World Art

Sculpture in the round featuring a head of Eros as Hercules or Omphale. The head, with its delicate features, is covered with a lion skin. The animal's fangs, with open mouth, fall on the temples, protected by thick curls. The small, lippish mouth, the weathered hair and the slightly chubby oval of the face give it an almost melancholy expression. The curls of the hair, largely treated with a drill bit, are highlighted by the sculptor's work. The body's fur is treated in broad wisps, also exacerbated by deep drilling. Marble, fractures and spalls. Antique, Renaissance or later. H. 26.5 cm Provenance : 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

Mummiform Oushebti, wearing a striated tripartite wig and a braided false beard. He holds his implements (a hoe and a hoyau) in his hands, here remarkably drawn. The grain sack suspended by its cord falls to his back. Back pillar inscribed with the name of its owner. Inscription: "Let Osiris, Pa-di-pepet, be enlightened to do his work". Earthenware, broken-glued, foot missing, visible discoloration, handwritten label by Jean Roudillon glued under the base. Egypt, Late Period, 21st Dynasty, Reign of Amasis, probably Saqqara H. 12.5 cm Note: according to Glen James, a copy of this Oushebti was in Jean Yoyotte's collection, and others have appeared on the market. Some are in museums such as Cairo (CG.47607), Brooklyn (O8.480.7) and Strasbourg (11.987.0.56 - ex Hoffman 1894). Provenance : Jean Roudillon Collection

Head in high relief The oval contour of the face extends into the axis of the neck. The eyelids are hemmed, the eyes arched, the mouth lippant. Calcite or marble, traces of ferruginous contact on the brow bone. Mesopotamia, circa 3rd-2nd millennium B.C. H. 5 cm Provenance : Jean Roudillon Collection

A "fetish gold" mask In his memoirs, Jean Roudillon reminds us that Charles Ratton, among his few writings, published a text in Présence Africaine in 1951 entitled "L'Or fétiche" ("Fetish gold"). A text that Pierre Amrouche rightly referred to in the catalog of the sale of the Vérité collection, where five of these masks from a "royal Akan treasure" reappeared, to explain the notion of "fetish gold". Referring to the etymology of the word "fetish", facticio in Portuguese translates as "wild idol", considered to be false as opposed to Catholic imagery considered to be true, "fetish gold" would thus designate a false gold because a low-title gold, and about which Charles Ratton quoted Willem Bosman in Voyage de Guinée (translated from French in 1705), a work in which the terms "Assiantés" and "Asiantés" first appear. "Assiantés" and "Aschiantis" appear for the first time, and the author complains about the poor metal alloys used by the Africans. The rediscovery of the "fetish gold" mask from the Jean Roudillon collection enriches a corpus of rare objects, cast in an alloy of low-title gold, copper, silver and iron, of which there were five other examples in the Vérité collection, at least two of which came from Madeleine Rousseau, another close relative of Jean Roudillon. The mask in the Roudillon collection has the same casting defects as those in the Vérité collection, and is stylistically close to the most classical of the five (lot 142). His well-modeled eyes are encircled by a braid, and he wears a rectangular scarification on his forehead and two at an angle on his face, as well as braided moustaches on either side of his mouth and five braids of beard on his chin. These masks are obviously reminiscent of the Wallace Collection's famous gold mask, a funerary portrait from the treasure of King Kofi Karikari, also showing casting defects. Whether a simple head, a trophy head, a ceremonial object to enhance the prestige of a dignitary, or a funerary portrait, our knowledge remains patchy concerning these objects, which probably came from family treasuries where they were kept in the Dja. The Akan, who came from Ghana at the end of the 18th century, are said to have taught the Baoulé how to melt gold at the time of the legendary queen Abla Pokou, from whom the Baoule name originates. Gold is revered, feared and considered alive by the Akan. "It moves in the ground, appears in the air in the form of a rainbow and speaks barking like a dog". Akan or Baoulé, Ghana or Côte d'Ivoire Gold alloy (8.46 ct) with copper, silver and iron, visible cracks and casting defects, old patina from use H. 12 cm For Dja and Akan gold, see pp. 220-245 in: Corps Sculptés Corps Parés Corps Masqués, Galerie nationale du Grand Palais Paris, Ed. Association Française d'Action Artistique 1989. For masks from the Vérité collection, see pp. 134-139, lots 142-146 in: Arts Primitifs Collection Vérité, Pierre Amrouche, sale catalog June 17-18, 2006, Enchères Rives Gauche. For the mask from the Wallace collection, see p. 325 in: Trésor de Côte d'Ivoire, François Neyt, Ed. Fonds Mercator 2014 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

