All lots "Archaeology – Antiquity" Advanced search

Reset all filters
259 results

Tue 21 May

A GANDHARAN GREY SCHIST TORSO OF A BODHISATTVA 2ND/3RD CENTURY AD Carved standing in a contrapposto stance, the bare chest above sweeping robes draped around the waist and across the back, the muscular torso and upper arm adorned with necklaces, a string of amulets and a cuff bracelet, mounted on a metal stand, 49.5cm. (2) Provenance: from the collection of the late AJ Lippitt (1928-2019), Hampshire; acquired from Simon Ray Ltd., 27th May 2004 (a copy of the invoice is available); previously a British private collection since the 1980s. The combination of naturalistic modelling and stylised adornement seen in the piece offered here is typical of Gandharan sculpture. The athletic torso with its finely rendered musculature derives from Hellenistic art, brought to modern-day Pakistan and Afghanistan with Alexander the Great's invasion in 327 BC. The arrangement of the robes, with the diagonal sweep across the hip and the slack hems over the left knee, are tropes of the depiction of bodhisattvas in Gandharan Buddhist sculpture of the 3rd century AD. Another typical feature is the string of amulets across the chest, as also seen on the bust of the bodhisattva Shakyamuni in The Metropolitan Museum of Art, accession no.1987.218.10. In particular, the multiple necklaces and the arrangement of the drapery in the piece offered here are typical of depictions of the bodhisattva Maitreya - compared with the example now in The Metropolitan Museum of Art, New York, accession no.13.96.17. By the 3rd century AD, the rise in popularity of Mahayana worship in the Gandhara region had placed a greater emphasis on the veneration of statues of Buddhist deities and artistic production had moved away from the earlier narrative panels to focus on free standing statuary of this type. 二/三世紀 犍陀羅 片岩菩薩像 來源：英國漢普郡AJ Lippitt（1928-2019）收藏，2004年5月27日購於Simon Ray Ltd.， 1980年代為英國私人收藏。

Estim. 8 000 - 12 000 GBP

Tue 21 May

BUST OF A STATUE OF A GREAT GOVERNOR OF SAÏS IN GRAUWACKE Egyptian art, Sais, Late Period, second half of Dynasty XXVI Fragmentary statue belonging to a great governor of Sais whose name has disappeared into the lacuna, presented in bust, bare-chested, wearing a smooth wig, leaning against a pillar engraved with three columns of hieroglyphic inscriptions. Very well polished. Missing parts. Height 31 cm (max.) Provenance : Probably from the temple of Neith at Saïs; Former Commander Sir John Francis Whitaker Maitland (1903-1977) collection; His sale, Sotheby's, London, April 30, 1935, described in lot no. 24 with reproduction plate III of lot no. 22; Consigned for the archives by Sir Alan Gardiner on the occasion of this sale; Collection of Dr. F., Switzerland, from the years 1960; Then inherited by the current owner, collection Parisian private collection An Egyptian graywacke bust of a governor, Sais, Late Period, second half of the 26th Dynasty Provenance : Probably from the Temple of Neith at Sais; Former Collection of Commander Sir John Francis Whitaker Maitland (1903-1977); Collection sale, Sotheby's, London, 30 April 1935, described as lot no. 24 with reproduction on plate II of lot no. 22; Consigned by Sir Alan Gardiner on the occasion of this sale; Collection of Dr F., Switzerland, since the 1960; Then by inheritance to the present owner, private Parisian collection The figure, wearing a purse-like wig, must have been dressed in a simple loincloth. What remains of the inscriptions on the back support can be reduced to excerpts from an Appeal to Passers-by. In it, the man declares his loyalty to the patroness of Sais, Neith, reminding us that "he who deviates from his path is doomed to be condemned". After being in the possession of Sir John Francis Whitaker Maitland (1903-1977), the object was offered for sale in London at Sotheby's on April 30, 1935; it corresponds to lot 24 in their catalog, where its description is accompanied by a photo, reproduced on pl. III, which is in fact that of lot 22. On this occasion, some of its inscriptions were copied by Sir Alan Gardiner (1879-1963), the famous English Egyptologist, which confirms its presence in this vacation (Gardiner, Notebook 126, p. 12).

