PERSONNAGE ASSIS CHONTALGuerrero, Mexique, Période préclassique, 100 av. – 250 apr. J.-C.Pierre verte à patine brune. 17.5cm high (6 7/8in) x 7cm (2 6/8in) wide x 10cm (4in) deep.Footnotes:Provenance:Cyril Mipaas, New YorkRobert Rousset, Paris (1901-1981), acquired from the above on 22 March 1955Jean-Pierre Rousset, Paris (1936-2021)PERSONNAGE ASSIS CHONTALPierre verte à patine bruneGuerrero, Mexique, Période préclassique, 100 av. – 250 apr. J.-C.Le personnage aux jambes et aux bras repliés, le dos vouté et le visage projeté vers l'avant, semble concentrer son énergie. Le visage est relevé dans une attitude caractéristique de ce type de figure assise de l'art Chontal et Mezcala. Il est comparable a celui référencé dans le livre de Carlo Gay « Chontal », p. 63, plate 60, mais dans un traitement beaucoup plus expressif.A CARVED GREEN STONE CARVING OF A SEATED CHONTAL Guerrero, Mexico, Pre-Classical Period, 100 BC-250 ADFor further information on this lot please visit Bonhams.com
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HEI TIKI MAORINouvelle-ZélandeNéphrite / jade. 11cm (4 2/8in) high. Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Exécutés en « pierre verte » pounamou, ces pendentifs hei tiki revêtaient un caractère très précieux pour les familles qui les détenaient et se les transmettaient de génération en génération. Les nombreuses tentatives d'interprétation de leur forme caractéristique, personnage stylisé à la tête inclinée, semblent finalement peu concluantes.Ce bel exemplaire à l'arrière plat, indiquant qu'il a pu être taillé dans une ancienne lame de hache a conservé son cordon et son « toggle » en os.HEI TIKI MAORINew Zealand Néphrite / jade. Made of pounamou 'green stone', these hei tiki pendants were very precious to the families who owned them and passed them on from generation to generation. Numerous attempts to interpret their characteristic form, a stylised figure with a tilted head, seem to be inconclusive. This fine example with a flat back, indicating that it may have been carved from an old axe blade, has retained its cord and bone toggle.For further information on this lot please visit Bonhams.com
FRAGMENT DE LION EN PIERREDynastie Tang (618-906 ap. J.-C)A STONE FRAGMENT OF A LIONTang Dynasty (618-906 AD)The ferocious beast carved with its jaws agape, bulging eyes below the pronounced brows, with back-turned ears flanking the finely incised layered mane leading to the back. 11cm (4 1/4in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) See a related stone figure of a seated lion, Tang dynasty, which was sold at Bonhams London, 16 May 2019, lot 9.唐 石獅來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
TRÈS RARE ET IMPORTANTE TABLE EN HUANGHUALI SURMONTÉE D'UN PLATEAU EN PIERRE PORTANT UNE INSCRIPTIONFin de la dynastie Ming (XVIe/XVIIe siècle) AN IMPORTANT AND VERY RARE HUANGHUALI INSCRIBED STONE-TOP TABLE Late Ming Dynasty (16th/17th century)Of rectangular form with a single floating purplish-grey and green stone panel, likely duan stone, inscbied with a calligraphic inscription, set in a mitred frame of mortise and tenon construction with moulded edges, above straight waist and a plain apron, supported on four legs of slender square section terminating in hoof feet and joined by humpback stretchers, the well-grained lustrous wood of warm amber-honey tone. 89cm (35in) high x 150cm (59in) wide x 58.7cm (23in) deep. The stone 98.2cm (38 5/8in) wide x 42.5cm (16 5/8in) long.Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021), acquired in the 1980'sTables with a stone top such as the present lot were particularly useful when playing the guqin – a seven stringed zither – with sound boxes underneath. The stone surface allowed the sounds to bounce off and reverberate more loudly. The inscription at the right corner of the stone top highlights its dual use of supporting the musical instrument as well as for reading. Following is the inscription:質賦衡峰，貞似玉溫，而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文Which may be translated as:Its quality is harder than Hengshan mountain,The texture as smooth and gentle as jade.Playing qin solemnly on the lustrous marble top,And feeling the gentle breeze.Reading under the bright light,Dedicated to the Court: duty, loyalty and diligence.Seal: Zhao Wen (朝文)As the poetic inscription suggests, the present table would have been suitable for playing the qin, or for reading, aiding in study and serving the Court. A very similar table of more narrow form and without stone top, late 16th/early 17th century, is illustrated by Grace Wu Bruce, Living with Ming: the Lu Ming Shi Collection, Paris, 2000, p.110, no.23. The author notes on that tables with stone tops are quite rare, 'presumably because they break and perish at a higher rate compared to their wooden counterparts', see ibid., p.12. See also another related huanghuali table of similar form, but without a stone top, circa 1550-1650, illustrated by C.Clunas, Chinese Furniture, London, 1997, p.49. The author notes that according to the Classic of Lu Ban, this is a xiao qin zhuo shi, 'small qin table type'. That the present table is also inscribed with a poem, perhaps signifies its importance to literati gatherings where the qin was played, poetry recited, paintings and calligraphy written and exchanged. It is more likely that such a table with a poetic inscription and imbued with cultural capital would be more suitable for playing the qin, one of the Four Arts of the Scholar along with qi (chess), shu (calligraphy), and hua (painting).See a huanghuali incense table with stone top, inscribed with various collectors seals, Ming dynasty, including that of Xiang Yuanbian, which was sold at Poly Beijing, on 28 July 2022, lot 5563.Les tables similaires à celle-ci étaient particulièrement utiles pour jouer du guqin - une cithare à sept cordes- le plateau en pierre formant une caisse de résonance. En effet, la surface en pierre permettait aux sons de rebondir et de se réverbérer plus fort. L'inscription au coin droit de la pierre souligne son usage double : celui de support pour l'instrument de musique ou pour la lecture:質賦衡峰，貞似玉溫，而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文 Que l'on pourrait traduire ainsi:D'une qualité plus dure que le Mont Heng,Son grain aussi doux que le jade,Jouer du qin avec solennité sur la pierre brillante,Et sentir la brise tièdeLire sous la lumière vive,Dédié à la Cour : devoir, loyauté et diligenceSceau: Zhao Wen 朝文 Comme le suggère l'inscription poétique, cette table aurait convenu pour jouer du qin, ou pour lire, utile dans le cabinet du lettré et pour servir la Cour. Une table très semblable, mais plus étroite et sans plateau en pierre, fin du XVIe ou début du XVIIe siècle, est illustrée dans Grace Wu Bruce, Living with Ming: the Lu Ming Shi Collection, Paris, 2000, p.110, n°23. L'auteur note que les tables à plateau en pierre sont assez rares, « probablement parce qu'elles se cassent et disparaissent davantage que celles en bois. », Ibid. p.112.Voir également une autre table en huanghuali de forme similaire mais sans plateau en pierre, vers 1550-1650, illustrée dans C.Clunas, Chinese Furniture, London, 1997, p.49. L'auteur écrit que d'après le Classique de Lu Ban, il s'agit d'une xiao qin zhuo shi, un type de petite table à qin. Le fait que cette table soit gravée d'un poème est peut-être une indication de son importance lors de réunion de lettrés où l'on jouait du qin, récitait de la poésie ou réalisait et échangeait des poèmes et calligraphies. Cette table, dotée d'une inscription poétique, était particulièrement appropriée pour jouer du qin, un des Quatre Arts du Lettré avec les échecs (qi), la calligraphie (shu) et la peinture (hua).Voir une table à encens en huanghuali avec un plateau en pierre, inscrite de plusieurs sceaux de collectionneurs, dont celui de Xiang Yuanbian, dynastie Ming, vendue chez Poly à Pékin le 28 juillet 2022, lot 5563.明晚期 黃花梨四面平式嵌石面詩文條桌來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏，於二十世紀八十年代前入藏因石質空隙易與聲響產生共鳴，可作為音響加強音色，如本拍品般之嵌石面條桌尤宜作為琴桌使用。刻於該桌桌面右側的詩文亦引證其曾為士人琴桌及書桌的角色：質賦衡峰，貞似玉溫而理瑩，而穆二，奏虞弦，熏風處，續人對，明光佇，瞻補牘，朝文。與本拍品相類但稍窄且無石桌面之十六/十七世紀早期琴桌 可見於伍嘉恩（Grace Wu Bruce）著，Living with Ming: the Lu... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
