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Fri 17 May

Patrick BOUDON (Né en 1944) - The couple Oil on isorel 120 x 91 cm Signed upper left Patrick Boudon Titled lower left La déesse

Sun 09 Jun

André Franquin - Gaston, "Gaf-Man" silkscreen print no. 350, signed (Ed. Déesse, 1976). Dimensions: 45 cm x 35 cm.

Mon 13 May

[Archaeology]. Orient. East. Votive plaque of Astarte, Goddess of Love, supporting her breast. White terracotta. L. 10cm. Evidence of the very ancient cult of the Great Goddess. Canaan, Southern Levant, Late Bronze Age or later. As is (visible gaps).

Sat 11 May

17th century French school attributed to Giovan Francesco Penni Sacrifice to a goddess Pen and wash.

Tue 14 May

TIBET. Goddess in a mandorla. Gilt bronze and brass. H : 52 cm. Removable subject.

Tue 14 May

ASIA, 20th century. Bronze alloy statuette depicting the goddess of wisdom. H. 46 cm. Oxidation.

Mon 13 May

[Archaeology]. Egypt. Amulet with a trained cobra of the goddess Ouadjet. L. 3.7cm. Frit or other. Low Period style.

Mon 13 May

[Archaeology]. Egypt. Amulet of the cat goddess Bastet suckling her young. Frit or other. L. 4.5cm. Low Period style.

Goddess Shiva 19/20th century: Bronze with green-brown patina, H: 18, W: 17, D: 10 cm

Mon 13 May

[Archaeology]. Egypt. Statuette of the cat goddess Bastet. Bronze. L. 8cm. Black marble base. Former French collection. Low Period style.

Mon 13 May

[Archaeology]. Egypt. Amulet of the hippopotamus goddess Thoueris. Frit. L. 2..6cm. Former French collection. Late Period (664 - 323 B.C.).

Tue 21 May

ASIA, 20th century. Goddess. Subject in hard stone. Presented on its base and transport box. H. 19.5 cm (excluding base).

Fri 17 May

Sceau-cylindre - Cylinder seal depicting a bun-capped female orante wearing a long robe, held by the hand of a lama goddess placed in front of her, who raises her hand in adoration. In front of the orante and the lama goddess, a female goddess seated on a throne, in a ruffled robe and wearing a tiara with a row of horns. Brown and white agate. Mesopotamia or Levant, Isin-Larsa period, c. 2005-1800 B.C. H: 3 cm (Collection of Jacques de Saint-Ardouin (1899-1956), diplomat, passed on to his nephew Harry de Tascher, then by descent.

Fri 17 May

Carnelian agate SUBJECT depicting a spring goddess holding fruit, accompanied by a child. With a wooden base (minor chips). China, 20th century. H. 9.6 cm

Tue 21 May

Dehua. - Large representation of the goddess of compassion Guanyin, standing. China white enamel porcelain. 20th century work. Height: 51 cm. Condition. Good condition, no accident.

Thu 23 May

Okimono in marine ivory (walrus) carved and enhanced with ink, the goddess Kannon standing, a man in prayer at her feet. Japan, 20th century. Height: 22.8 cm. Expert : Laurent SCHROEDER

Mon 13 May

[Archaeology]. Andean region. Idol of Pacha Mama, founding mother goddess of Andean civilization, in her androgynous form. Bronze. L. 7.3cm excluding base. Fertility offering to Mother Earth. Representation of the primordial, Edenic human, "Universal Man" in his "Adam-Eve" form. In pre-Inca tradition.

Mon 13 May

[Archaeology]. Egypt. Amulet depicting the goddess Heqet in the form of a frog. Blue enameled frit or other. L. 4.8cm. H 3.8cm. Protector of women in childbirth, Heqet represents life. In pyramid texts, she accompanies the king on his celestial ascent. Low Period style.

Sat 25 May

China - Compagnie des Indes porcelain plate, scalloped rim, bust of the goddess Athena and family coat of arms. A chip on the rim. Weight: 390 g Shipping available Area: Chine Sizes: H 45MM X D 230MM Condition: At first glance: good condition

Tue 21 May

FRAGMENTARY BRONZE LEONTOCEPHALIC AEGIS Egyptian art, Late Period or Ptolemaic, 664-30 B.C. Fragmentary aegis depicting the head of the lion goddess Sekhmet wearing a tripartite wig, surmounted by a large necklace ousekh finely engraved in several rows, decorated in the center with an eye and finished with two hierocephalic attachments. The top of the goddess's head is perforated to accommodate a sun disk, now missing. Three loops on the reverse. Green patina. Height 13.7 cm; length 15.8 cm Provenance : Private collection of a French archaeologist, early 20th century Then by descent An Egyptian bronze fragmentary aegis, Late to Ptolemaic Period, 664-30 B.C.

