Marble sculptures

Sandstone torso Gandhara art H : 33 cm. Resting on a natural wood base

Etienne HAJDU (1907-1996) Red marble head, 1957 Sculpture in red marble, signed and dated on the base. 40 x 40 cm Provenance : Purchased from his studio. Certificate in the artist's hand dated March 24, 1983.

STATUE OF A FEMALE DIVINITY IN SANDSTONE Cambodia, Khmer art, Pre-Rup period, 10th century Depicted standing, slightly swaying, bare-chested, wearing a pleated pleated sampot held at the waist. Height: 37 cm Provenance : French private collection, acquired in the 1950s Galerie Jacques Barrère, Paris Collection of an amateur from Marseilles, acquired in 2018 A sandstone figure of a female deity, Cambodia, Khmer Art, Pre-Rup period, 10th century

MALE HEAD IN LIMESTONE Cypriot art, 5th century BC Votive head representing a young man with almond-shaped eyes, a slight smile and a plant crown. Misses and chips. Height Height : 12.5 cm Provenance: Former French private collection, acquired in the 1960s from an antique dealer in Nîmes. Then by descent to the current owner A Cypriot limestone head of a youth, 5th century B.C.

Attributed to Simon Guillain (Paris, 1581-1658) Head of Louis XIII as a child, c. 1610 in Tonnerre limestone carved in the round. The head is crowned with a high, fleur-de-lys crown and a laurel wreath worn over the hair; the face has full cheeks, prominent eyeballs, eyes with hemmed and hollowed lacrimal wattles, and a small mouth with loose lips; the medium-length hair forms a series of wavy, curly locks around the face, with the center drilled with a drill bit. Height 43.5 Width 27.5 Depth 28 cm (some accidents and missing parts) Pedestal. Total height 60.5 cm. Provenance: former collection of Jacques Pouillon (1935-2011), sculptor and antique dealer, Versailles. Attributed to Simon Guillain, ca. 1610. A large sculpted limestone head of King Louis XIII as a child. LA TÊTE DE LOUIS XIII ENFANT, by Laurence Fligny The fate of Louis the Thirteenth Following the assassination of his father Henri IV, young Louis was crowned king in Reims on October 17, 1610, at the age of nine, and took the name of Louis the Thirteenth. We still have a few engravings and drawings of this event, including one by François Quesnel at the Bnf, as well as tokens and medals. Other depictions of the young king at the same age show a child with rounded cheeks, as in Léonard Gaultier's engraving or the painting by Pourbus in the Pitti Palace. In addition to the "puffed cheeks" characteristic of the young monarch, this imposing stone head features protruding eyeballs with thick eyelids, another physical trait shown in portraits of the adult sovereign, such as the bronze bust produced around 1643, long attributed to Jean Varin and now given to Bordoni. A portrait of the king's glory None of these portraits, however, depicts him wearing both crowns, the royal and the laurel. We are therefore in the presence of an image glorifying the young Louis XIII at the age of his coronation. It's hard to imagine what type of commemorative monument this imposing head, over forty centimetres high, might have belonged to. The desire to create such a statue could only have emanated from a high authority, close to power, such as the regency of Marie de Médicis or the council of a large provincial town. However, the archives make no mention of such a commission. The limestone, analyzed by geologist Annie Blanc, is a "white mitritic limestone of the Tonnerre type". Although widely used in Burgundy and as far afield as Champagne, this stone was also used in Paris and the Paris region, as well as at Versailles, in the 16th, 17th and 18th centuries. Simon Guillain, an outstanding sculptor For such an important effigy of the young king, the commissioner had to turn to an artist of some renown or with serious training. A few names come to mind of sculptors who might have responded to this type of commission in 1610: Barthélémy Tremblay (Louves-en-Parisis, circa 1568 - Paris, 1636), Guillaume Bertelot (Le Havre, circa 1583 - Paris, 1648) or Simon Guillain (Paris, 1589 - Paris, 1658). The latter, however, seems the most likely to be the author of this astonishing sculpture. Born in Paris in 1589, he was the son and pupil of sculptor Nicolas Guillain, known as Cambrai, who died in the capital in 1639. Founder, among other artists, of the Académie in 1648, Simon Guillain is best known as the author of the Pont au Change royal monument erected to the glory of the young Louis XIV, between 1639 and 1647, which depicted bronze statues of the sovereign - at the age of 9 - between Louis XIII and Anne of Austria, a monument considered to be the pinnacle of his career. All these sculptures are now in the Louvre. This was not his first depiction of the king, having previously created a full-length statue of Louis XIII to adorn the porte cochère of the consular judges' building on rue du Cloître Saint-Merri, demolished shortly after the Revolution. This stone sculpture depicted him "with submissive lions at his feet, alluding to his advantages over Spain". He is also known to have depicted Saint Louis as Louis XIII in the altarpiece at Saint-Eustache. His reputation as a great portraitist was also well established, as numerous commissioners entrusted him with the creation of praying statues for several tombs between 1620 and 1630, including those in marble of Chrétienne Leclerc († 1628) and Charlotte-Catherine de la Tremoille († 1629), both in the Louvre (inv. LP 414 and 400, fig. f and g). The locks all around the face of the latter, with the toupee raised above the fro

