Furniture

God Nefertum Ancient Egypt · Late Period, 664–332 BC. Bronze and Gold 22.5 cm height. Provenance - Private collection, France. Condition Good overall condition, it has some area...

Cinerary urn with lid Etruscan · 4th-3rd centuries BC Limestone - Assembly: 82 cm high; 63 cm long; 28 cm deep. - Lid: 39 cm high; 63 cm long; 28 cm deep. - Urn: 43 cm high; 57 cm...

Stele of Pharaoh Ramses III offering Maat to the triad of Karnak. Ancient Egypt · New Kingdom, 20th Dynasty, Reign of Ramesses III, 1184–1154 BC. Limestone. 45.6 cm wide and 37 cm...

Fragment of a sarcophagus relief Ancient Rome · 2nd century AD Marble 37 cm long, 26 cm high and 9 cm thick Provenance - Private collection, Paris, France. Condition In good con...

Head of the Emperor Augustus, Alcúdia type Ancient Rome · 1st century BC Marble 40 cm height. Provenance - Private collection, Germany. Condition Good overall condition, no rest...

Skyphos Ancient Greece, 4th century BC Pottery 10.6 cm high; 17 cm across the handles; 10 cm diameter Condition: In good condition. One handle repaired. Provenance: Private coll...

Oinochoe Ancient Greece, 4th century BC Pottery 20 cm height. Condition: In good condition. Provenance: Private collection, France. The oinochoe was one of the most characteris...

Shabti Ancient Egypt, New Kingdom, Ramesside Period, 19th–20th Dynasty Limestone 21.5 cm high. Condition: Good state of preservation. Provenance: Former H. Wild Collection, 194...

Head of Aphrodite Ancient Rome, 1st century BC–1st century AD Alabaster 4 cm high; 8.5 cm high including the stand Condition: In good condition. Provenance: Private collection o...

Female Figure Ancient Greece, 3rd century BC Terracotta 12.5 cm height Condition: In good condition. Provenance: Camille Lécuyer sale, no. 242, Paris, 1883. Description: This fig...

Votive Horse Ancient Greece, Archaic Period, 800–700 BC Bronze 6.8 cm high; 4.7 cm long. Provenance: Private collection, United Kingdom, acquired before 1980. Private collection...

Monumental theatre mask of the "Excellent Young Man" Ancient Roman, 1st century AD Marble, probably from Paros. Height 59 cm, width 53 cm and depth 26 cm. 75 cm with the stand. ...

God Harpocrates Ancient Egypt, Late Period, 664–323 BC Bronze 17 cm height and 20.5 cm with the stand. Condition: Good state of preservation, with ancient patina. There is some l...

Mask. Teotihuacan, Mexico. Classical Period, AD 450–650. Stone. 21.6 cm high; 16.5 cm wide. Condition: Good state of preservation, complete. A crack in the left side of the foreh...

Bell Krater Greek 4th century BC Pottery 9 cm high; 11 cm diameter Condition: Good state of preservation. Provenance: Private collection, Paris, France. Acquired in the 1980s. ...

Kylix Greek, Attic 470–450 BC Pottery 22 cm long between handles; 4.8 cm high and 16 cm diameter. Condition: Good state of preservation. A break line has been professionally res...

Hadra Hydria (Water Jar) Greek 3rd century BC Pottery 40.5 cm high; 31 cm wide Condition: Good state of preservation. Provenance: Private collection, Paris, France. Documentat...

Fragment of an Oscillum Roman 1st–2nd century AD Marble 38 cm high, 20.3 cm long and 2.5 cm thick; 42.5 cm high including the stand. Condition: Preserves approximately half of t...

Olpe Greek, Attic 5th century BC Pottery 9 cm high; 9.5 cm diameter Condition: Intact, with minor losses to the black glaze around the lip. Provenance: Private collection, M. B...

Front Panel of a Sarcophagus Roman 3rd century AD Marble 114 cm long, 33.5 cm high and 4.7 cm thick Condition: Good state of preservation. A vertical break on the right-hand sid...

Capital Islamic 16th century Marble 31 cm high; 31 × 31 cm; 45 kg Condition: Good state of preservation. Provenance: Private collection of François Antonovich, Paris, France. ...

Huaco with Ai Apaec Moche, Peru c. AD 200–800 Terracotta 22.5 cm high Condition: Good state of preservation. Provenance: Private collection of Remy Rey, London, United Kingdom....

Cinerary Urn Oaxaca AD 600–1000 Terracotta 23 cm high Provenance: Private collection, Paris, France. Condition: Good state of preservation. Description: Cylindrical terracott...