Wed 15 May

* Capodimonte Large white enameled porcelain group featuring the goddess Diana the Huntress and her nymphs on a terrace. Engraved under the base. 19th century H. 62 - W 53 - D 30 cm without base. Accidents and restorations, missing parts. !!! Please note: This lot must be collected from the Drouot storage department. Paid service.

Fri 24 May

MODERN SCHOOL Allegory of justice, Greek goddess Themis depicted with sword in hand, symbol of punishment, and blindfolded as a sign of impartiality. Balance missing (in left hand). Bronze proof on a black stone base. Height: 18 cm - Total height: 23 cm.

Fri 17 May

Bracelet - decorated with 10 amulets representing a goddess Thouéris, a triad Isis-Harpocrate-Nephtys, a Bès, a god Schou, an anthropomorphic Thot-Ibis, a seated Isis, a standing Isis, a fragment of Schou, a seated Horus falcon and a Nephtis. Earthenware, glass paste Egypt, Late Period to Ptolemaic Period H. from 2.8 to 2 cm P. 35,5 g

Wed 15 May

* Set of four amulet molds including an oudjat eye, the goddess Thouéris, a cachet decorated with hieroglyphs and an oudjat eye in a quadrangular shape. Terracotta 3.3 to 4 cm Egypt New Kingdom to Ptolemaic Period Some with numbering in graphite and three detached reference labels Provenance: Kieffer Estate, Boulogne-Billancourt (70s-80s)

Wed 22 May

THE KUSHANS - VASU DEVA III and his successors 4th century The king standing frontally near an altar and looking to the left, holding a trident adorned with ribbons. In the left field, a rosette. R/. Goddess Ardoksho seated frontally on a throne, holding a cornucopia. ♦ Morgan p.473 Electrum statere (7.86 g) T.B.

Sat 25 May

LEMAIRE de BELGES, Jean - L'epistre du roy a Hector de Troye Paris François Regnault 1523 Ref. Adams L 402. Souvent relié à la suite des "Illustrations de Gaulle, et Singularitez de Troye.... " In-4°, [30] ff, l'illustration comprend un grand bois aux armes de l'auteur, d'un grand bois à pleine page, représentant la déesse Junon. Marque de l'imprimeur sur la dernière feuille (l'éléphant). Gal. de vers marginale. Jolie rel. du 19me s. en demi-veau blond, dos à compartiments dorés, tranches rouges

Thu 23 May

Japan, Taisho/ Showa Satsuma earthenware tea sets Set comprising : - A first model decorated with the goddess Kannon: - 1 covered teapot ; - 1 covered sugar bowl ; - 1 covered creamer ; - 5 cups ; - 1 cup; - 6 saucers. - From a second model with orange dragon: - 1 covered teapot ; - 1 covered sugar bowl. Various marks (accidents, missing pieces, wear, imperfect lot sold as is). H (largest piece): 18.5 cm

Tue 21 May

BRONZE BASTET Egyptian art, Late Period, 664-332 B.C. Statuette depicting the goddess Bastet as a cat sitting on her hindquarters, forelegs erect. Brown patina. Antique wooden base. Height Height : 16,5 cm Provenance : Estate in Grenoble, sold for the benefit of an association His sale, Grenoble Auctions, Grenoble, June 20, 2022: n°219 (ill.) Paris private collection An Egyptian bronze of Bastet, Late Period, 664-332 B.C.

Tue 21 May

FRAGMENT OF A HATHORIC CAPITAL Egyptian art, Ptolemaic period, 332-30 B.C. Fragment of a limestone capital, finely carved in bas-relief with the partially preserved face of the cow goddess Hathor. To her left, an upright cobra wearing a red crown. from Lower Egypt. Remains of polychromy. Missing parts. Size: 25 x 44 cm Provenance : Galerie Sycomore, Paris Collection of an amateur from Marseilles, acquired in 1989 An Egyptian fragmentary limestone Hathoric capital, Ptolemaic Period, 332-30 B.C.