FRAGMENTARY STUCCOED AND PAINTED RELIEF Egyptian art, New Kingdom, late 18th-early 19th dynasty, circa 1300 B.C. Stucco-coated sandstone relief, engraved in light relief with a procession of four male figures during a funeral scene. At the head of the procession are two viziers from Upper and Lower Egypt, with shaven heads and wearing long vizieral robes worn high over the torso. They raise their right hands to their mouths in mourning. Following them, a richly dressed figure adopts the same posture and wears a black wig. Two other figures complete the procession. Missing and worn. Length : 27 cm Provenance : Count Henri de Murard de Saint-Romain (1842-1911), Mâcon, acquired in Thebes Donated to the Académie de Mâcon, 1910 Sotheby's, New York, June 4, 2009: no. 94 (ill.) Galerie Chenel, Paris Collection of an amateur from Marseilles, acquired in 2012 Bibliography: Armand Duréault, "Une peinture funéraire égyptienne sur stuc", Annales de l'Académie de Mâcon, Troisième série, T. XVI, 1911, pp. 303-304, pl. VI An Egyptian fragmentary sandstone relief, New Kingdom, late 18th-early 19th Dynasty, circa 1300 B.C. At the time of its publication in 1911 in the Annalesde l'Académie de Mâcon, the relief, then in a slightly better state of preservation, still offered the possibility of partially deciphering the title of one of the protagonists: "The true royal scribe who loves him."

19th century French or Italian school, after Antiquity Sleeping Hermaphrodite White marble group. On a rectangular molded base in turquoise-blue marble. Dim. without base: 12 x 51 x 25 cm Size with base: 23 x 55 x 28 cm (Base damaged and a few chips, chips and missing pieces). Copy of the Borghese Hermaphrodite in the Louvre since its acquisition in 1807. A Roman work, copied from a Greek original dating from the 2nd century BC, discovered in Rome in 1618 in the Baths of Diocletian. Numerous copies were made.

Carved Carrara marble bust of Diana, head turned to the left, her hair up, topped with roses. First half of the 19th century. 63 x 38 x 21 cm. Slight chips.

FRAGMENTARY RELIEF IN LIMESTONE Egyptian art, post-New Kingdom period Relief of a head in profile. Missing parts. Length : 17 cm Provenance : Former G. collection, Paris, before 1940 Millon, Hôtel Drouot, Paris, October 29, 2013: no. 74 (ill.) Collection of an amateur from Marseilles An Egyptian fragmentary limestone relief, post-New Kingdom

After Jean-Antoine HOUDON (1741-1828). "Little girl, Mademoiselle Brongniart". Bust on pedestal in Carrara marble. 48 x 24 x 13 cm. Small chips.

FRAGMENTARY MALE HEAD IN LIMESTONE Egyptian art, Late Period, 664-332 B.C. Head fragment from a statue of a man wearing a smooth skullcap. A dorsal pillar remains on the reverse. Height Height : 9.3 cm Provenance : Bonhams, London, April 26, 2001: no. 449 (ill.) Cahn Auktionen AG, Basel, November 9, 2013: no. 26 (ill.) Collection of an amateur from Marseilles An Egyptian fragmentary limestone male head, Late Period, 664-332 B.C.

Lion head Marble Gothic period H. 13 cm Missing

DELAUNAY Sonia (1885-1979) - Sonia Delaunay. Series of 6 Signal plates in Limoges porcelain. Edition Artcurial, limited edition of 900, in their original cardboard boxes. Diameter: 28.5 cm

19th century school "Bust of a Woman"" Marble proof signed on the back (A LEGAINY?) H.: 85 cm (Accidents)

Limestone male head. Following classical models. Height: 30 cm

16th century work Emperor's bust in sculpted marble. Beardless head with short, curly hair, antique-style cuirass with pectoral adorned with a Gorgon mask, cloak fixed on the left shoulder by a fibula. Height 91 Width 78 Depth 32 cm. (erosions, particularly on the face, accidents) 16th C. A marble bust of an Emperor.

