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Maasland 1. Viertel 16. Jahrhundert - Maasland 1st quarter 16th century St. Anthony Wood, carved three-quarters round, flattened and deeply hollowed on the back. Minor remnants of a former painted version. Depiction of the saint standing in contrapposto in monastic garb with a book and staff in his hands on the front and slightly below. Other characteristic attributes of Antonius include a bell, a prayer chain and a pig, while flickering flames beneath his feet refer to his emergency aid against the danger of fire. A wedge-shaped gap in the plinth and the hood on the reverse with a later lock or addition. Only minor wear. Height 92 cm. Expertise Prof. Dr. J. J. M. Timmers, Maastricht, 29.8.1989 (Maasland 1st quarter 16th century). - Guy Genard Antiquités, Liège, 10.9.1989 (Brabant early 16th century). Provenance Lower Rhine private collection.

Estim. 5 000 - 6 000 EUR

Thu 30 May

BEAUNE - MANUSCRIPTS. Important set of manuscripts from Lorenchet, an illustrious family from Beaune, dating back to the 15th century. Mottling and mildew (sometimes significant) affecting all documents. Some forty handwritten documents, 17th-18th centuries. Very interesting set contained in an antique folder bearing the inscription: "Pièces historiques et autres sur la ville de Beaune". - Set of 18th-century drawings (pen and wash) depicting sculptures and antiquities found in Beaune: "Monumens d'antiquité qui se trouvent dans l'église de Manilly" (4 well-crafted drawings, on 2 sheets, with comments: "cette 1ère pierre est à 4 faces de deux pieds trois pouces de large et sert présentement de bénitier", etc.). "Monumens d'antiquité qui se trouvent à Beaune dans la maison de Monsieur Brunet de Larvey" (7 drawings on 2 sheets, with comments: "4e pierre où se voit cette inscription gravée en lettres romaines", etc.). 2 drawings on the same sheet: "monument qui se trouve dans la maison de M. de Le Curne" and "Monument dans la maison de mad. de Masse". - Notes généalogiques et héraldiques avec dessins de blasons (XVIIIe), manuscript "addition au mss de mes observations sur l'histoire de la ville de Beaune" (14 pp. in-4), manuscript by Moreau de Mersan (1730), "mémoire des papiers du prieuré de St-Etienne", notes on the founding of the Chartreuse de Beaune, "Role de messieurs de la noblesse à la porte St Nicolas commencé le 12 mars 1722, "Estat des armes et poudres qu'ont les habitans du quartier St Nicolas 1673" (17 pp. in-4), "Remarques curieuses sur l'origine et l'ancienneté de la ville de Beaune" (1730, 18 pp. in-4, with corrections and addition), period copy of minutes drawn up concerning "un trouble séditieux fait par mess. de Bernard père et fils capitaine du château de Beaune le 5 février 1630". "Discours véritable sur la réduction de la ville et château de Beaune en l'obéissance du Roy Henri IV en l'année M.D.LCCCCV" (36 pp. in-folio), etc. The drawings and main manuscripts on the history of Beaune are probably by Étienne Lorenchet de Montjamont (1672-1735), councillor at the bailliage and chancellery of Beaune.