Un emblème du Roi Glèlè (1858-1889), goldsmith's work representing a lion. Intimately linked to its divinatory sign, the lion was the emblem of King Glèlè, tenth king of the ancient kingdom of Abomey, and father of King Béhanzin. King Glèlè, whose fame and the pomp of the official ceremonies held in his palace had already reached the entourage of European and American leaders during his lifetime, bore various "strong names" during his lifetime, such as kinikinikini "lion of lions" or kinikini ahossu "king of lions". The image of the lion can therefore be found on a multitude of works of art produced during his reign, of a splendor rare for an African king at the time, such as numerous pieces of jewelry, or topkon parasols, royal hangings and hammocks and other regalia, but also asen and the numerous royal recades called kinikinikpo "lion's staff". It's difficult to say with any certainty what type of object originally adorned this silver lion sculpture in a beautiful antique style, confirmed by rare details such as the inserts for the ears, eyes, fangs and tongue, all of which contribute to the "accentuation of features characterizing power and aggressiveness". It's possible that this lion sculpture was used to decorate a royal gift or, more simply, a piece of furniture commissioned by the king, such as a box or lighter. In fact, in the photographic archives of the Musée de l'Homme, which at one time housed some of Abomey's royal treasures, there is a photo of a copy of a silver lighter that belonged to Glèlè, whose lions are reminiscent of our sculpture. Fon, former kingdom of Abomey, Benin, 19th century. Silver, old oxidation and very fine old patina. H. 11 cm and L. 16 cm See for an entire chapter on Glèlè by Suzanne Preston Blier p. 89 to 143 in: Magies, Musée Dapper, Ed. Dapper 1996, and p. 132 for a silver box decorated with animals. For a photo of a copy of a silver lighter that once belonged to King Glèlè, see: musée du Quai Branly Jacques Chirac online archives, management no. PP0113422. Provenance : Jean Roudillon Collection

A mbulu ngulu reliquary figure. Also known as mboy or omboye in Kota country, the reliquary figure in the Jean Roudillon collection is a superb classic example of Kota Obamba or Bawumbu art. Featuring a face with concave and convex volumes, and using two colors of metal, this reliquary figure enriches the corpus that falls into category number nine according to the classification of the reference work known as "le Chaffin" L'Art Kota Les Figures de Reliquaire, of which a fairly close example can be found in the collections of the British museum in London, as well as the famous Kota with round eyes in the Barbier-Mueller collection. Here, the expressive, singing open mouth is adorned with small dots all around, and similarly all around the crescent and wings. At the back, the lozenge is supplely sculpted, with a slightly convex vertical bar carved in relief, another fine example of the ancient style. Jean Roudillon, who was very attached to this work from the former Albert Sarraut collection, commissioned Louis Perrois to make a study for this superb reliquary figure, which connoisseurs know to be in an ancient, even archaic style, and which is also very well preserved here. Louis Perrois' well-documented study compares this work to other reliquary figures in the former collections of Paul Guillaume, Helena Rubinstein, Arman, Madeleine Rousseau and George Gershwin. In Jean Roudillon's notes: "Africa, Gabon, Kota Reliquary figure in wood covered with brass and copper leaf. Former collection of Albert Sarraut, Minister of Colonies in a government of the Third Republic. Exhibited at the International Sporting Club de Monte Carlo, Antiquaires et Galeries d'Art from July 25 to August 11 1975 and reproduced in the catalog, p. 73. Kota Obamba or Bawumbu, Gabon Wood, brass, red copper, old wear and erosion, very fine old patina. H. 37 cm See p. 146 to 158 for category 9 in: Art Kota Les Figures de Reliquaires, Alain et Françoise Chaffin, Ed. Chaffin Meudon 1979 See: a study by Louis Perrois commissioned by Jean Roudillon and given to the purchaser. Provenance: - Albert Sarraut Collection (collected in the 1920s) - Jean Roudillon Collection (acquired in Paris in the 1950s) Exhibition and publication: Première exposition internationale des antiquaires et des galeries d'art, Sporting Club de Monte Carlo, July 25-August 11, 1975, reproduced in catalog p. 73.