Hanging Jaguar Head. Mixteca, México c. 1200 - 1551 AD Length 5.5 cm, height 4 cm and width 3.5 cm. Condition Good condition, it has a blow on the right ear and a scratch on the ...

Anthropomorphic idol type M16 Mezcala, State of Guerrero, Mexico 350 - 100 BC Stone Height 20 cm and 24 cm with the stand. Condition Good state of preservation, no restorations....

Cylindrical vase with figurative reliefs Maya, Classic Period, 600 - 900 AD. Alabaster (Tecali stone). Diameter 12 cm and height 9.5 cm. Condition In good condition, it has a vertical crack on one side up to the middle of the base. It presents two holes parallel to the crack, a sign of an old restoration of the time. Inside, traces of polychromy and stucco are preserved in the more translucent areas of the vase. Provenance - Antique collection Le Corneur, France. Rémy Audoin, 1967. - Arts des Amériques Gallery, circa 1980. - Collection of Michel Vinaver, French writer and playwright (Paris, 1927 -2022). - To his children, Anouk, Barbara, Delphine and Ivan Vinaver, 2022. - French art market. Description Cylindrical vessel with slightly curved walls and base, with a straight and narrow mouth, without a lip. It presents two pairs of parallel holes around an old crack, which show an old restoration with staples. Currently, marks of the roots of the plants that grew around the piece when it was buried can be seen, irregular and asymmetric shapes that enrich the texture of the vase. It is made of tecali stone, a type of travertine also known as Mexican onyx or alabaster, although it is a different mineral from Egyptian alabaster. The stone presents a translucent vein, of regular width, which was probably the reason why the artist chose this specific piece of tecali, given its prominence at an ornamental level: it forms a vertical line, perpendicular to the mouth, which crosses the base, dividing it in two halves and finally rises from the opposite end of the glass, forming a meander. A similar effect can be observed, obtained in this case with varnish or pigment, in the ceramic vase cataloged by Kerr as K623. The formal importance of this vein is also reflected in the preserved remains of polychrome stucco, applied only to it and leaving the rest of the piece free. In the case of this glass, the translucent vein could represent a snake, an animal of great importance within the Mayan religion; vehicle for contact with heavenly bodies, it was a symbol of death and resurrection. One of the most important serpents in Mayan mythology, the Vision Serpent, was considered the gate between the natural and supernatural worlds, and was therefore often depicted on ritual vessels, usually carved stone. The glass is also decorated with a figurative scene that occupies approximately one third of its surface. It is worked in relief on two planes, and is framed by a smooth rectangular profile with rounded corners. It is a composition with two characters facing each other, usual to indicate dialogue, something that is also reflected in the conventional gestures of the hands. The formal style is synthetic: the background has been sunk, clearly delimiting the silhouettes of the characters, which are perfectly drawn. This linearity is repeated in the internal details of the figures, indicated by fine incisions. The schematism, however, is combined with a certain naturalism in the movement of the figures: slightly inclined heads, the position of an arm on the lap... One of the fundamental characteristics of Mayan figurative art was the search for naturalistic positions and compositions, dynamic, with bodies that rotate and elements that overlap, reaching between the 7th and 8th centuries a mastery unmatched by any other Mesoamerican culture. This search for naturalism was combined with a symbolic convention that never quite disappeared. The figure on the left appears seated in profile to the right, with a headdress tied in the front, a pectoral ornament, and a skirt typical of Mayan art, which forms parallel folds at the base of the back and whose end falls over the top. the hip. The figure extends her right hand towards the center of the composition, where an altar with an inverted C-shaped base is located. A fire seems to be burning on it with what could be offerings, two rounded shapes represented within the flames. The representation of the fire is strange, asymmetrical and crested, which could indicate that it is not flames but rather the representation of a scepter of the type known as a flint eccentric. On the right side is the second figure, seated facing forward with its head inclined towards the center of the composition, turned in profile to the left. With his legs crossed, he rests his left arm on his lap, pointing at his interlocutor with a clearly differentiated index finger, and extends his right, now lost due to erosion, towards the fire. She sports ankle, cheek and wrist ornaments, and a large headdress. On her chest she wears a medallion with a possibly solar motif, a central circle surrounded by six smaller ones. The character is seated on a throne, a symbol of authority; with seat, cushion and high, wide and open backrest, adorned with projections on both sides. The figure on the opposite side instead sits on a simple pedestal, indicating his inferior position relative to his companion, possibly a deity or ancestor. The circle on the cheek (allusive to the fur of the jaguar) and the pendant of the supernatural character allow a possible identification with the god of corn, one of the most important of the Mayan pantheon. He was a benevolent deity who represented life, prosperity, and abundance. He could be considered the creator of the world, and he was also associated with the change of seasons. Likewise, the story of his death and rebirth was a central metaphor for the belief in the apotheosis of Maya kings. Identified as Hun-Hunahpu in the Popol Vuh, a compendium of Maya lore put down in writing in the 16th century, the maize god achieved cultural hero status during the Classic period. The use of tecali, a precious material used to manufacture luxury and ritual objects, spread throughout Mesoamerica. The vases made of this stone are relatively rare, and for the most part they are painted, following the models of contemporary ceramic vases. Within the corpus of Mayan carved vessels, on the other hand, it is more common to find vessels made of this and other stones, although the majority will be ceramic. Among them, simple relief on two planes predominates, as in the case of the piece under study, with figurative motifs, inscriptions or geometric patterns, often combined. Some present compositions similar to that of this tecali stone vase, with one or more pairs of characters seated and facing each other, in an attitude of dialogue. Mayan vases...