Estim. 2 000 - 3 000 EUR

Thu 23 May

A set of books, including: - Abrégé du dictionnaire de la fable, 1815 ; - Abrégé du dictionnaire classique de l'antiquité sacrée et profane, 1826 (cover torn) ; - Elements de géographie générale ou description abrégée de la terre, 1875 ; - Pierre Chaine, Les mémoires d'un rat, 1930 ; - Pierre Chaine, Les commentaires de Ferdinand (ancien rat de tranchées), 20th century (tears); - Madame de Renneville, Coutumes gauloises, 1838; - Monsieur Alibert, Vie de Sainte Catherine, 1843; - Jean Jacques Rousseau, Confessions; - Louisa Siefert, Rayons perdus, 1869 ; - Emile Zola, Lourdes tome I et II; - Monsieur De Marlès, Alfred ou Le jeune voyageur en France, 1841 ; - Louis Thomas, Traité des opérations d'urgence, 1875; - George Eliot, Scènes de la vie du clergé, tribulations du révérend A. Barton, 1887; - André Lichtenberger, Mon petit Trott, 1898; - L'anacharsis du jeune âge, ou morceaux choisis tirés du voyage du jeune Anacharsis en Grèce, with a map of Greece, 1840; - Gustave Flaubert, Madame Bovary, 1919; - Gustave Isambert, La vie à Paris pendant une année de la Révolution, 1896; - Henri Martin and H. Lister, Histoire d'Allemagne, de Suisse et des Pays-Bas, 1832; - Docteur Demézil d'après le règle animal de M. Le Baron Georges Cuvier, Ornithologue ou histoire naturelle des oiseaux, 1832; - A small 19th-century dictionary; - William H. Prescott, History of the conquesy of Mexico, 1965; - Les grandes énigmes de la seconde guerre mondiale presented by Bernard Michal, 1965; - Vingt ans de grogne et de gloire avec l'empereur , souvenir by J.R Coignet, 1965. Overall in used condition, covers damaged, two with spines missing.

Estim. 100 - 150 EUR

360 LIEBIG CHROMOS. 60 complete sets of 6, small pot, vertical, horizontal and various periods. Vintage album with green background, silver lettering, flowers and arabesques. L'Historique du Costume Masculin, En Indochine, Scènes d'Italie, En Perse, Coiffures hollandaises, Épisodes de l'Histoire de Belgique au XIIe siècle, Matières Premières pour l'Habillement, Don Juan, L'Eau Potable, Habitations dans l'Antiquité, Gallinacés, Les Insectes Utiles, Détroits Européens, Les Phases de Fabrication d'un Chromo Liebig, Roland, Les Reines, L'Historique du Costume Féminin, Cacti, Days of the Week, Sea Fish, Bodyguard, Ancient Roman Buildings, Non-flying Birds, Fruits and their Enemies of the Animal Kingdom, The Making of Rose Essence, Flora in the Deserts, Money in Different Eras, Madagascar the Land of the Hovas, In the Caucasus-Countries and Inhabitants, Mediterranean Islands, Robert le Diable-Meyerbeer Opera, Les Carrosses de nos Aïeux, Lumière et Luminaires, Métiers Féminins, Divers systèmes de Chemins de Fer, Le Carnaval à différentes époques, Oiseaux de Proie, Épisodes historiques de villes célèbres, Colonies Françaises, Au Turkerstan, Curieux caractères d'Écriture, Plantes Tinctoriales, Souverains parmi le Peuple, Le Style dans l'Ameublement, La vie au Siam, Entretien des Voies Publiques, Group Islands of New Guinea, In the Argentine Republic, Picturesque Corners in Venice, Alpine Fauna, In Finland, Medicinal Plants, Carnival Scenes, Jerusalem Delivered by Le Tasse, Schiller's Frederick, Evolution of Musical Instruments, The Round Table Cycle, Wedding Feasts, Armies of the Balcanic States and History of Porcelain. Pick-up of lots will be by appointment only in Paris XVe (Métro: Sèvres-Lecourbe or Pasteur). [The exact address will be communicated to you after full payment of the slip, when the appointment is made].

Starting price  100 EUR

Tue 04 Jun

Roman Bronze Patera with Maker's Mark for Licinius. 1st-2nd century A.D. With drum-shaped bowl and thick rim developing to a short handle with pierced lobe finial; stamped to the upper face of the handle with maker's name '[.]OIYBI'; to the underside of the base, pointillé legend 'LICINI[...]V'. Cf. Tassinari, S., La vaiselle de bronze, Romaine et Provinciale, au musée des antiquités nationales, Paris, 1975, figs.3,5,6,7,8,9, for similar vessels; Boucher, S. & Tassinari, S., Musée de la Civilisation Gallo-Romaine a Lyon: Bronzes Antiques I. Inscriptions, Statuaire, Vaisselle, Lyon, 1976, item 360, for type; Boucher, S. and Tassinari, S., Bronzes Antiques I, Inscriptions, Statuaire, Vaisselle, Paris, 1976, p.117, no.132, for similar; cf. also The British Museum's Portable Antiquities Scheme, record id. GLO-048BB1, for a very similar example and additional information; see also Nico, V., La tavola degli Antichi, Milano, 1989, for discussion on these vessels. 242 grams, 19.5 cm (7 3/4 in.). Acquired from Munich and London, 1990s. From the collection of a London, UK, gentleman. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12064-217904. The owner of the patera seems to be a certain Licinius. In contrast to more elaborate counterparts, paterae such as this were likely carried as part of the standard kit of Roman soldiers, used as a general cooking and eating utensil.