Tue 21 May

FRAGMENTARY VENUS ANADYOMENE IN MARBLE Roman art, 1st-2nd century AD Lower part of a statuette of Venus "anadyomene", covering her nudity with her left hand. At her side once stood a small Eros, of whom only the right arm remains, resting on the goddess' thigh. Missing parts. Height Height : 21 cm Provenance : Christian von Faber-Castell Collection, Küsnacht, Zürich, Switzerland Cahn Auktionen AG, Basel, November 9, 2013: no. 257 (ill.) Collection of an amateur from Marseilles A Roman fragmentary marble Venus Anadyomene, 1st-2nd century A.D.

Fri 17 May

Légion étrangère 5ème R EI mixte du pacifique, five command sticks. - Command stick in exotic wood, 54 cm, worked, ends in a statue (MOAI). - Command stick in exotic wood, 49 cm, worked, ends in a statue (MOAI) with 5th REI insignia. - Command stick in exotic wood, 52 cm, finished with a statue (MOAI). - Exotic wood command stick, 61.5 cm, worked. - 52 cm woven leather-covered iron command stick, ending in the head of an Egyptian goddess. Painted metal spearhead.

Tue 21 May

BRONZE BASTET Egyptian art, Late Period, 664-332 B.C. Statuette of the cat goddess Bastet standing on a rectangular base, wearing a long spindle-shaped dress with engraved motifs, holding the leontocephalic aegis representing Sekhmet in her left hand and the sistrum in her right. A round basket hangs from her left arm. Brown patina. Height Height : 10.5 cm Provenance: Former French private collection, acquired in the 1980s from a Paris antique dealer. Then by descent to the current owner An Egyptian bronze statuette of Bastet, Late Period, 664-332 B.C.

Tue 21 May

TORSO OF VENUS GENITRIX IN MARBLE Roman art, 1st-2nd century AD Headless statuette depicting the goddess standing, wearing a long revealing her left breast and holding a himation on her left arm. himation, formerly held in the right hand, now incomplete. Missing parts. Height Height : 28 cm Provenance : Former Paris collection, circa 1980 Galerie Chenel, Paris Collection of an amateur from Marseilles, acquired in 2010 Bibliography : Galerie Chenel, L'art du drapé antique, December 5 2009 - February 13 2010, p. 34 A Roman marble Venus Genitrix torso, 1st-2nd century A.D.

Tue 21 May

TWO TANTRIC PAINTINGS OF THE GODDESSES KALI AND CHHINNAMASTA Kangra, Pahari school, North India, mid-19th century Pigments on wasli paper wasli, depicting Kali standing over the body of Shiva, both on a funeral pyre in a landscape filled with bones and scavengers; and the goddess Chhinnamasta standing over the embracing bodies of Krishna and Radha, holding in her hands her severed head and a dagger, each in blue and pink margins. Size: 10 x 15 cm and 21 x 14 cm Provenance : Simone and Jean-Louis Roque Collection, Paris To the present owner by descent Two Tantric Paintings of the Goddesses Kali and Chhinnamasta, Kangra, Pahari School, North India, mid-19th century

Tue 21 May

FRAGMENT OF MUMMY STRIP IN WOVEN LINEN Egyptian art, Ptolemaic period, 332-30 B.C. Scene of the judgment of the soul, chapter 125 of the Book of the Dead, depicting Osiris enthroned, presiding over the ceremony in front of an offering table. On the right, the scales bearing the heart of the deceased are partially visible, while Thoth, scribe of the gods, records the deeds of the deceased's past life. In the center, the goddess Âmmout, "the devourer of the dead", awaits judgment. Visible missing parts. Size: 7.3 x 13 cm Provenance: Collection of Major James Findlay (1915-1990), Aberdeen, acquired 1950-1960, then by descent. Sold in aid of Archway, Aberdeen charity, n°SCO14665 Bonhams, London, July 3, 2019: no. 207 (ill.) (part of lot) Collection of Monsieur B., Paris An Egyptian linen mummy bandage, Ptolemaic Period, 332-30 B.C.

Thu 23 May

Chinese school after MIAO Jiahui (1842-1918) The Five Hundred Lohans Ink and watercolor on paper Horizontal scroll consisting of a first calligraphic panel, a main panel depicting the lohans in a procession leading them to Guanyin (Goddess of Compassion) and a third calligraphic panel. Approximate, unguaranteed dimensions of the work alone: height constant at 21 cm / length of the first calligraphed "panel" 83 cm / length of the second panel, the painted one, approximately 1650 cm / length of the third and final panel, also calligraphed (wear, wetness, scratches, tears) Museum comparison: A work in the vein of WU Bin / ?? (c.1568-1620). In fact, entire sketches have been taken from the homonymous scroll by the same artist, kept at the Cleveland Museum under reference 1971.16.