Torso of Aphrodite anadyomene in slight contrapposto. An Eros, whose left hand remains, must have been resting on the divinity's right arm. Alabaster (wear, accidents, detached legs, visible missing parts). In the taste of Hellenistic productions, 17th or 18th century. Height: 22.5 cm

A harpoon (unaaq) for walrus and seal hunting, adorned on the handle with a miniature seal bust carved and decorated with inlays. It's the carved walrus ivory tip that tells us that this sublime harpoon, a model of great rarity, was intended for hunting from the pack ice, unlike those designed for hunting from a kayak, as its walrus ivory tip was used to test the thickness of the ice. At the front of the harpoon, where the point was fitted, a magnificent whalebone weight is rigorously and masterfully carved, notably with three superimposed, finely sculpted relief fillets. The refinement of the carving, right down to the inlaying of the seal's eyes, nostrils and ears, its beauty, and the quality of the craftsmanship of each of the elements making up this harpoon, bear witness to an era and an art where hunting and the sacred were still intimately linked. Inuit, Alaska, U.S.A. Wood, marine ivory, missing right ear inlay, whalebone, walrus ivory, leather, intestine cord, very fine old patina. L.: 181.5 cm Provenance: - Probably from the former collection of Docteur Stéphen Chauvet - Jean Roudillon Collection and acquired from him

Pyriform vase with projecting lip. Agate Antique or in antique style H. 3.5 cm. Note: in Hellenistic and Roman times, semi-precious stone vessels were highly sought-after as symbols of wealth and sophistication. They were used as diplomatic gifts or cherished as heirlooms, and many found their way into royal tombs or imperial collections, both in antiquity and later. Their rarity also encouraged imitations in glass and terracotta. 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

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

A pigment bowl decorated with a crocodile head and a human head. The handle is carved with a beautiful crocodile head, the top of whose skull extends into the bowl's crucible. Its right eye still retains a mother-of-pearl inlay. The sculpture is nervous, expressive and detailed. At the back of the bowl is a superb male head in a very archaic style. His arms, carved in relief and folded under the head, form a bust like the stern of a boat, through which a perforation at neck level serves as a bélière. An egg-shaped bead is carved underneath to stabilize the cup. This is a true masterpiece of Middle Sepik art, a "pre-contact" work, an expression dear to Sepik art specialists. This bowl was published and commented on as a "godet à pigments" by Maurice Leenhardt in his book Arts de l'Océanie, published in 1947. A work published in the Arts Du Monde collection under the direction of Georges de Miré, whose eye is certainly no stranger to the selection of this work for this publication. Our cup had already been exhibited at the Musée de l'Homme during the Voyage de la Korrigane en Océanie exhibition between June and October 1938, and can be seen photographed in one of the showcases of this exhibition in brilliant company, notably with the Sawos skull hook that Jacques Kerchache had chosen for his original selection of the Pavillon des Cessions, first version... What a journey this cup, this "pigment bucket", has taken from the banks of the Sépik River and its collection in 1935 by Régine and Charles van den Broek, whose photos and documentation of their brief foray on the Sépik River remain to this day, according to specialists, an irreplaceable testimony. Not surprisingly, it was this object from the Korrigane's voyage that Jean Roudillon, its "inventor", kept the longest. In Jean Roudillon's notes: "Oceania, New Guinea Wooden paint container in the shape of a crocodile with an elongated snout, one eye inlaid with a marine shell. This piece is exceptionally carved at the tail of a human head, with a hole at neck height for hanging the container. From the voyage of the Korrigane, D393 1660. Probably Iatmul or Sawos, Middle Sepik, Papua New Guinea Wood, mother-of-pearl, very slight traces of white pigment in the crocodile's mouth, beautiful old oxidation and superb patina from use, stone-cut object known as "pre-contact". Old Musée de l'Homme inventory numbers inscribed under the crocodile's mouth: D.39.3 / 1660, and another number inscribed in red under the base. Length: 30.5 cm See p. 31 fig. 19 in Arts de l'Océanie, Maurice Leenhardt, Collection Arts du Monde (ed. Georges de Miré), Les Éditions du Chêne, 1947. 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 of La Korrigane (1934-1936), and certainly in October 1935 by Régine and Charles van den Broek during a brief excursion up the Sépik River. - Jean Roudillon Collection Exhibition and publication: - Voyage de la Korrigane en Océanie, June to October 1938 musée de l'Homme, Paris - Visible lower left in a display case at the Musée de l'Homme, photo by Henri Tracol (see reproduction on previous page). - Arts de l'Océanie, Maurice Leenhardt Collection Arts du Monde, Les Éditions du Chêne, 1947. Reproduced fig.19 p. 31.

