculptures, quite numerous, but very rare in private collections. Another of these sculptures, however, existed in the former collection of Joseph Mueller, a very old acquaintance and client of Jean Roudillon. Perpetuating a tradition of Chavin lithic art, none of these monoliths have been discovered in their original context, and the attribution of this stone sculpture tradition to the Recuay culture is arbitrary, even if none of the specialists who have studied these sculptures dispute it. There are two main styles of two carving traditions that would have coexisted over three periods. The Huaraz style, whose presence is reported throughout the Callejon de Huaylas, and the Aija style, on the western slopes of the Cordillera Negra. Despite the surface erosion caused by centuries of weathering, this sculpture, like the one in the Joseph Mueller collection, features a distinctive headdress with engraved decoration, as well as a clearly sculpted sex figure, still clearly visible between its crossed legs, in a ceremonial posture. These enigmatic figures, seated cross-legged or not, feet turned inwards or outwards, sculpted naked or wearing scarves and pectorals, were they guardians, representations of ancestors, votive or funerary sculptures, their mystery accompanies them. Recuay, Aija style, early intermediate 400 BC to 300 AD, Peru Stone, age-related oxidation of the stone, small accidents, beautiful patina and significant age-related erosion H. 47 cm See pp. 4, 5, 100 and 101 in: Inca-Peru 3000 Ans d'Histoire, S. Purini, Musée Royaux d'Art et d'Histoire, Brussels, Ed. Imschoot uitgevers 1990. See for the copy from the Joseph Mueller collection acquired before 1952 (inv. 532-54) p. 92 and 93 fig.235 of Vol 2 of the Sotheby's catalog of the sale of the Barbier-Mueller collection on March 22, 2013 lot 295. Provenance : Jean Roudillon Collection before 1960

A poporo lime container depicting an owl resting on a branch, with the removable head forming the lid. This receptacle was most likely an ancient poporo, containing lime, the active ingredient needed to chew coca. Note the pierced fastenings at the back to hang it around the neck, and a fine loop at the tip of the beak to which was attached a chain that linked the head to the bird's body, and must have been connected to the branch between its legs. The two legs and the claws gripping the branch so finely crafted, as well as the filigree braid work, testify to the talents and extreme dexterity of the work of the silversmiths of the ancient Muisca, Quimbaya, Sinù and Tairona cultures. The owl theme appears on scepter tops in the Sinù culture, and must have been associated with nobility. Sinù, or Taïrona, circa 600 to 1550 A.D., Colombia Tumbaga (alloy of copper, gold and silver), wear, small dents and old piercings, superb old patina from use H. 4 cm See p. 80 fig. 91 for a scepter top representing a Sinù owl in: Sweat of The Sun and Tears of The Moon, Gold and Silver in Pre-Columbian Art, André Emmerich, Hacker Art Book, New York 1977 Provenance : Jean Roudillon Collection before 1970

A poster painted with gouache on cardboard for the "Art du Pacifique" exhibition. This original and unique poster (visible in the window during the exhibition, see photo p. 15) was painted by his brother Georges Roudillon, for the now historic exhibition "Art du Pacifique" Indonésie - Océanie, at the Le Corneur Roudillon gallery 51 rue Bonaparte, held from January 24 to February 15, 1951. This exhibition inaugurated their first gallery on rue Bonaparte, and was the very first in a long series of exhibitions by Jean Roudillon and Olivier Le Corneur. An important part of the exhibition was made up of numerous objects from Stéphen Chauvet's collection. Georges Roudillon Gouache on cardboard. D. 34 cm - H. 50 cm Framed under glass (size with frame 60 cm / 44.5 cm) Provenance : - Collection Galerie Le Corneur Roudillon - Collection Jean Roudillon

Quadripod pyxis with lid. The body is incised at the top and bottom with several concentric grooves. Similar decoration on the lid. Like the body, the lid is drilled to fit a ligature, which has now disappeared. Breccia Egypt, Roman period, 2nd-3rd century. H. 5.8 cm Provenance : Jean Roudillon Collection

Rare cuillère cultuelle - featuring a long-nosed head resting on an openwork column and surmounted by a protrusion ending in a spiral. Wood, old honey-brown patina, small chip on rear column Probably Leti Islands, Southwest Moluccas, Indonesia. Height: 47.5 cm Provenance: Collection of Madame Jacqueline Vallotton, acquired in the 1970s from auction houses and specialized dealers.