Estim. 1 000 - 1 400 GBP

Sun 26 May

Vuidepot, late 18th century Sculpture clock "Venus, Love and the bird in flight". in white marble and chased ormolu, depicting love handing over a dove in its gilded cage to a languid Venus. The group surrounding the dial, decorated with two rose branches, is bordered by a frieze of oves and stings, and stands on an oblong, filleted white marble terrace decorated with a frieze of acanthus and roses. It stands on eight toupie feet. The white enamelled dial signed "Vuidepot à Paris" shows the hours in Roman numerals, the minutes in railway numerals and the decimal minutes in Arabic numerals, with two openwork bronze hands. A black steel hand indicates the day. Wire suspension. Maximin Vuidepot (1752-1793), master in Paris in 1782. Height 51 Long 61.5 Depth 19.5 cm. (wear and tear; one dove and part of the Venus foot missing) Provenance: private collection, Loches. Maximin Vuidepot. A late 18th C. ormolu and white marble clock depicting Venus, Cupid and a runaway bird. Related work: a "Nymph and love in front of a cage" clock by Furet, horloger du Roi, circa 1775-1800, in the Musée du Louvre, OA 5286. This milestone date clock treats the bronze as an accessory, giving the group carved in white marble pride of place, earning it the appellation "sculpture pendule". The theme of Venus and Love emerged during the reign of Louis XV, with sculptors such as Clodion, Jean-Baptiste Pigalle and Falconnet, and reached its peak during the reign of Louis XVI. This theme is at the crossroads of the return to favor of antiquity and the galant scenes of the first half of the 18th century. Particular attention is paid to the treatment of Venus' drapery.

Estim. 2 500 - 4 500 EUR

Tue 21 May

OUSHEBTI ON BEHALF OF NEFERIBRE-SANEITH Egyptian art, Late Period, Dynasty XXVI, reign of Amasis, circa 570-526 B.C. Earthenware statuette, wearing a tripartite wig, standing on a quadrangular base, arms crossed, holding two farming implements. Nine bands of hieroglyphic inscriptions engraved on the front of chapter VI of the Book of the Dead, indicating the name of the deceased: Nefer-ib-ré-sa-neith, son of the lady Chem-(en)-bastet. Height Height : 18.5 cm Related bibliography : J.F. and L. Aubert, Statuettes Égyptiennes, Paris, 1974, pp.229-230 J.L. Chappaz, Les figurines funéraires égyptiennes du Musée d'Art et d'Histoire et de quelques collections privées, Geneva, 1984, n°139 Provenance: Saqqarah, south of the Userkaf pyramid, tomb of Neferibesaneith, discovered in 1929 Dispersed by the Antiquities Service, before 1970 Former private collection, Île-de-France French private collection, acquired in 2023 An Egyptian faience shabti for Neferibre-Saneith, Late Period, 26th Dynasty, reign of Amasis, circa 570-526 B.C. One of the finest examples of oushebtis from Dynasty XXVI, our delicate and elegant statuette is one of 336 funerary servants found in 1929 by the English Egyptologist Cecil Mallaby Firth in the tomb of Neferibresaneith, a high official of the Sait court, born of Chepenbastet (see E. Drioton and J.P. Lauer, "Les tombes jumelées de Neferibrê-Sa-Neith et Ouahibrê-Men",Annales du Service des Antiquités de l'Égypte, vol 51, 1951, pp. 469-490). Born under Psammetichus II, our high-ranking official bore a basilophoric name referring to this sovereign, but it was during the reign of Amasis, around the middle of the 6th century, that he reached the pinnacle of his career. It was at Saqqarah, south of the Userkaf pyramid, that he found his final resting place, accompanied by his funerary servants, most of whom were assembled on the lid of the sarcophagus. "A large number of these figurines, measuring 17 to 18 cm, were dispersed by the Antiquities Service and ended up in public collections: Budapest, Florence, London, Stockholm...; or private collections" (Aubert, p.230). The dispersal of these funerary statuettes, prized by private collectors and public institutions for their refinement, was completed in 1970, the tomb having been largely emptied by 1940. Today, these oushebtis continue to fascinate collectors the world over, and several examples can be seen in museum collections, including the J. Paul Getty Museum, which acquired one of these servants in 2016 (2016.2), the Metropolitan Museum in New York (58.4.2) and the Museum of World Cultures in Stockholm (MME 1974:156).