STATUE DE DIVINITÉ FÉMININE EN GRÈS, POSSIBLEMENT DURGACambodge, époque angkorienne, style du Koh Ker, Xe siècleA SANDSTONE FIGURE OF A FEMALE DEITY, POSSIBLY DURGACambodia, Angkor Period, Koh Ker style, 10th centuryThe robust figure stands in samabhanga, elegantly carved with hour-glass form torso, with full breast above delicately incised lines to indicate slight rolls of skin and sumptuous wide hips. She wears a long straight garment (sampot) flaring slightly at the bottom, with a large curling flap and incised vertical lines to indicate the fine pleats, stand. 90cm (35 1/2in) high. (2).Footnotes:Provenance: Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.50, no.12The Koh Ker temple complex, approximately 80km northeast of Angkor, was the capital of the Khmer Empire from 928-944 under the kings Jayavarman IV and Harshavarman II. Koh Ker's sculptural style is distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The broad flap of pleated fabric that hangs over the sash at the waist, a fashion which first appeared in the last quarter of the ninth century, then became the convention in the tenth century during the Koh Ker period and can also be seen on the male figure from Banteay Srei.Given the dominance of the Shaivite cult throughout the Koh Ker temple complex, it is most likely that this four-armed figure would have been Durga – the wrathful female aspect of Shiva. Compare with the complete cast bronze figure of Durga in the Cleveland Museum of Art (1996.27), and another fragmentary figure described as Durga in the Metropolitan Museum of Art, New York (2003.605). Also compare with another female deity in the Linden-Museum, Stuttgart. The hieratic monumentality of this rare female deity is balanced against the soft fleshy skin and flair of the curling flap that Jean Boisselier, in his review of Koh Ker sculptural style (Asie du Sud-Est, 1966, p.248) characterised as 'dynamic equilibrium'.Le complexe de temples de Koh Ker, situé à environ 80 km au nord-est d'Angkor, a été la capitale de l'empire khmer de 928 à 944 sous les rois Jayavarman IV et Harshavarman II. Le style sculptural de Koh Ker est distinct de ceux développés dans le voisinage immédiat d'Angkor. La sculpture en pierre, souvent de taille monumentale, est imprégnée d'un sens aigu du mouvement et d'une souplesse des formes. Le large pan d'étoffe plissée qui pend sur la ceinture à la taille, une mode apparue dans le dernier quart du IXe siècle, puis devenue la convention au Xe siècle pendant la période Koh Ker, est également visible sur la statue masculine de Bantreay Srei. Compte tenu de la prédominance du culte shivaïte dans l'ensemble du complexe de temples de Koh Ker, il est fort probable que cette statue à quatre bras soit Durga, l'aspect féminin courroucé de Shiva. Comparée avec la fonte complète de Durga en bronze du Musée d'art de Cleveland (1996.27), et avec une autre statue fragmentaire décrite comme étant Durga au Metropolitan Museum of Art, New York (2003.605). Comparée également avec une autre divinité féminine au Musée Linden, Stuttgart.La monumentalité hiératique de cette rare divinité féminine est contrebalancée par la douceur de la peau charnue et l'élasticité du rabat enroulé que Jean Boisselier, dans son analyse du style sculptural de Koh Ker (Asie du Sud-Est, 1966, p.248), qualifie d'« équilibre dynamique ».柬埔寨 吳哥時期 科克風格 十世紀 砂岩或杜爾加立像來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset（1936-2021）舊藏展覽著錄：Sherman Lee, 《Ancient Cambodian Sculpture》，Asia House畫廊，紐約，1969年10月，頁50，編號12科克寺廟建築群位於吳哥東北約八十公里，928至944年間為闍耶跋摩四世與哈沙跋摩二世統治下高棉帝國之首府。科克雕塑風格與吳哥鄰近地區截然不同，常見砂岩雕像尺寸較大，造型靈活並充滿強烈動感。褶襉圍裙寛闊的上擺向外翻出垂在腰間，此服飾最早出現於九世紀下半葉，至十世紀科克時期已成慣例，於女王宮內神像上亦可見。 鑑於崇拜濕婆之風主導科克寺廟群，故此四臂像應為杜爾迦—濕婆女神憤怒相。比較一例完整的杜爾加銅像，藏於克利夫蘭藝術博物館（1996.27）、另見一例杜爾加像殘件，藏於紐約大都會藝術博物館 （2003.605）。再比較一例女神像，藏於斯圖加特林登博物館。 此尊罕見女神像極具宗教藝術的神聖宏偉，與其柔順飽滿的肌膚及摺裙的捲邊上擺互起平衡作用，Jean Boisselier在《Asie du Sud-Est》，1966年，頁248的科克寺雕塑風格評論中稱之為「動態平衡」。For further information on this lot please visit Bonhams.com