Estim. 25 000 - 35 000 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

Wed 22 May

RONSARD (Pierre de). - Les Œuvres. Reveuës, corrigées & augmentées par l'Autheur peu avant son trespas. Paris, Gabriel Buon, 1587. 10 volumes bound in 5 in-12, black morocco, boards framed with gilt fillet and decorated with mosaic Renaissance decoration in fawn morocco, gilt numeral in center, spine decorated with repeated numeral, fawn morocco lining, chocolate moire endpapers, slipcases (Honegger). First posthumous edition and seventh collective edition of Ronsard's works, entirely prepared by the poet on the basis of the in-folio edition of 1584. It is extremely rare and of great importance, as it reflects the last wishes of the Prince of Poets for correction and classification (J. P. Barbier-Mueller). Having just completed the Grand Œuvre of 1584, Ronsard set about correcting it for a new collective. Death prevented him from seeing the publication of the latter, which was assured by his two executors, Claude Binet, a magistrate-poet who had won Ronsard's confidence in the last years of his life [...], and Jean Galland, principal of the Collège de Boncourt, the friend and confidant of old age. According to Claude Binet himself, upon his death Ronsard left him his works "corrected by his last hand to keep them in order for printing". He also gave his literary executors the manuscripts of the new pieces he wanted to appear in this final edition, along with precise indications of its layout (Ronsard, la trompette et la lyre, n°270). Attractive binding decorated with a mosaic motif in the Renaissance style, bearing the collector's number. From the library of academician Ferdinand Brunetière (1849-1906). The first volume shows old handwritten notes in the margins, sometimes in Greek; the last volume is ruled. Some dampstaining and foxing, very numerous in the fourth volume. Minor crack restored to the corner of 4 leaves of notebook G in the second volume. J. P. Barbier-Mueller, II-2, n°34. - Diane Barbier-Mueller, Inventaire..., n°768.

Estim. 8 000 - 10 000 EUR

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. 10 000 - 12 000 EUR

Mon 27 May

Italian school of the XVII-XVIII century, following models of Classical Antiquity. "Dionysus with animal". Marble. Measurements: 125 x 48 x 48 cm. We are in front of a sculpture that has its roots in classical statuary, more specifically in the model "Dionysus with panther" from the time of the emperor Hadrian. The sculpture, of which the Museo del Prado houses a copy, combines stylistic elements of the early classical period (490-470 BC) with others from the late fourth century BC. As in the one in the Spanish gallery, our sculpture lacks the thyrsus, held as a spear in the left hand, the head with its long hair pulled back and crowned with ivy, and the pitcher of wine that Dionysus held in his right hand. The Romans brought two important novelties to the world of sculpture: the portrait and the historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 B.C., the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture. The huge Pergamon Altar, the "Gallus committing suicide" or the dramatic group "Laocoön and his sons" were three of the key creations of this Hellenistic school. On the other hand, after Greece was conquered in 146 B.C. most Greek artists settled in Rome, and many of them devoted themselves to making copies of Greek sculptures, very fashionable at that time in the capital of the Empire. Thus, numerous copies of Praxiteles, Lysippus and classical works of the 5th century B.C. were produced, giving rise to the Neo-Attic school of Rome, the first neoclassical movement in the History of Art. However, between the end of the 2nd century BC and the beginning of the 1st century BC there was a change in this purist Greek trend, which culminated in the creation of a national school of sculpture in Rome, from which emerged works such as the Altar of Aenobarbus, which already introduced a typically Roman narrative concept, which would become a chronicle of daily life and, at the same time, of the success of its political model. This school will be the precursor of the great imperial art of Augustus, in whose mandate Rome became the most influential city of the Empire and also the new center of Hellenistic culture, as Pergamon and Alexandria had been before, attracting a large number of Greek artists and craftsmen. In the Augustan era Rome contributed to the continuity and renewal of a tradition that already had a centuries-old prestige, and which had dictated the character of all the art of the area.