BUST in white Carrara marble carved in the round with a man's head, standing on a pedestal. Early 20th century. H. 50 cm.

SCULPTOR'S MODEL IN LIMESTONE Egyptian art, Ptolemaic period, 332-30 B.C. Male head with flat skull, wearing a nemes headdress nemes, of which only the headband remains at forehead level and exposing the ears. Visible chips. Surface chips. Height 10.3 cm Provenance : Former German collection, circa 1970 Galerie Eberwein, Paris Collection of an amateur from Marseilles, acquired in 2017 An Egyptian limestone sculptor's model, Ptolemaic Period, 332-30 B.C.

Catalonia ?, 14th/15th century Man's head in limestone carved in the round. Portrait of a virile man with beardless face, clear forehead, deep-set eyes bordered by hemmed eyelids, strong nose, deep nasolabial folds, mouth with fleshy lower lip, prominent chin; short hair in rows of parallel curls, with curved ends. Height 24 Width 30.5 Depth 22.5 cm. (slight accidents) Pedestal. Total height 40.5 cm. Catalonia? 15th-16th C. A limestone head of a beardless man. On a base.

Etienne LENHOIR (1880-1910) Bust-length portrait of a young woman Marble high-relief proof signed Height: 25 cm

R. PARENT (XIX-XXth) "Bust of a woman Alabaster proof signed on a marble base Total height: 41 cm

French school late 19th century-early 20th century Madame de la Vallière Marble Inscription de la Vallière (small chips) Height : 50 cm - Width : 40 cm

Bust of Saint Reine in carved limestone with gold highlights. Head crowned, face with sharp chin framed by two braids, neckline of dress adorned with cabochons imitating gems. 15th century. Height: 35 cm (Accidents and restorations, notably the nose and chin) Expert: Cabinet Fligny Paris.

Sculpture of a nymph emerging from a bath in alabaster on a marble base. Bearing a Fontana Agreste label (minor wear and chips, one hand missing) Height Height : 63 cm

Marble column. H: 113 cm, top: 25x25 cm

20th century French school "Female bust Alabaster proof Height: 23 cm

ITALIAN SCHOOL (19th century) "Lady bust" - Marble sculpture Following the classic models. Signed on the back "Geov. Bezzi" Measurements: 61 cm

Adolfo CIPRIANI (act.1880-1930) "Bust of a woman in a toga". Alabaster proof signed H.: 24.5 cm (Accidents)

A CHINESE LIMESTONE STELE OF A BODHISATTVA SUI DYNASTY The figure carved in high relief, depicted standing with the right hand by the waist holding an indistinct attribute, the face with a serene expression and downcast eyes, wearing a stylised robe folded across the waist and looped over the right shoulder, adorned with a beribboned headdress and a necklace centred with a pendant, the stone with a deep beige patina, together with a metal stand, the base with a paper label reading 'Eskenazi London C4850', 38.5cm. (2) Provenance: formerly the collection of Bouasse-Lebel, Paris; with Jean-Claude Moreau-Gobard, Paris, 18th July 1977; later with Eskenazi Ltd., London. A number of features seen in this stele associate it with the artistic production in Shaanxi province during the Sui dynasty. The large size of the head in relation to the body, the face's squared jaw and the well-defined eyebrows and lips are all typical stylistic elements, as well as the upright stance of the figure and the arrangement of the clothing and jewellery. A related example is illustrated in René-Yvon Lefebvre d'Argencé, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, no.76; and other examples are in Osvald Sirén, Chinese Sculpture from the Fifth to the Fourteenth Century, vol.3, pls.265, 266A, 267A and 268B. Further comparables with similar stylistic elements are the figure of Guanyin in The Metropolitan Museum of Art, New York, illustrated in Alan Priest, Chinese Sculpture in The Metropolitan Museum of Art, pl.LVII; a smaller figure in the University Museum, Philadelphia, published in Osvald Sirén, Chinese Sculpture from the Fifth to the Fourteenth Century, pl.314A; and a fragment of a related figure in the Detroit Institute of Arts, included in Hai-wai yi-chen/Chinese Art in Overseas Collections: Buddhist Sculpture, pl.77. 隋 石雕菩薩立像 來源：巴黎Bouasse-Lebel舊藏，1977年7月18日巴黎Jean-Claude Moreau-Gobard，其後成為倫敦埃斯肯納齊舊藏。

Bust of a young boy in alabaster and bronze. Height: 23 cm

Large English porcelain dish decorated with landscapes. Diam: 29 cm, H: 14.5 cm