Estim. 15 000 - 25 000 EUR

Tue 04 Jun

Roman Bronze Figure of the Goddess Flora. Circa 2nd century A.D. A rare depiction of Flora standing holding a separately cast garland in her left hand, wearing pointed shoes, a long tunica talaris and a himation as a veil over her head, her hair surmounted by a diadem decorated with rosettes and falling in long wavy tresses in front, the pupils of her eyes indented; mounted on a custom-made tiered base. Cf. Daremberg & Saglio, Dictionnaire des Antiquités Grecques et Romaines, Paris, 1873-1917, sub voce Flora, p.1189; see for a Roman prototype the Flora Capitolina, Museo Capitolino, Stanza del Gladiatore, no.14, inv. no.743 in Negrete Plano, A. (ed.), Anton Raphael Mengs y la Antigüedad, Real Academia de Bellas Artes de San Fernando; Fundación Mapfre, Madrid, 2013, pp. 170-171. 617 grams total, 25.7 cm high including stand (10 1/8 in.). From an Egyptian family collection, Alexandria and Cairo, acquired in the early part of the 20th century in Egypt and Europe, and transferred from Egypt to northern European family residences in the early 1950s. Northern European private collection, by direct descent from the above in the 1970s. Acquired from the above by the previous owner in 2002. with Sotheby’s, New York, 5 June 2013, no.88. German private collection. Accompanied by copies of the German cultural export licence and copies of the relevant Sotheby’s catalogue pages. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12042-216438. Statuettes like the present one were used in the service of domestic cults and reflected native Greek or Roman cult practices. The Roman household shrine, or lararium, receives its name from the lares, the guardian spirits of the house and household, who were frequently displayed in the shrine, either in painted or sculpted form. [No Reserve] (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]

Estim. 4 000 - 6 000 GBP

Sun 26 May

Late 18th century, early 19th century Large obelisk clock in white marble and chased bronze gilded with ground gold. The obelisk, surmounted by an armillary sphere, is adorned at its base with an enameled dial signed "Jacquot A Paris", with hours and minutes in Arabic numerals. The dial is surmounted by a gilded bronze bas-relief of two nymphs carrying the world on which Cupid is enthroned, and supported by another bas-relief featuring two lions joined by a drapery. The sides are decorated with warrior attributes and the edges highlighted by a twisted gilded border. The base is adorned with a gilded bronze bas-relief with a frieze of children in the Clodion style. A quadrangular black marble terrace is surrounded by four gilded bollards linked by a chain. Brocot suspension probably brought back. Numerous Jacquots have been listed in Paris since the 18th century, including one established in 1806 on rue Saint-Martin. Height 75 Long 32.5 Depth 19 cm. Provenance: private collection, Loches. Late 18th C.- early 19th C. A large ormolu and white marble obelisk clock. Topped with an armillary sphere. On a black marble base. Related work: Jean-Baptiste Thiéry, Pendule en forme de pyramide, 1785, Musée du Louvre, OA 5308. Bibliography: - Pierre Kjellberg, "Encyclopédie de la pendule française", Editions de l'Amateur, Paris, 1997, a comparable model reproduced on p. 219; - Egyptomania", Musée du Louvre exhibition catalog, January 20-April 18, 1994, RMN, Paris, a comparable model reproduced on p. 137. The obelisk, erected in ancient Egypt to mark military victories, became a popular motif in France in the late 18th century. During the reign of Louis XVI, several models featuring a crowned eagle with outstretched wings were created to celebrate the victory of Yorktown, won by General de Rochambeau and George Washington against English troops in America. The model then took on several variations, including an armillary sphere at the top. Its popularity continued to grow under the First and Second Empire, boosted by Napoleonic campaigns and Egyptomania.