Estim. 5 000 - 6 000 EUR

Mon 27 May

Italian school possibly from the 19th century. "Female head". Marble. Measurements: 43 x 17 x 22 cm. This head sculpture is inspired by classical statuary and represents, most probably, Aphrodite. The young lady has a serene face with almond-shaped eyes with an expressive look and slightly pursed lips. The hairstyle with curls and parted in the middle indicates that she follows Roman models, a culture that achieved great fame for its mastery of portraiture as an expression of truthfulness and status. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 B.C., the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture. The huge Pergamon Altar, the "Gallus committing suicide" or the dramatic group "Laocoön and his sons" were three of the key creations of this Hellenistic school. On the other hand, after Greece was conquered in 146 B.C. most Greek artists settled in Rome, and many of them devoted themselves to making copies of Greek sculptures, very fashionable at that time in the capital of the Empire.

Estim. 1 200 - 1 300 EUR

Mon 27 May

Sculptural ensemble of Love and Psyche. Rome, 1st-2nd century A.D. Marble. Provenance: Former private collection, Poitiers, France. The torsos and the lower parts of the figures are preserved in good condition and without restorations. They have lost the heads and part of the forearms. Measurements: 73 cm (height). Important sculptural group from the Roman period with the theme of love between Eros and Psyche. According to the classical canons inherited from Greece, the two bodies have turned and flexible thighs. They are adolescent, almost infantile bodies, with short, rounded limbs. Probably, their faces melted in a kiss. Their posture conveys great complicity in a candid and innocent way. Eros subtly brings his left knee forward and his body flexes in a Praxitelian curve. Psyche joins her body to that of her lover, with a delicate gesture but without languor. The drapery and the feet show great technical mastery. The story of Eros and Psyche was narrated by Apuleius in his Metamorphosis (The Golden Ass): Psyche was the youngest and most beautiful of three sisters, daughters of a king of Anatolia. Aphrodite, jealous of her beauty, sent her son Cupid to shoot her with an arrow that would make her fall in love with the most horrible man she could find. However, Cupid fell in love with her and threw the arrow into the sea; when Psyche fell asleep, he flew her to his palace. The myth of Psyche, heavily influenced by mystical religions, symbolizes the overcoming of trials and sufferings of the human soul to achieve immortality. In classical mythology, Cupid fell in love with the beautiful young woman and married her, keeping her identity a secret. She, on the advice of her sisters, tried to discover the secret, awakening the god, who fled. Enamored, she sought him out and, after passing a series of tests imposed by the mother of the God of Love, Venus, she was reunited with him.