Funerary Post with female figure Chimu, Peru, 1st Millennium AD. Wood Height 106 cm Provenance - Jean Pierre Cottier and Fiorella Cottier-Angeli Collection, Geneva, Switzerland. Acquired by Yossef Maiman between 2000 and 2008. - Private collection, Israel, until 2024. Condition Good state of preservation, no restorations. Published - ROSENZWIG, A.; WOLOSZYN, J. Z. Offerings for the Afterlife. Peruvian Pottery and Artifacts from the Maiman Collection. AMPAL/MERHAV Group of Companies. Israel. 2008. Fig. 102. Description Funerary pole topped by a female figure in the round, both carved from a single piece of wood. This type of object was used as a grave marker and was especially important in the desert areas of pre-Columbian Peru, as it made it possible to easily locate the burial site during funeral rituals or ancestor worship. Figurative funerary poles are rare among Chimú wooden statuary, although they share formal characteristics with the more common freestanding sculpture. The face is polychrome, predominantly a bright red pigment of cinnabar-colored resin. The figure is shown standing, with legs together and arms extended at both sides of the body, in a conventional, hieratic, and solemn posture. The figure is monolithic, although the main parts of the anatomy are perfectly differentiated, worked with a synthetic and geometric language. The obvious disproportion of the head, which is very large relative to the body, responds to a symbolic intention that probably alludes to the identity of the figure to whom the tomb belongs. The face is highly expressive in its synthesis, with almond-shaped eyes painted dark brown in contrast to the red of the face, framed by raised eyelids and nestled beneath eyebrows drawn with a fine beveled line. The nose is very prominent, completely flat, and with a curved profile, and the mouth stands out for its expression: open, deeply hollow, and framed by long nasolabial furrows worked in relief, which begin at the base of the nose and end at the chin, which protrudes slightly from the plane. The large ears, flat on the forehead and convex at the back, are decorated with an incised spiral design representing cartilage. The head ends in a gentle curve, probably representing a bonnet, which is painted in the same brown tone as the eyes. The body is depicted nude, with the breasts and pubis worked in flat relief, forming a formal interplay of inverted triangles. The joints of the arms and legs, as well as the fingers and toes, are clearly indicated, although without seeking naturalistic detail. A Chimú funerary pole is preserved in Princeton, also topped by a female figure, which displays significant similarities to the piece under study, both in posture, proportions, and overall composition, as well as in the polychromy and facial expression, with an open, hollow mouth. Wooden statuary is a little-known manifestation of Chimú art, given the few preserved examples due to Peru's climatic conditions. Although some have been found in the coastal deserts, thanks to their dry climate. In general, Chimú anthropomorphic sculptures follow a conventional model showing the figure standing frontally, with accentuated bilateral symmetry. These sculptures generally represent men, with female figures being much rarer, and they are rarely depicted clothed. In the few examples found with carved clothing, designs characteristic of the well-known Chimú textile art can be seen, as is the case with a funerary pole, also from Princeton, which includes animal figures on the sleeves of the tunic, and another auctioned in Paris in 2013, which displays a fringed profile and various geometric embroideries. The Chimú culture was born on the northern coast of Peru after the fall of the Huari Empire, around 1100 AD, and developed until approximately 1400. Although it is considered the heir of the Moche culture, Chimú mythology places the origin of its people in the arrival on the Peruvian coast of the fleet of Taycanamo, the mythical founder and first ruler of the kingdom, who would have combined political and priestly functions. Their territory, which once covered some 1,300 km, was centered in the Moche River valley and their capital was the great city of Chan Chan. Most of the territory is a very arid coastal desert, although it is crisscrossed by numerous rivers that bring water from the Andes, creating fertile valleys in their wake. Thanks to the use of enormous aqueducts and an extensive network of irrigation canals, the Chimú reclaimed large tracts of agricultural land from the desert, where they grew cotton and all kinds of foodstuffs. The territory of the Chimú kingdom was also crisscrossed by trade routes, which had their caravan center in Chan Chan and transported subsistence goods as well as luxury items. Many Chimú cults and rituals were oriented toward promoting fertility in the fields, given the aridity of the territory, and closely linked religion and politics. The main propitiatory rites for agricultural fertility were based on the veneration of the mummies of the ancestors of the reigning dynasty. Chimú artistic production includes featherwork, wood carving, textiles, and shell and hard stone work. Thanks to the influence of the neighboring Lambayeque people, who would eventually join the Chimú Empire, goldsmithing techniques were perfected for working with copper, silver, and gold. These techniques were used to create luxury objects such as vases, ear ornaments, and masks worn by the noble classes during ceremonial ceremonies. Chimú pottery...