Estim. 2 000 - 4 000 EUR

Tue 04 Jun

Very Large Roman Bronze Oil Lamp with Actor's Mask. 1st-2nd century A.D. With an elongated body and a long nozzle with a rounded tip; raised rim enclosing the upper face with an ivy lef-shaped filling hole; wide handle terminating to a female tragic mask with a palmette below the chin, the hair dressed in ringlets with two rows of curls to the brow, eyes inlaid with silver; accompanied by a custom-made display stand. Cf. Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996, no. Q3669 (said to be from Rome) for identical, and Q3670 (preserved only in the identical mask); many other similar examples are from Pompeii, see Valenza Mele, N., Museo Nazionale Archeologico di Napoli, Catalogo delle Lucerne di Bronzo, Rome, 1981, nos.344-345; from the Western Provinces, see Rolland, H., Bronze Antiques de Haute Provence, Paris, 1965, no.357; and from the East, see Bérard, C., Bronzes Hellénistiques et Romains, Lausanne, 1979, pl.116, 7 and 10; cf. also Mitten, D.G., Doeringer, S.F., Master Bronzes from the Classical World, Cambridge, 1967, no.297, for identical, and Edgar, C.C., Greek Bronzes, Catalogue général des antiquités égyptiennes du Musee du Caire, Cairo, 1904, pl.12H. 1.97 kg, 28 cm wide (4.31 kg total, 27.5 cm high including stand) (11 in. (10 7/8 in.)). Old private British collection, pre-1965. Property of a gentleman; acquired in the UK before 2000. Accompanied by a copy of an old black and white photograph and an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12033-215424. The lamp is of Loeschke type XX (Walters type 6), with many of these lamps made in Italy, but some are also found in the East. The tragic mask appears frequently on lamp handles, probably as an apotropaic subject. The mask was an inseparable element of unity with the past and religious context. [A video of this lot is available to view on Timeline Auctions Website]

Estim. 5 000 - 7 000 GBP

Sun 26 May

Paul Jenkins (American, 1923-2012) "Phenomena Medusa Seen", 1970 Canvas. Signed at bottom. Dedicated "for David+ Sheila", titled, dated "November, 19, 1970", located "Paris" and countersigned. Height 130 cm, width 97 cm. Provenance: former Sheila and David Douglas Duncan collection, Mouans-Sartoux. Paul Jenkins, 1970. An acrylic painting entitled "Phenomena Medusa Seen". Signed and dedicated to David Douglas & Sheila Duncan. Exhibition: "Paul Jenkins, oeuvres 1953-1986", Musée Picasso at Château Grimaldi, Antibes, May 18 - June 26, 1987 (label on back). Like his photographer friend David Douglas Duncan, for whom he made Medusa Seen, Paul Jenkins was an unclassifiable artist who straddled a number of currents. Jenkins is an abstractionist, sensitive to the experiments of the Americans, French and Japanese, and nourished by his travels and encounters with Jackson Pollock and Mark Rothko. But his vision is as unique as his techniques, which he constantly renews as he experiments. In the same way, Duncan was as much an adventurous photographer, covering all the wars of his time, in the Pacific, Korea and Vietnam, as he was the eye and friend of artists, notably Picasso, with whom he was one of the few to have an open table. In 1960, Jenkins debuted "Phenomena", a series of oil and acrylic paintings. Using his ivory knife, Jenkins spreads the material finely over the canvas, recalling the vision of a "shark's fin splitting the surface of the water". Each of the works is entitled "Phenomena", augmented by a phrase or keywords. They illustrate "the capture of reality in its perpetual metamorphoses, both the act of painting and its final result". Jenkins chose "Medusa Seen" for Duncan. Since ancient times, it has been known that the gaze of Medusa, whose head hangs on Perseus' shield, turns her adversaries to stone. Whoever has seen Medusa and survived is therefore extraordinarily skilful, like David Douglas Duncan, the eye of his time, who immortalized so many conflicts in black and white. Jenkins deliberately chooses black and white, symbolically and experimentally, for this organically shaped jellyfish, which he dedicates to David and his wife Sheila. The canvas was later exhibited at the Musée Picasso in Antibes, as part of the retrospective organized by Jenkins himself, as testimony to a loyal friendship and companionship between a painter and a photographer... unclassifiable!