STATUE DE DIVINITÉ FÉMININE EN GRÈSCambodge, style du Baphuon, XIe siècleA SANDSTONE FIGURE OF A FEMALE DEITYCambodia, Baphuon style, 11th centuryShe stands in samabhanga wearing striated sampot secured by a pattered belt knotted at the front while a fish-tail section falls downwards, naked upper body with well-defined breasts and incised bellybutton, stand. 90cm (35 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antique, Bangkok, 7 July 1966Jean-Pierre Rousset, Paris (1936-2021)The designation of the female figure could be a representation of Prajnâpâramitâ embodying perfection of wisdom, mother of all Buddhas, entity of very high rank in the pantheon of the Mahayana Buddhism; or that of an attendant of the bodhisattva Avalokitesvara. The effaced section at the front of her hair bun suggests the presence of a small deity representing Amitabha is now missing, would suggest a designation of Prajnaparamita and repurposed to a Hindu deity.Compare two related stone figures of a female deity, one in the National Museum, Phnom Penh, illustrated by N.Dalsheimer, L'art du Cambodge ancien, 2001, p.132, no.56 and the other in the collection of the Metropolitan Museum of Art, see M.Lerner and S.Kossak, 'The Arts of South and Southeast Asia', The Metropolitan of Art Bulletin, vol.LI, no.4, 1994, fig.88, p.83.La désignation de la figure féminine pourrait être une représentation de Prajnâpâramitâ incarnant la perfection de la sagesse, mère de tous les bouddhas, entité de très haut rang dans le panthéon du bouddhisme Mahayana ; ou celle d'une accompagnatrice du bodhisattva Avalokitesvara. La section effacée à l'avant de son chignon suggère la présence d'une petite divinité représentant Amitabha, maintenant manquante, suggérerait une désignation de Prajnaparamita et une réaffectation à une divinité hindoue.Comparé deux figures en pierre apparentées d'une divinité féminine, l'une au Musée national de Phnom Penh, illustrée par N.Dalsheimer, L'art du Cambodge ancien, 2001, p.132, no.56 et l'autre dans la collection du Metropolitan Museum of Art, voir M.Lerner et S.Kossak, 'The Arts of South and Southeast Asia'. The Metropolitan of Art Bulletin, vol.LI, no.4, 1994, fig.88, p.83.柬埔寨 巴普昂寺風格 十一世紀 砂岩女神立像來源：巴黎Robert Rousset（1901-1981）舊藏，於1966年7月7日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏此神像應為諸佛之智母、體現圓滿智慧的般若佛母, 在大乘佛教萬神殿中地位崇高；或可視為觀世音菩薩的侍者。 其髮髻前方磨損的部分原應帶一小型阿彌陀佛像，現已缺失，意味著此尊般若佛母像後經改造成印度教神祇。 比較兩例相關女神祇雕像，其一藏於金邊國家博物館，圖載於N.Dalsheimer，《L'art du Cambodge ancien》，2001 年，頁132 ，編號 56，及另一例藏於大都會藝術博物館，見M.Lerner及S.Kossak，大都會藝術博物館公報《大都會藝術博物館公報 》The Arts of South and Southeast Asia一文，卷 LI，編號 4，1994年，圖88，頁83。For further information on this lot please visit Bonhams.com
TWO 9CT YELLOW GOLD GEM SET NECKLACES AND TWO PAIRS OF YELLOW METAL EARRINGS, to include a mystic topaz and diamond cluster pendant with chain, pendant and chain hallmarked 9ct gold, a 9ct gold amethyst, opal cabochon and freshwater cultured pearl necklace, hallmarked 9ct gold, QVC, a pair of opal cluster ear studs, hallmarked 9ct gold and a pair of cubic zirconia single stone ear studs, stamped Mexico 18k, approximate gross weight 18.5 grams (condition report: overall condition very good to fair, one opal missing to earrings)
TWO 9CT GOLD GARNET RINGS, to included a garnet three stone ring set with three oval cut garnets, interspaced by colourless paste accents, hallmarked Birmingham 1976, approximate ring size R 1/2, together with a garnet cluster ring, set with a principal oval cut garnet, surrounded by ten circular cut garnets, hallmarked London 1972, approximate ring size Q, approximate gross weight 7.5 grams (condition report: overall condition good)