Ring with a cockfight. Greece · 6th - 5th century BC. Gold. 14.42 grams, 24.86 mm total, 17.53 mm internal diameter. Condition: intact. Provenance: - Possibly acquired at Christ...

Arm of a sculpture. Ancient Rome, 2nd century AD. Bronze Length 40 cm, 29 cm height with the stand. Condition: Good state of conservation, without restorations. It has two dents...

Figure of an actor. Ancient Greek, 3rd-2nd century BC. 9.84 cm. Bronze. Condition: Intact, except for a crack in the ankle area. Provenance: - Private collection, Luxembourg,...

Bust of a young woman. Ancient Rome, 2nd - 4th century AD. Bronze and Silver. Height 6.6 cm and 14 cm with the stand. Provenance: - Private collection, Mr. S. D., France, acquir...

Corinthian capital. Ancient Roman, southern Iberian Peninsula, 1st - 3rd century AD. Marble. Height 36 cm, width 35 cm and depth 25 cm. Condition Good state of preservation Prov...

Sculpture of the god Silvanus. Ancient Rome · 2nd century AD. Marble. Height 46 cm. Condition: Good condition. He has lost half his head, the lower part of his legs and the cypre...

Sculptural set of Love and Psyche. Ancient Rome, 1st - 2nd century AD. Marble. Height 73 cm. Provenance: - Former private collection, Poitiers, France. Condition: Torsos and low...

God Horus as a falcon. Ancient Egypt · Late Period, 664–323 BC. Bronze 6.5 cm high; 9.8 cm high with base. Condition: Good state of preservation, it has a break in the headdress ...

Ex-Voto Iberian, 3rd-1st century BC. Bronze. 7.7 cm height. Provenance - Private collection, France. Acquired on October 28, 2008 (Lot 183), at the Pierre Bergé auction house, Pa...

Ex-voto. Iberian · 3rd - 1st century BC. Bronze. 6.3 cm in height. Condition: Good state of preservation, without restorations. Provenance: - Private collection, Paris, France. ...

Ex-voto Iberian, 1st century BC. Bronze 7.2 cm height. Provenance - Private collection, Paris, France. Condition Good state of preservation. Description: The term Iberians re...

Votive offering Iberian · 5h Century BC Bronze Height 9.8 cm Condition: Good condition. Provenance - Private collection, Mr. Pradesh, France. - La Reine Margot, Paris, 1982. - D...

Sculpture of a Noble. Ancient Egypt · Old Kingdom, 4th – 6th Dynasty, 2625 – 2450 BC. Material: Granodiorite. Size: Height 126 cm; width 42 cm and weight 170 kg; 190 cm with the ...

Bracelet with lion head terminals Ancient Greek · 4th century BC Gold 6.8 cm in length, 5.5 cm in height and 25.34 gr in weight. Provenance - Private collection, France. Conditi...