Estim. 40 000 - 45 000 EUR

Mon 27 May

The priest Padiamonnebgutauy's sign for his father Minnusensebeur. Ancient Egypt, Lower Epoch, 664 - 332 BC. Bronze. Provenance: - Private collection, Annie Trotter, London. - Private collection, Ingrid McAlpine (1939 - 2018), London and Epsom, acquired from the above on October 22, 1993. - Art Market, England, 2019. - Lady Meux (1847-1910). - Sotheby's 5 July 2022, lot 146. Good condition, excellent patina of the bronze, retains original handle. Presents a blow and lack on the right side of the stipule. Attached a study on the antiquity of the piece issued by the Egyptologist and architect Fernando Estrada Laza. Author of "Los Obreros de la Muerte" and "Entender y Amar el Arte Egipcio". Advisor to the architectural team Lamela, for the project of the future Grand Egyptian Museum in Cairo (GEM). Advisor to the architectural team of Arata Isozaki (Tokyo), for the organization and selection of pieces for the new National Museum of Egyptian Civilization (NMEC) and the Grand Egyptian Museum in Cairo (GEM). Measurements: 15 cm (height) and 25 cm (height with handle raised); 31 cm (height with pedestal). The tendered situla features fourteen vertical registers of writing, between two figures engraved at the ends of the text, all framed by a rectangle drawn by a thin incised line. A priest dressed in a tunic is the only character in this scene. Both the animal skin covering him and his shaved head indicate that he is a funeral priest of the wab, pure, and sem groups, prestigious grades of the clergy whose acolytes practice the posthumous funeral rites to the dead, mainly that of the "opening of the mouth". While with his right hand he pours water (libation), on a container vessel, by means of a glass that, his other hand makes a fumigation of incense with a wooden censer whose front tip is a small container, lined internally with bronze, where the combustion of the grains of incense takes place. The grains are stored in the intermediate cylindrical area and finally the rear part ends with the design of a falcon's head, probably of the god Horus. The four registers of writing on his head, are translated: "Made by his brother to live his name. The director, the son of the god." After the priest, his proper name: Padiamónnebgutauy. Name that can be translated as: "He who makes (an offering) to Amun, Lord of the Crowns of the Two Lands". Next, following the scheme of vertical registers is the text: "Make a libation of fresh water to this Osiris who presides over the West. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the priests of Amonet (Goddess wall of Amon, it is the version of this god at Karnak. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the pure priests of Amon, the director of the confraternity of the pure priests. This one, the one who is important in the priestly congregation: Padiamonnebgutauy, son of Minnusensebeur, fair of voice. Born of the singer of Amon Ra, Dity. Your son appears, Horus appears. You bring freshness to your heart and you put the Two Lands (Egypt) under your plants (?) for you, to be called to the embalming room without any danger (or without any risk) for your heart, besides your name appears...". Desefmer, is the son of Padiamónnebgutauy, who in turn is the son of the late Minnusensebeur, now deceased. In the Lower Epoch, very long proper names abou

Estim. 35 000 - 40 000 EUR

Mon 27 May

Bell crater. Greece, 4th-3rd century BC. Red-figured pottery. Attached thermoluminescence. With export permit. Measurements: 33 x 35,5 cm. Ceramic vessel with circular base foot, bell-shaped body with two handles, located almost hidden under a pronounced rim at the top, which also opens outwards. The exterior of the piece is decorated with female and male figures in courtship and palmettes. The crater was a vessel of large capacity, intended to contain a mixture of water and wine. It was carried to the place of the meal, deposited on the floor or on a dais. The cupbearer administered the drink with a spoon or pitcher, then filled the cups of the guests. The type known by its shape as "bell-shaped" has small horizontal handles, protruding and directed upwards, and with a vessel in the shape of an inverted bell; it is a type of late use. The chalice krater is a more modern type than the columnar and scroll type, though earlier than the bell krater, and its shape, with an almost inverted trapezoid profile, is reminiscent of the flower chalice. Red-figure pottery was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 B.C., and was used until the 3rd century B.C. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the coloring is inverted, the figures being highlighted on a dark background, as if they were illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. In contrast, the red-figure technique allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with more accuracy and variety. The technique consisted of painting the motifs on the still wet piece, using a transparent varnish that, when fired, acquired an intense black hue. Therefore, the motifs were invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the areas not covered by the glaze remained with the reddish tone of the clay, while the glazed areas, the "painted" ones, took on a dense and shiny black color.

Estim. 8 000 - 9 000 EUR
安全
在线支付由 Ingenico 以及加密交易保证安全。
保证
每件拍品都经过拍卖公司认证和鉴定。
支持
联系我们获得更多信息
德鲁奥是法国最大的拍卖行。它向所有人免费开放，是艺术爱好者的首选之地。在线拍卖平台drouot.com使从任何地方进行远程竞投成为可能，并可以访问欧洲大陆最大的艺术和装饰品目录。
德鲁奥集团
德鲁奥认证的拍卖公司
买方
如何在平台cn.drouot.com竞拍
如何在德鲁奥拍卖中心竞拍
拍卖术语
相关链接
卖方
资产评估
德鲁奥拍场
订阅
专业服务
拍卖公司
联系我们
HÔTEL DROUOT
9, rue Drouot 75009 Paris, France
+33 (0)1 48 00 20 00
[email protected]

DROUOT.com
[email protected]
新闻中心
访问和私密性
服务条款和法律声明 - 隐私声明 - 版权所有： Drouot