THREE YELLOW METAL DRESS RINGS, to include a 9ct gold colourless paste double cluster ring, AF one stone missing, approximate ring size O, hallmarked Sheffield, a 9ct gold cubic zirconia cluster ring, approximate ring size N, hallmarked Edinburgh, stamped CZ, together with a synthetic colourless spinel full eternity ring, approximate ring size L, stamped 9ct syn spinel, approximate gross weight 6.5 grams (condition report: overall condition good to fair, one stone missing to double cluster ring)
THREE GEM SET RINGS, to include a 9ct white gold tanzanite cross over ring, set with ten callibre cut tanzantes, channel set to the plain polished ring band, hallmarked 9ct gold Birmingham, approximate ring size P, a mid 20th centruy rectangular cut pale green paste single stone ring, stamped 9ct&Sil, approximate ring size M, togther with a mid 20th century shell ring with scalloped rope-twist border, stamped 9ct gold, approximate ring size J 1/2, approximate gross weight 7.7 grams (condition report: overall condition very good to fair, tanzanite ring in very good condition, shell abraded to surface, may possibly have been a carved cameo, minor light abrasion to surface of green paste)
A GROUP OF ORIENTAL CERAMICS AND FIGURINES, comprising a Japanese mirror, two Chinese ginger jars, six assorted Chinese Gaiwan tea cups, four missing lids and six assorted ladles (two cups are chipped and cracked, one lid is chipped), a Japanese Satsuma figure of Kannon, height 20cm, two stone buddhas, a Chinese clay Mud-Man, six plates made in China decorated with a central lotus blossom with a border of multi-coloured butterflies, diameter 22cm (paint has worn and chipped on some plates), five plates decorated completely with butterflies, diameter 19cm (chipped paint on some plates), eight small tea cups (one chipped) with eight saucers decorated with pink lotus blossom and butterflies (54) (Condition report: obvious damage is mentioned, paint and gilt edge has worn on pieces in varying degrees)
SIX BOXES OF ASSORTED CLOCKS AND ASSORTED SUNDRIES, to include a Royal Air Force Officers Gold Bullion patch 'Per Ardua Ad Astra', a mid-century teak candle holder, height 22cm, four 1960's alarm clocks, a mid-century Helveco mantel clock, a boxed Pure radio alarm , a Sony radio alarm, a vintage Cornish Serpentine stone thermometer Regwell Control, a wooden wall hanging cuckoo clock, world travel maps, boxed souvenir books of coronations 1937, 1935 Jubilee, Our King & Queen and the Royal Princesses, etc (s.d) (6 boxes)
A GROUP OF CERAMICS, METALWARES AND SUNDRY ITEMS, to include a fourteen piece Royal Albert Memory Lane tea set, comprising a cake plate, a sandwich plate, a cream jug, a sugar bowl, four tea cups, two saucers and four tea plates, four Royal Albert plates marked with retailer 'Lawleys, Regent Street', a State Express Cigarettes tin, a darning egg with handle marked 'Sterling' set with a faux purple stone, a white metal cigarette box with scrolling foliate decoration and blank cartouche, a vintage 'Coral' battery operated travel alarm clock, a monogrammed cigarette case, etc (Qty) (Condition report: most pieces appear in good condition, sd)
A SYNTHETIC SPINEL SINGLE STONE RING, the circular cut synthetic spinel, within a geometric surround and tapered band, stamped 750, ring size R, approximate gross weight 5.9 grams, with case (condition report: overall very good, minimal wear, synthetic spinel is a medium vivid green hue, blue undertones)
TWO 9CT GOLD RINGS, the first a single stone diamond ring, set in a yellow gold domed band mount, approximate diamond weight 0.07ct, hallmarked 9ct Birmingham, ring size S, together with a thin polished band ring, hallmarked 9ct Chester 1943, ring size S, approximate gross weight 4.4 grams (condition report: general moderate wear, overall condition)
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