Estim. 18 000 - 22 000 EUR

Wed 22 May

RONSARD (Pierre de). - The first four books of the Odes. Ensemble son Bocage. Paris, Guillaume Cavellart [sic], 1550. In-8, fawn calf, double framed with three cold-stamped fillets, gilt fleuron in center and small fleuron at corners, ribbed spine, modern box (period binding). First edition of the first collection of poems by Ronsard (1524-1585). First state copy, without the 2 suravertissement leaves but containing the 2 errata leaves. The collection contains only unpublished poems, with the exception of three pieces. The publication of Ronsard's Odes sounded like a thunderclap in the 16th-century world of letters, turning the landscape of poetry in France upside down. Nourished by the works of Pindar and Horace, Ronsard, who makes no secret of his disdain for the old school, proudly presents himself as the first Lirique François author, and boasts that he was the first to enrich the French language with the term "ode", an old poetic genre prized by the authors of Antiquity: "Quand tu m'appelleras le premier auteur Lirique François, et celui qui a guidé les autres au chemin de si honneste labeur, lors tu me rendras ce que tu me dois [....]. I went to see foreigners, & made myself familiar with Horace, counterfeiting his naive sweetness, in the same way that Clement Marot (the only light in his years of vulgar poetry) labored in the pursuit of his Psalter, & dared, the first of our kind, to enrich my language with the name Ode. The work provoked the strongest reaction from the Marotiques: a literary battle, known as the "Querelle du Louvre", began between the Ancients and the Moderns, represented on one side by Mellin de Saint-Gelais, poet laureate at the court of Henri II, and the young Ronsard. We have bound the sequel: - L'Hymne de France. Paris, De l'Imprimerie de Michel Vascosan, 1549. First edition of this poem exalting national sentiment, in 224 flat-rhymed decasyllabic verses; this is the first hymn composed by the poet, who claims the glory of being the first to celebrate France. (J. P. Barbier-Mueller, II-1, n°2. - Ronsard : la trompette et la lyre, n°19). - Ode de la paix. Paris, Guillaume Cavellat, 1550. First edition, known from only 7 copies according to J. P. Barbier-Mueller. Ode belonging to the pindaric genre, in which Ronsard sings in 500 verses of the peace signed with England in 1550: France paid 400,000 gold écus and the English surrendered Boulogne. In addition, they evacuated Scotland (J. P. Barbier-Mueller, II-1, no. 8). A precious volume of three early works by Ronsard, preserved in a Parisian binding strictly contemporary with the editions. From the libraries of Eugène Piot (1891, no. 482), Tobie Gustave Herpin (1903, no. 107), Robert Hoe (1912, no. 2929), William Augustus White and F. M. Weld. Light foxing, small light wetness on a few leaves. Binding restored at corners, spine redone. J. P. Barbier-Mueller, II-1, n°5. - N. Ducimetière, Mignonne..., n°3. - Ronsard : la trompette et la lyre, n°46. - Diane Barbier-Mueller, Inventaire..., n°673, 670 and 676.