BUGATTI Rembrandt (1884 - 1916) ( d'après ) - Lost wax bronze " LES DEUX ANTILOPES " Bronze sculpture signed, stamped by the founder and titled on the terrace, reproduction made from an original bronze (late XX th). Sight size: 46 x 24.5 x 8 cm. We can send your lots by Colissimo registered mail for a fixed charge of €40 incl. VAT France / €50 Europe / €70 outside Europe (for rollable works only and excluding insurance) under your sole responsibility. For framed paintings and objects, estimate on request.

Zoomorphic sharpening tip, forming an antelope head. The animal's eyes are highlighted by eyebrows forming a spiral. Its forehead is adorned with several triangular decorations formed by granulated balls. The precious metal is repoussé-worked, richly embellished with granulated balls at the end, where two holes are placed to hold it in place. The alloy corresponds to an antique composition. Holes, accidents and small dents. In the Elamite style. Length: 8.5 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

A female divination statuette Divination is practiced by an initiate of Sandogo society, generally a woman among the Senufo, the sandobele. This type of statuette is part of the diviner's paraphernalia, a feminine figure linked to the representation of a primordial couple, necessary to embody tutelary spirits. In a beautiful old style from the Koufoulo region, this idealized image of a woman, scarified at the face and umbilicus, her braided headdress depicts a black guinea fowl incubating its eggs, implying the notion of fertility. Sénoufo, Ivory Coast Wood, restoration (broken and glued), original piece and visible missing part at the base and minor visible accident at the upper lip (old breakage), very fine old patina from use H. 23.5 cm See pp. 24-29 for other divinatory statuettes in Arts de la Côte d'Ivoire Tome 1, Ed. Musée Barbier-Mueller Geneva 1993 Provenance : Jean Roudillon Collection

A collection of two antique labrets. Worn exclusively by women, and inserted in the lower lip, labrets such as these two very rare and beautiful examples, were highly visible distinctive signs, contributing to beauty but also testifying to the owner's nobility, rank or status. The lower lip was pierced at the time of first menstruation, and the size of the labrets changed according to events or the number of children. The material in which they were carved was a sign of wealth and contributed to the prestige of the owner and thus of her family. The shape of these two examples, both of magnificent age, links them to the so-called Northwest Coast cultures encompassing the Haida and Tsmishian Tlingit, whose finest masks from the 18th and early 19th centuries still bear witness to this ancient tradition. Tlingit, Haida or Tsmishian, or Inupiak (Inuit), Northwest Coast, Canada or Alaska, U.S.A. Marine ivory and whalebone, old numbers inscribed in ink (RG 1489 and RG 1490), micro-wear, very fine old oxidation, and very fine old patina. L.: 5.7 and 5.6 cm Provenance : - Roland Grünewald Collection (founding member of the Société des Océanistes and former head of the Oceania collections at the Musée du Trocadéro) - Jean Roudillon Collection, acquired from him in Lorient around 1977.