Red-figured aryballisque lekythos, whose body is adorned with a young woman carrying an offering tray, a tympanon in her left hand and a thyrse in her right. Under the handle is a rich decoration of palmettes and scrolls. Black-glazed beige clay with white and yellow paint highlights. Greek art, Apulia, circa 330 B.C. H. 27 cm. 19th century coll. Expert : Antoine TARANTINO

Importante statue - depicting a hermaphroditic ancestor, arms symbolically raised to the sky and face with an intense, hieratic expression. Wood, weathered to a crusty patina in places, brown and light (natural ochre pigments) Tellem, Cliffs region, Mali, 13th - 16th centuries approx, 55 x 9 cm Provenance: Collection of Madame Jacqueline Vallotton, acquired in the 1970s from auction houses and specialized dealers.

Three articulated cuff bracelets in metal and yellow, blue and green enamel, two set with imitation coral cabochons Berber work, Morocco, 19th/Xth century Diameter: 5.5 and 5.8 cm

A bust-shaped anthropomorphic amulet-whistle. Carved as a bust, this very ancient amulet, a pendant attached by a cord that has left its mark around the neck of the figure holding a stylized object in front of it, was certainly also a whistle. It is much rarer than other classic and easily recognizable Luba amulets. So old as to be virtually obliterated, the still visible volumes of two quadrangular bulges of ancient temporal scarification still stand out under its superb honey-colored patina, as do its large closed eyes engraved in a half-moon shape, so characteristic of the ancient Luba and Hemba kingdoms. The figure is carrying an object with his arms folded in front of him, and his hairstyle ends in a braid that falls to the back and echoes the shape of the object held in front. According to Allen F. Roberts and Mary Nooter Roberts, these Luba amulets are real portraits carved in honor and memory of venerated ancestors. The position of the arms folded forward embodies respect, quiet strength, and the preservation of traditional and sacred secrets. Luba, Democratic Republic of Congo Ivory, significant old oxidation, wear, small accidents (old breaks and a more recent tinted one visible on the front), seems to be repolished on the underside, superb old patina. H. 6.4 cm See pp. 108-110 for other amulets and a Luba anthropomorphic whistle in: Memory, Luba Art and The Making of History, Ed. The Museum for African Art New York, Prestel 1996. Provenance : - Galerie Robert Duperrier - Henri Bigorne Collection - Jean Roudillon Collection

A crocodile-shaped pendant with filigree and openwork. Among the Akan, lost-wax casting and filigree work reached technical levels at least equal to the social status enjoyed by the artisan founders. Gold is sacred to the Akan, and in addition to its political and economic importance, with the control of gold-mining sites that were exploited by slaves, it has great symbolic and religious importance. Jewelry - rings, necklaces, bracelets and pendants - was worn on special occasions by kings and notables, and kept in the dja for the rest of the time. From the beginning of the 20th century, the possession of gold extended from customary power to the individual, who could use it to prove his social ascension. Among the Ebrié, for example, during the andimantchi festival, the family and clan treasure is taken out of the dja and displayed for all to see for one or two days in the patriarch's courtyard. Pendants, such as this fine example, were hung from the neck, arm, headdress or even from a ceremonial sword, and are a classic art form of Akan culture. Each subject carries a symbol, and the crocodile represents the queen mother. Akan, Ghana or Ivory Coast Gold alloy (13.07ct) with copper and silver, old accident and small visible lack. H. 11.3 cm See p. 216 to 223 in: Corps Sculptés Corps Parés Corps Masqués, Galerie nationale du Grand Palais Paris, Ed. Association Française d'Action Artistique 1989 Provenance : - Roger Bédiat Collection - Jean Roudillon Collection