Estim. 15 000 - 20 000 EUR

Tue 04 Jun

Egyptian Limestone Painted Shabti Inscribed for Ir-Nu. New Kingdom, 19th-20th Dynasty, 1295-1077 B.C. Inscribed for Ir-nu; with carefully modelled face, large eyes and unnaturally large ears, wearing a neck-strap, a long tripartite wig with incised striations and a broad three-band collar; holding a pick in his left hand, a hoe in the right and a seed bag hanging over the left shoulder; the unusual position of the hands opposed on the chest; the text beginning in the vertical column running down the front of the figure, continuing in five horizontal bands with pale red-ochre pigment colouring to the top, middle and bottom bands; the same pigment used to colour the implements and also alternates with blue striations of the wig, the neck strap and details of the collar also in blue; the inscription from the Book of the Dead Chapter 6, reading: (Vertical column:) 'The illuminated one, the Osiris' (Horizontal rows:) 1) Ir-nu, true of voice, he says: O, this shabti 2) if one is counted, if one is reckoned to do the work 3) [to do all that is to be done in] the god’s land, to cultivate the riparian lands, transport by boat 4) [sand of] the west to the east, to act 5) at any time, to serve there (you) shall say true of voice(?). Cf. Newberry, P., Funerary Statuettes and Model Sarcophagi, Catalogue général des Antiquités égyptiennes du musée du Caire, Nos.46530-48575, Cairo 1930-1957, pp.378-379 (CG 48497), pl. XXI; see Donald, B., Funerary Figurines in Oxford Encyclopaedia of Ancient Egypt, vol 1, New York, 2000, pp.568-569; see also Schneider, H.D., Shabtis. An Introduction to the History of Ancient Egyptian Funerary Statuettes with a Catalogue of the Collection of Shabtis in the National Museum of Antiquities at Leiden, 3 vols., Leiden 1977, V.2, p.73, (3.2.1.55), pl.100; V.3 p.26. Exhibited: The European Fine Art Foundation (TEFAF) 2016, Booth 430, Maastricht Exhibition & Congress Centre, Maastricht, Netherlands. 1.4 kg total, 28.4 cm high including stand (11 1/8 in.). Carieau family collection, Belgium, acquired in 1952. Ex Maspero collection, Paris, 1963. Acquired from a private European collection, in 1978. Accompanied by a copy of a technical report by Edmund S. Meltzer Ph.D. Accompanied by an academic report by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12080-217053. [A video of this lot is available to view on Timeline Auctions Website]

Estim. 20 000 - 30 000 GBP

Mon 27 May

Émile Désiré PHILIPPE (Paris 1834-1880) Superb and rare set in vermeil, 800 silver and 750 thousandths gold, adorned with polychrome cloisonné enamel, comprising an open-worked bangle bracelet centered on a sphinx punctuated by a turquoise cabochon with sphinxes, adorned with a gold ratchet clasp, an articulated necklace decorated with lapis lazuli scarabs representing Khepri, the god of the rising sun symbolizing rebirth, punctuated with a garnet cabochon and papyrus motifs, an identical brooch that can be worn as a pendant representing Isis wearing a solar disk, the whole adorned with 3 pendants decorated with turquoise and a garnet, and a pair of earrings stylizing vultures in flight, representing the goddess Nekhbet, symbol of Pharaonic protection. Signed and hallmarked for the bracelet and brooch. Master hallmarks for the earrings. Finely chased backs. Circa 1870. Gross weight of bracelet: 82.60 g. Inside dimensions: 5.7 x 5 cm. Gross weight of necklace: 79.10 g. Length: 45 cm. Gross weight of brooch: 24 g. Dim: 6.5 x 3.6 cm.(small transformation) In 1873, Émile Philippe, a pupil of ]ules Wièse père, produced his first Egyptian jewelry. The fashion had long been out of France; Italian jeweler Carlo Giuliano created an important brooch in London with two horse heads, a lotus flower and a mask. While Castellani and Fontenay based their Etruscan-style jewelry experiments on rigorous, analytical observations, Egyptian-style craftsmen were content with a repertoire that lacked archaeological fidelity and whose evocative spirit was associated with the exoticism of Pharaonic Egypt. For example, the ancient Egyptian technique of cloisonné enamel was rarely used in antiquity, color contrasts being obtained by inlays of stone or glass. Nevertheless, in the 19th century, cloisonné enamel was generously applied to so-called "Egyptian" jewelry, which nonetheless faithfully retained the Napoleon III style. In its most popular form, the engraved gold sphinx, lotus flower or scarab souvenir was marketed, along with turquoise, cabochon garnet and lapis lazuli. Originally, the Egyptian collection of Louis-François Cartier, founder of the House, was hardly distinguishable from those of his competitors. Cartier's 1852 inventory lists a scarab bracelet in pearls and enamel, followed by a scarab brooch in 1854 and a scarab ring in 1860. Text from Mr Jean-Jacques RICHARD's Blog