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 woven and embroidered headband depicting six figures, each with a trophy head attached to their waist and a sacrificial weapon on their left arm. The subject is classic Nazca, with armed warriors holding trophy heads, and could also be sacrificial priests. Here, the figures are dressed in fringed ponchos and wear high headdresses that resemble feather crowns. The sacrificers' weapons, attached by a strap and hanging from their left arm, answering to each trophy-head, also resemble birds. The hidden, double meaning of things is widely observed in Peru's ancient arts, and particularly appreciated in the Wari culture. Particular attention is often required to the different levels of reading, allowing us to catch a glimpse, and better enlighten us, of the subtle spirituality of the artists and the spirit of the beliefs of these past civilizations. However, it's difficult to pinpoint the period and region of origin of this beautiful fragment, which was probably part of an ancient burial mantle or headdress, given the successive and overlapping styles and contributions from one culture to another in the great textile arts, which undoubtedly represent an essential and often founding art of pre-Hispanic art in Peru. Nazca or Proto Nazca, 100 BC to 800 AD, or Wari 600 to 1000 AD, Peru Fabric, llama or alpaca wool, probably minor restorations, framed and mounted under glass. 37 x 13.5 cm (for the weaving) and 50 x 26 cm (for the frame under glass) See : Animal Myth and Magic, Images from Pre-Columbian Textiles, Vanessa Drake Moraga, Ed. Ololo Press 2005 or Pre-Columbian Art Of South America, Alan Lapiner, Ed. Harry Abrams New York 1976, See for an example of a double-reading Wari motif p. 42 and 43 in La Sculpture en Bois Dans L'Ancien Pérou, André Emmerich, Johann Levy and Sergio Purini, Ed. Somogy & Johann Levy Art Primitif Paris 2006. Provenance : Jean Roudillon Collection before 1960

Statuette featuring Ptah Patèque. He stands naked, adorned with a large, multi-row pectoral and wearing the wick of Horus. His ears are adorned with a ring. The deity stands on two crocodiles, their tails intertwined at the rear. His head is surmounted by a scarab beetle. He holds two knives in his hands, folded against his chest, and a snake in his mouth. These amulets refer to the god Ptah, associated with other deities such as Horus or Sobekh. In Memphis, the Patèques were in charge of metallurgical work and were associated with goldsmiths. In Jean Roudillon's notes: "Antiquité, Égypte époque Saïte " Bès enfant ", blue glazed siliceous ceramic with gold leaf remnant, gold earrings H. 9 cm Former Boutros collection, Boutros-Ghali. Earthenware, gilding and gold Egypt, Ptolemaic period (332-34 B.C.) H. 9 cm Provenance : - Boutros Boutros-Ghali Collection - Jean Roudillon Collection

Jean LAMBERT-RUCKI (1888-1967) after Christ en croix Gilded bronze signed on the perizonium H. 30.5, L. 25 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

A kaolin-coated sculpture of a bird. This rare and beautiful sculpture is most certainly a lumbr bird, a Lobi cult sculpture representing a turtle-dove, although Jean Roudillon in a few rare notes found in his archives concerning his collection attributed it rather to the Senufo. If it is a Senoufo sculpture, it is certainly not a representation of the mythical porpianong bird which, by self-fertilizing, gave birth to the Senoufo people, but rather that of a black guinea fowl associated with fertility. No matter, in reality, this sculpture is superb and incredibly modern, and if you look at it carefully, its kaolin coating, a sacrificial patina, bears witness, like the wood, to a magnificent age and an unmistakable traditional character. In Jean Roudillon's notes: "Africa, Ivory Coast, Senufo Mythical bird in wood covered with a light layer of white clay Height: 33.5 cm Lobi or Senufo, Ivory Coast or Burkina Faso Wood, sacrificial kaolin patina, wear, old oxidation and very fine old patina. H. 33.5 cm See: for a very fine example of a lumbr bird now in the collections of The Art Institute of Chicago from the former Thomas Wheelock collection (inv.2019.716) reproduced in the Sotheby's Paris sale catalog of June 15, 2011 lot 55. Provenance : Jean Roudillon Collection