An enigmatic sculpture in the form of a monumental pearl. This monumental pearl in the Jean Roudillon collection, which appears to be one of the largest in his corpus, along with another from the William Spratling collection in Taxco El Viejo, are far too heavy to be worn. According to Carlo Gay, who published them both in his book Mezcala, they are not objects of use or manufacture, but symbolic sculptures for magico-religious use, i.e. votive sculptures. Still according to Carlo Gay, other symbolic sculptures with similarities and reciprocities to this corpus also existed in Olmec culture, and would thus be intimately linked throughout history. Other comparable beads, known as metamorphic stone beads, were also discovered in offering 16 of the Templo Mayor archaeological zone, within a "cosmogram", a quadrangular box where they would symbolize the four horizontal regions of the universe. It was therefore much later, in the time of the Mexica (formerly Aztecs), that these beads were rediscovered, and they seem to have crossed all the eras of pre-Hispanic Mexico, as Carlo Gay suggested. Mezcala, Guerrero region, 300 BC to 300 AD, Mexico Stone, green porphyry, small age-related dents and erosions, fine polished surface and age-related traces of oxidation. Max. diameter 14.8 cm See : Mezcala Ancient stone sculpture from Guerrero, Mexico Ed. Balsas Publications 1992, pp. 204-206. Provenance : Jean Roudillon Collection before 1970 Publication and exhibition : Reproduced p. 238 n° 238 in: Mezcala Ancient stone sculpture from Guerrero Mexico, Carlos Gay and Frances Pratt, Ed. Balsas 1992 Exhibited and published on the back cover, Rennes Enchères sale catalog October 28, 2018 lot 204.

"La STATUAIRE DU STANLEY-POOL", a contribution to the study of the arts and techniques of the Téké, Lari, Bembé, Sundi and Bwendé peoples of the Democratic Republic of the Congo. Raoul LEHUARD, Collection Arts d'Afrique Noire, 1974. Illustrated softcover, 184 pages.

Antilope Ti Wara - presented on a rectangular pedestal Wood, old brown patina, marks of use Bambara, Mali 87 x 30 cm Provenance: Collection of Madame Jacqueline Vallotton, acquired in the 1970s from auction houses and specialized dealers.

A Maro painting Paintings on maro bark were once made by elderly women (or, a priori, women of a certain age), and are generally painted with curvilinear motifs, waves and volutes inside a frame, and with stylized flowers and plants, figures, birds, lizards and fish, which also recur frequently. Painted motifs can also be found outside the frame, as is the case here with this bizarre chameleon, reminiscent of another painted on a maro collected in Tobati in Humboldt Bay by Jacques Viot, then donated to the Musée de l'Homme in 1930 by Pierre Loeb and now in the collections of the Musée du Quai Branly Jacques Chirac (inv.71.1930.48.1). Humboldt Bay, Irian Jaya, West New Guinea Bark and pigments. 153 x 92 cm approx. 111.5 x 172.5 cm for the frame. See p. 127 n° 47 for the maro collected by Jacques Viot in the Musée du Quai Branly collections in Ancestors of the Lake Art of Lake Sentani and Humboldt Bay, Ed. The Menil Collection Houston & Yale University Press, 2011 Provenance: - Probably collected by Jacques Viot - Jean Roudillon Collection

Jean-Baptiste CARPEAUX (1827 - 1875) Christ crucified Bronze proof signed on the perizonium Height: 30.4 cm

Petit masque - carved face with intense expression accentuated by half-closed eyes and open mouth with feline lips. Carved and polished stone, marks of time. Olmec, Mexico, Preclassic, 900 to 400 B.C. 8.8 cm

Audience in a garden, Safavid Iran, late 17th century, in the style of Mu'in Musavvir Album page with gold and polychrome decoration of an audience scene. The sovereign, kneeling on his throne and wearing an aigrette headdress, converses with his guest in the presence of two courtiers. In the foreground, some dishes and tableware, in the background, a rugged mountain landscape. Several epigraphic cartouches in Persian nasta'liq frame the scene, four in the sky, two in the lower part of the composition. All around, a gilded geometric latticework margin decorated with vegetal motifs. Iranian export stamp dated 1343 H / 1924 to the right of the composition. Framed under glass. Sight size: 31 x 20 cm Composite work mounted with later epigraphic cartouches, some chips, repaints and reattached tears. Label no. 1490 on the back. F 1500. Expert: Camille CELIER