Goddess Neith Ancient Egypt · Late Period, 664–332 BC. Bronze Bronze 21 cm with the stand. Condition: Good condition. It has a crack on the neck, which has been professionally repaired. Documentation: - Present in one of the photographs taken by Dutch photographer Willem van de Poll in October 1961 during a visit to Erich Maria Remarque and his wife, American actress Paulette Goddard, at their villa in Porto Ronco, Switzerland. - Certificate from Moreau Gobard dated July 13, 1978. Provenance: - Label on the bottom of the base, from the Erich Maria Remarque collection. Erich Maria Remarque (Germany, 1898 – Switzerland, 1970) was one of the most prominent European writers of the second third of the 20th century. Sent to the front during the First World War, he captured the horrors of the conflict in his immortal anti-war novel "All Quiet on the Western Front," published in 1929. His defiantly pacifist stance during the turbulent interwar period led Joseph Goebbels to label him unpatriotic in 1933; his works were removed from German bookstores, and their sale was banned throughout the country. Finally, his German citizenship was revoked in 1938, a year before the outbreak of the Second World War. By then, Remarque had gone into exile in Switzerland, fleeing the rise of Nazism. From there he went to the United States, where he obtained citizenship in 1947. A year later he settled permanently in Porto Ronco, Switzerland. Remarque continued writing and reflecting on the horrors of war for the rest of his career, forever marked by the violence that swept through Europe between the 1910s and 1940s. A firsthand connoisseur of the art world, Remarque was a great admirer of the Impressionists and, over time, became a scholar and expert collector. His collection included works by Toulouse-Lautrec, Monet, Degas, Renoir, Daumier, Cézanne, and Picasso, among others, as well as ancient Chinese bronzes and terracotta figurines, Coptic art...

Upper part of a torso of Mercury. Ancient Rome · 2nd century AD. Marble. 64 cm with the stand. Provenance - Private collection of C. M., Leuven, Belgium. Acquired between 1980 an...

Ideal male torso modeled after Polykleitos' Doryphorus Ancient Rome · 1st - 2nd century A.D. After an original from 450 - 440 BC. Marble Height 66 cm and width 43 cm. 78 cm height...

Parietal relief of a temple or chapel with the enthroned figure of the god Harpocrates. Ptolemaic Period, 332 – 30 BC. Limestone 40 cm height Provenance - Private Collection, Mr....

Parietal relief with the figure of the god Onuris. Ancient Egypt, Late Period - P. Ptolemaic, 664 - 30 B.C. Limestone. 40 cm height. Provenance - Private collection, Mr. and Mrs....

Relief with theatre mask Ancient Rome, 2nd century AD Marble 51 cm height. Provenance - Private collection, Switzerland, acquired in the 1980s – 1990s. - Private collection, Lond...

Toracata statue of emperor Ancient Rome · Reign of Domitian, 81-96 AD. Marble 181 cm high; 80 cm wide; 30 cm deep Documents: - Study report on the age of the piece issued by Dr....

Capital. Islamic · Umayyad Period, Al-Hakam, II, 961 – 976 AD. White marble Height 34 cm and width 32 cm Provenance - Private collection, Jaime Arnal, Barcelona, before 1970. - P...

Documents: Thermoluminescence test attached. Provenance: Private collection, France. Terracotta figure of an actor wearing a theatrical mask, produced in Magna Graecia and dating t...

Trapezophore of a Satyr abducting a Maenad Ancient Rome · 1st - 2nd century AD Marble Height 54 cm and 71 cm with the stand. Provenance: - Former private collection, United Kingd...

22.5 cm with the stand. Provenance From an ancient private collection, George Maharis, United States of America. By comparison with four models held at The Walters Art Museum, Balti...

26.5 cm with the stand. Provenance - Private collection, Connecticut, USA. A solid bronze sculpture depicting one of the main deities of the Egyptian pantheon, the god Osiris. His ...

24.5 cm with the stand. Provenance - Galerie Nina Borowski, Paris. - Private collection, Mr. Fleischman, New York, acquired from the previous owner in November 1985. - Inherited fro...

Provenance: Private collection, France. Terracotta figure of a Peplophoros, dating to the fourth century BC. The statuette depicts a standing female figure draped in a peplos, the c...

14 cm with the stand. Provenance: Private collection, France. Serapis was a syncretic deity created in Ptolemaic Egypt and subsequently adopted throughout the Roman world. He combi...

Provenance - Private collection of Alison Barker (1951-2021), Chichester, UK. Roman sculptural fragment carved in marble in relief on two planes. It presents, in a continuous compos...

Provenance Private collection, France. Documents - Attached is thermoluminescence test. The lady wears a long chiton, over the hem of which her toes peek out. Over the chiton, she ...

55.5 cm with the stand. Provenance Private collection, UK, formed in the 1980s. Medium-sized sculpture carved in marble in the round, representing a female figure dressed in a chit...

32 cm with the stand. Provenance - JP private collection, Germany. Acquired in the 1970s. Juvenile head carved in marble in a round shape with the back part roughly carved, which ...