Scarab heart Egypt Third Intermediate Period, circa 1069-664 B.C. Green stone L. 6 cm The scarab is anepigraphic, with finely sculpted anatomical details and sparsely detailed legs. A heart scarab, generally in green stone such as jasper or serpentine, replaces or doubles the heart, considered the seat of conscious memory. During the Judgment of the Dead, it was weighed and the deceased's admission to the realm of the afterlife depended on its balance with the Maat norm. Heart scarabs are generally not pierced. They are mounted in a pectoral or placed between a mummy's bandages. Some of the scarabs are inscribed with an extract from the Book of the Dead relating to weighing. Provenance : - Formerly in the collection of the Blanchard Museum in Cairo, directed by Ralph Huntington Blanchard (1875-1936). Blanchard's Egyptian Museum label affixed to the underside of the yellow marble base mentions the supposed place of discovery as "Zakazig", a site north of Bubastis. - Letter from the British Museum dated January 8, 1973 Comparative literature : - E. Feucht, Lexikon der Ägyptologie II, Herzskarabäus, pp. 1168-1170, Harrassovitz Wiesbaden 1975 - M. Malasie, Les Scarabées de Coeur dans l'Egypte ancienne, Brussels, 1978 - C. Andrews, Amulets of Ancient Egypt, British Museum Press 1999

CHINA - Canton Porcelain Gu vase with polychrome enamel decoration on the body of flowers, foliage and calligraphic motifs. 20th century (important restorations) Height Height : 38.5 cm

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

Très ancienne serrure de case ou de grenier à mil - with stylized ears of a hare (Dogon lunar animal) and a triangular-tipped protrusion in the center. Hardwood, old honey-brown patina, significant wear marks, cut and hammered iron Dogon, Mali 39 x 32 cm Provenance: Collection of Madame Jacqueline Vallotton, acquired in the 1970s from auction houses and specialized dealers.

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.

A loom pulley stirrup bearing a mask. Adorned with ancient incised geometric motifs that are still visible despite handling that has partially erased them, and with sculpted scarification marks well in relief on the neck, this pulley stirrup is adorned with a mask and not a head. Its forward projection and size at the back attest to the fact that it is indeed a mask in a very fine old style, with a stylized heart-shaped face, that is carved on this stirrup, a figure of style of Baule sculptors. Suggesting the idea of a mask worn by this stirrup bust, the magic of the sculpture is further enhanced. Baule, Ivory Coast Wood, iron (nails) and cotton scraps, cracks, visible old breaks and chips, visible native restorations, very fine old patina from use H. 22.5 cm Provenance : Jean Roudillon Collection Exhibition : Die Kunst von Schwarz-Afrika, Kunsthaus Zürich, October 31, 1970 to January 17, 1971, listed p. 376 no. G50 in the catalog (exhibited but not reproduced).

EGYPT. Bronze statuette representing the God Osiris. Bronze. Late period. H. 10 cm.

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

A te otanga warrior's cuirass from a bwai ni buoka armor with helmet and saber-trident. From an old collection of which a fragment of the label survives with a probably erroneous attribution, it is very rare to find these emblematic Kiribati fighting armors with their helmet made from the dried skin of the porcupine fish (Diodon holocantus). Republic of Kiribati, formerly Archipelago Islands Gilbert Braided coconut pericarp fibers, human hair, remnant of an old collector's label, porcupine fish skin, wood fiber and palm leaves, shark teeth, minor accidents, very fine oxidation and old patina. H. of armor: 73.5 cm, H. of saber-trident: 126 cm Provenance : Jean Roudillon

Steatite scaraboid whose dish is engraved with a cartouche bearing the name of Menkheperê (Thutmosis III) between two winged disks. Egypt, New Kingdom or later. 20 x 16 mm.