A notable spear carved with a female figure holding a stool. This ceremonial spear, the emblem of authority of an Akye chief, is exceptional in more ways than one, and constitutes one of the finest and oldest examples now known. The themes that adorn this spear, undoubtedly from the 19th century, are recurrent in the arts of the so-called lagoon cultures, and remained popular well into the 20th century in the arts of this region. This is a young girl, richly scarified at the temples, around the neck and the rest of the body, and superbly coiffed with braids and asymmetrical side buns. She is an elder's assistant, wearing her stool on her head, another badge of authority, and bringing beauty to the assemblies. She symbolizes a prepubescent girl who is not yet regulated, and protects her owner, who holds his spear in front of him, from witchcraft by the "mystical force of her purity". Further down, in high relief, is carved what is certainly a powder keg, symbolizing wealth and power. The archaism and artistic qualities of this work of the finest style must be emphasized, with its closed-lidded eyes imbued with a profound serenity, highlighted by superb, large superciliary arches joining its coffee-bean-shaped temporal scarification and underlined by finely sculpted, protruding cheekbones, as well as the finesse of the treatment of its tapering arms, like that of the chasing of the engravings adorning the braids or those of the openwork sculpted stool. We can also be delighted, for once, that this spear has not been truncated, preserved by its two successive owners who passed it on to us, it comes to us complete, with its two irons. Its archaic style and sublime patina accompany its prestigious and rare provenance, that of Dr. Stéphen Chauvet, almost as a logical consequence. Attié (Akyé), Ivory Coast Wood, iron, old cracks, small visible accidents and minor wear, superb old patina. H. 146 cm See : Arts de la Côte d'Ivoire Tome 1 et 2, Ed. Musée Barbier-Mueller, Geneva 1993. Provenance : - Collection of Dr. Stéphen Chauvet - Jean Roudillon Collection

Très jolie poupée de fécondité - featuring a young standing nude woman with a moon-shaped head Wood with brown lacquered patina, chips on the feet, glass beads, old patina and wear marks Ashanti, Ghana 23.5 x 10.2 cm Provenance: Collection of Madame Jacqueline Vallotton, acquired in the 1970s from auction houses and specialized dealers.

Masque de danse - commonly known as the Gunye Ge racing mask. It depicts a juvenile face with a mouth sculpted in relief and lippant lips. The eyebrows are arched and the forehead is rounded and balanced. Hardwood, old brown and honey patina, internal wear marks Dan, Republic of Côte d'Ivoire 23 x 14.5 cm

A three-dimensional miniature temple model pendant with engraved niche and steps. Miniature temple models in the Mezcala culture are not only objects of ritual and funerary worship, but above all "exalting symbols of man's aspiration to eternal life", writes Carlo Gay. They are carved, two- or three-dimensionally, in a wide variety of stones, including calcite, andesite, serpentine, porphyry and a green and white marbled stone with a porphyry texture, as in this case, but never in diorite. As is often the case with Mezcala anthropomorphic idol sculptures, but also here with this temple by Carlo Gay, the sculpture can be adapted to the natural shape of a pebble. This rare temple model, published by Carlo Gay in his reference work, has suspension holes that show that this miniature temple model was also a pendant. Mezcala, Guerrero region, 300 BC to 300 AD, Mexico Green and white stone, superb old polished patina and significant traces of old oxidation H. 8.2 cm See : Mezcala Ancient stone sculpture from Guerrero Mexico, Ed. Balsas Publications 1992, pp. 167-182. Provenance : Jean Roudillon Collection before 1970 Publication: Reproduced p. 181 no. 208 in: Mezcala Ancient Stone Sculpture from Guerrero Mexico, Carlos Gay and Frances Pratt, Ed. Balsas 1992

Prisoner scene, Safavid Iran, late 17th century, in the style of Mu'in Musavvir Album page on cardboard with polychrome and gold decoration of a scene of prisoners. Two prisoners, their hands tied behind their backs, are presented by guards to a sovereign on horseback in the presence of other soldiers, four of whom appear behind the rugged rocks in the background. The scene is framed by Persian verses inscribed in nasta'liq in black ink within cartouches, followed by a gilded margin decorated with geometric latticework and plant motifs. Iranian export stamp dated 1343 H / 1924 in the lower part of the composition. Framed under glass. Sight size: 31 x 21 cm Composite work mounted with epigraphic cartouches, a few repaints, notably on the faces. Expert: Camille CELIER

Fétiche à miroir abdominal - containing a magical charge. He is in a static posture, his gaze accentuated by painted glass inlays. Wood, mirror, glass, old brown patina, wear marks. Vili, Republic of Congo. H: approx. 28.5 cm