Tue 21 May

TERRACOTTA MOTHER GODDESS Phoenician art, circa 6th century B.C. Molded female statuette depicted seated on a throne, pregnant, with her right hand resting on her belly. Egyptian in style, she is wearing a long tunic and a veil covering her head. Height Height : 17.7 cm Related bibliography : Exhibition catalog, Israël à travers les âges, Petit Palais, Paris, May-September 1968, no. 166 Provenance: Mes Laurin, Guilloux, Buffetaud et Tailleur, Hôtel Drouot, Paris, February 24, 1988: no. 53 (ill.) Former Robert Blanchet collection (1921-2009), inventory no. 268 G. Blanchet Collection A Phoenician terracotta pregnant woman, circa 6th century B.C. This type of statuette was intended to promote fertility and protect pregnant and parturient women. Several similar examples are preserved in the collections of the Musée du Louvre (for example, n°AO 25948 and 49).

Tue 28 May

The Education of Young Children, Europe, circa 1760 Rare folded fan, the leaf in skin, mounted in English and painted in gouache with two interior views. To the left, a young woman teaches little girls the art of sewing and embroidery. Hats and clothes hang on the wall, and they hold their work in their hands. To the right, a man is writing, seated at a table, while young boys arrive carrying books. Two men come forward, presumably to benefit from his work as a public writer. In the center, two statues in the antique style represent the goddess Diana, and a hunter, perhaps Endymion. The reverse is painted with cherry blossoms in the Chinese style, and a young woman carrying a basket. Mounted in ivory (elephantidae spp), finely beaded, carved, engraved, gilded and painted with two landscapes in trompe-l'oeil cartels. The sculpted plumes of a Chinese figure. (The rear plume is broken, restorations). Total height: 26.3 cm; Height. Height : 11.8 cm Weight : 59 g. *Ivory specimen of Elephantidae spp (I/A) pre-Convention, prior to July 1, 1947 and therefore compliant with EC Regulation 338/97 of 09/12/1996 art.2-Wmc, and prior to July 1, 1975 and therefore compliant with the French decrees of May 4, 2017 and January 2022. To leave the European Union, a CITES re-export permit is required. Expert: Georgina Letourmy-Bordier

Sun 26 May

Marie Laurencin (French, 1883-1956) Diane à la biche, 1907 Pencil and watercolor on paper. Signed and dated. Height 18.3 Width 26.5 cm. (sheet taken from a notebook, taped at the corners to a sheet [Height 24.4 Width 31.4 cm]) Marie Laurencin, 1907. A pencil and watercolor drawing of Diana and a doe. Bibliography: D. Marchesseau, "Marie Laurencin, Catalogue raisonné de l'œuvre peint", Musée Marie Laurencin du Japon editions, 1986, oil on wood "Diane à la chasse" dating from 1908, reproduced p. 68, no. 46. Intimately linked to its author, this drawing foreshadows the painting of "Diane à la chasse", completed in 1908, which belonged to Guillaume Apollinaire and is now in private hands. A companion of the artist, the poet described her as "the painter of feminine mystery", with a "feminine and serpentine" touch, at the confluence of Pablo Picasso and Douanier Rousseau. In the years 1905-1909, Marie Laurencin liked to depict herself in the guise of Diana, both as an ancient goddess and as a Renaissance princess. By depicting herself accompanied by a doe, her animal attribute, the artist questions her own existence, as André Breton described her as "a doe among wild beasts". While the doe refers to amorous desire, for the 16th century Diane embodied an image of purity and independence. Marie portrayed herself as a diaphanous icon with a feline gaze, inspired in particular by the "Diane au Cerf" in the Château d'Anet, where her heroine, Diane de Poitiers, lived. Marie Laurencin, who had not yet made the acquaintance of Guillaume Apollinaire, was hanging out with Pierre Henri Roché. He introduced her to the collections of the Musée de Cluny, the art of the thousand-flower tapestry and the portraits of François Clouet, and took her to an exhibition on Oriental decorative art. These discoveries inhibited her style, which drew on the Oriental art of Persian miniatures. She gave her ladies the air of sultanas, with long, straight noses, black hair and banded eyes. The stylization of the drawing, with the arabesques sketched by the luxuriant flowers and the serpentine line embracing the curves of her body, are characteristic of the artist's highly symbolist first period.

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.