Estim. 1 000 - 12 000 EUR

Sun 26 May

Maison Christofle, under the direction of Paul Christofle (French, 1838-1907) Important prize trophy awarded to Monsieur Louradour in Mirandol, 1873 in silver, awarded by the French Ministry of Agriculture, Trade and Public Works. It is topped by a rond-bosse of the goddess Ceres resting on a pedestal with the inscription "CONCOURS GENERAL AGRICOLE DE CAHORS / DECERNEE A Mr LOURADOUR A MIRANDOL". The bowl features an embossed decoration of four scenes of work in the fields, captioned "PATURAGE, MOISSON, VENDANGE, LABOURAGE". The rim is underlined with the inscription "MINISTERE DE L'AGRICULTURE DU COMMERCE ET DES TRAVAUX PUBLICS MDCCCLXXIII". The tapered, fluted shaft is framed by vine branches and finished with wheat sheaves. The circular base features an ox, a ram, a sheep and a sickle in the round. Resting on four openwork scrolled feet, richly decorated and chased with bunches of leaves. Minerve hallmark, 1st title. Goldsmith's hallmark "CC" with a bee surmounted by three stars for Christofle et Cie, inscribed in 1853. Signed "CHRISTOFLE Ft (fecit) 1873". Based on a model by sculptors Eugène Capy (French, 1829-1894) and Pierre-Louis Rouillard (French, 1820-1881). Height 65 cm, diameter 41.5 cm. Weight 9.050 g. Christofle, under the direction of Paul Christofle, 1873. An impressive silver trophy awarded by the French Ministry of agriculture to the winner of the 1873 Cahors Concours Général Agricole. After a model by Eugène Capy and Pierre-Louis Rouillard. Bibliography: Yves Badetz in Daniel Alcouffe (dir.), "L'Art en France sous le Second Empire", cat. exp. Paris, Grand Palais, May 11 - August 13 1979, Paris, Ed. RMN, Notice 79. THE 1873 AGRICULTURAL COMPETITION CUP, by Philippe Rouillac with Brice Langlois Symbol of the French renaissance Awarded in 1873 at the Cahors agricultural competition, this trophy - one of the first to be presented in France after the defeat of 1870 - became the symbol of the French renaissance. This competition was part of a drive to promote agricultural products, following on from the one held in Poissy since 1843, then under the Second Empire, and which continues today at the Porte de Versailles. Presenting this "silver cup worth 3,500 francs to Mr. Louradour of the Mirandol estate for the magnificent results obtained [...] by putting into practice, for more than twenty years, the principles of agricultural science taught at Grignon", the Prefect of the Lot department emphasized that "at the end of the trials which have so painfully darkened the preceding years, in the midst of the serious circumstances of the present time, is it not a consoling and fortifying sight to behold the fruitful work of the farmers of France? The farmer from the commune of Martel was awarded the "Prime d'Honneur" for the "Prix Culturel de Première Catégorie". Christofle in the spotlight The model of our trophy is presented for the first time at the 1862 Universal Exhibition in London. In addition to Charles Christofle, who won another award at the show, sculptors Eugène Capy and Pierre-Louis Rouillard collaborated on this important piece of silverware. The former supplied the model of Ceres, while the latter worked on the animals and, presumably, the bas-reliefs. It seems, however, that the prototype for this piece had been conceived at least a year earlier, as suggested by the photographic collections of Christofle silverware (Christofle archives). At the 1861 Salon, Charles Christofle exhibited a "gold and silver cup" donated by the Ministry of Agriculture for the regional competitions of the same year. As with our trophy, Eugène Capy was involved in this project, as well as collaborating on the one for the Hôtel de Ville and the gilded bronze one for Napoleon III. However, the sculptor Auguste Madroux, who helped with the prototype, was replaced by Pierre-Louis Rouillard, who contributed to the sculptural decor of the Louvre. Neoclassical inspiration The figure of Ceres is treated here in the neoclassical style, with the drapery, the drooping folds and the laurel wreath recalling, among other things, the art of antiquity. The bowl thus offers a composite stylistic repertoire: the bas-reliefs around its rim are treated realistically, while the ox and sheep are depicted naturalistically. In any case, as Yves Badetz, Chief Curator of Heritage, points out, the figurative motifs of this trophy can be found in other pieces destined to be offered at agricultural competitions, such as the Ceres, produced on its own to be placed on the market.

Estim. 10 000 - 15 000 EUR
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