Circular pendant in metal and yellow, blue and green enamel, set with coral cabochons Berber work, Morocco, 19th/Xth century Diameter: 9.5 cm (missing enamel)

A head-shaped pearl-grelot, part of an ancient necklace for a dignitary, priest or ruler. According to Sergio Purini, human heads such as this one, worn as necklaces, seem to correspond to the first images of prisoners studied in Mochica ceramics, and destined to be scarified. It is possible that these heads, bead-globes worn as necklaces, represent decapitated heads, a form of sacrifice widespread among the Mochica, whose practice of human sacrifice has been attested since the excavations carried out at Sipan and the Huaca de La Luna at Moche. This small head from the Jean Roudillon collection can be compared to another head, also with a striated headdress, slightly larger (4.5 cm) but with shell and turquoise inlays in the eyes and mouth, in the Dora and Paul Janssen collection. Note that the head in the Jean Roudillon collection has its eyelashes and eyebrows well indicated with engravings that punctuate the entire eye contour. These heads, made of gold and other alloys such as silver or gilded copper, were first laminated, then worked in repoussé and soldered to join the two parts containing the bell's bell. Mochica, Early Intermediate 100 BC to 800 AD, Peru Gold-silver-copper alloy, traces of oxidation visible at the corners of the mouth, nose and orifices H. 3.3 cm For the bell head from the Jansen collection, see p. 253 in: Les Maîtres de L'Art précolombien La Collection Dora et Paul Janssen, Fonds Mercator 5 Continents Musée Royaux d'Art et d'Histoire, Brussels 2005. Provenance : - Jean Lions Collection, Saint Tropez - Collection Jean Roudillon (donated by the latter)

BACTRIANE. Bronze, with green and red crusty patina and soil inlays. Rhyton, of elongated conical shape, decorated at the base with a goat's bust. Geometric motif in relief on the rhyton and also on the goat. Presumed period: Bactrian civilization, ca. 4th century B.C. Height: 15.3 cm

Multi-netted pot on foot The spherical body is topped by a flared, flattened mouthpiece with double rounded lips. Applied fillet decoration links the body to the hemmed neck. Green glass, earthy patina. Syro-Palestinian production, 4th-6th century. H. 16 cm Provenance : - M. Jean Pozzi Collection - Jean Roudillon Collection

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

CENTRAL AMERICA Terracotta sculpture of a divinity. 24 cm

Masque de danse (mwoidi) - showing an interiorized face with a projecting forehead and superciliary arches in relief. Wood, remnants of polychromy, white pigments, old internal wear marks. N'zebi, Gabon - Republic of Congo 32 x 18 cm

A davenibürau food bowl or priest's dish. Carved from the sacred wood known as vesi, with incised decoration around the rim, this bowl may have been a food dish, but it was most certainly a davenibürau priest's dish used to hold perfumed coconut oil, as evidenced by a clear mark of ancient impregnation of the wood inside its crucible. In addition to its superb patina, which reveals the veins of this red wood, the bowl has two holes which were used to hang it in the spirit house once it had been used. This bowl, turned upside down, shows a particular curvature, and its shape (not completely circular) clearly evokes the shell of a turtle, a final clue to identify this bowl as a priest's dish for scented coconut oil. Fiji Islands Wood, two old holes, superb old patina. D. 24.5 cm See: p. 220 and 221 for other Fiji priest dishes in Polynesia The Mark and Carolyn Blackburn Collection of Polynesian Art, Adrienne L. Kaeppler, Ed. M. & C. Blackburn 2010. Provenance : 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.

Antilope Ti Wara - on a rectangular base, surmounted by its little one Wood with patina from use and age (broken, glued in three places, one horn missing) Bambara, Mali Height: 76 cm Provenance: Collection of Madame Jacqueline Vallotton, acquired in the 1970s from auction houses and specialized dealers.

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

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

Statuette féminine - shown standing nude on a circular pedestal, bird's beak headdress plunging to the center of the forehead. Hardwood, old brown patina, small crack and chip on one hand Senoufo, Republic of Côte d'Ivoire Height: 16 cm

IVORY COAST - DAN Passport" identity mask Wood, leather, cowrie shells - H. 7 cm

HARTUNG Hans (1904 - 1989) - Estampe " COMPOSITION " Signed and dated 71 in stone, lower right, Color proof after the artist's work, printed on wove paper. Fondation Hartung Bergman / ADAGP Paris 2008 , Par Arte Paris .sheet size: 65 x 85 cm. View size : 51 x 70cm. We can send your lots by Colissimo registered mail for a fixed charge of €40 incl. VAT France / €50 Europe / €70 outside Europe (for rollable works only and excluding insurance) under your sole responsibility. For framed paintings and objects, estimate on request.