This antique Chinese filagree silver bracelet with rectangular barrel shaped jadeite insets measures 7 inches long (opened flat) by about one inch in width.
We estimate it's inside diameter when closed to be two inches across.
It is set with five rectangular jadeite cabachons with colors ranging from very pale green to a bright apple green to an emerald green in areas. These stones have a great deal of clarity or translucency to them. Stones with these colors are usually found set individually in custom made gold rings, rather than in an antique silver setting. The buyer will not be disappointed.
We estimate the bracelet to date circa 1900-1920.
The finely wrapped silver wire which forms most of the bracelet retains a large portion of it's original gilding on the front. The gilding has worn down to the silver on the reverse where it came into contact with skin for over 100 years, but the fine quality of the silver and the tight patterns remain.
It is in excellent condition, which is surprising, given that it was worn for about a century.
It has a small flat silver touch mark with "Chin Silver" on it, which may have been added later as it is not up to the quality of workmanship apparent on the rest of the bracelet.
Premiums were prizes won for the best horse, bull, sheep, etc at agricultural fairs during that period (county fairs today). Obviously the engraver could engrave better than he could spell (ppemium not premium).
The engraving is full and crisp even though the photos do not show it. No letters are missing or worn down. There is a old repair where a handle was removed ( see enlargements). Beyond that, the cup is in very good condition and much nicer than the photos indicate.
NOTE: A silver baby cup by Adolphe Himmel sold at auction in 1999 for $935.00.
Insured shipping is included within the United States. Overseas shipping will incur a slight surcharge.
This antique Tibetan Conch shell horn is covered with chased and engraved silver patterns, including bird, animal and plant motifs. It is also covered with hundreds of pieces of Tibetan turquoise in an wonderfully detailed pattern. It measures about 9 1/2 inches in length and about 4 inches in diameter. It is relatively heavy due to all of the chased silver and stone work.
It dates from the 18th century and also has silver and coral cabachons in a traditional three point design.
It is in excellent condition, except for a small crimp in the silver below the bird (see closeup photo).
This silver and turquoise bracelet measures 2 3/4 by 2 by 7/8 inches (the interior measurement is 2 1/4 by 1 1/2 inches).
It is set with 5 old round to oval turquoise gemstones of excellent color. It is unmarked, but we guarantee this to be a solid silver bracelet of .900-.925 quality.
It is a custom piece and has "By Roy Vandever" and the monogram "RV" engraved on the reverse. This Navajo silversmith is listed briefly in Barton Wright's book Hallmarks of the Southwest. Reportedly Vandever is from the Prewitt, New Mexico region and his initials (RV) are printed with the two letters wedged together in Gothic print.
We estimate it to date from the middle to late 20th Century.
This is a substantial bracelet and although relatively small, it weighs about 70 grams.
This antique sometsuke (blue and white) ceramic tea cup dates to the Meiji Period (1868-1912) in Japan. It measures 3 1/4 inches(8.5 cm) by 2 1/4 inches (6 cm) tall).
This is one cup from a collection of two dozen antique sometsuke tea cups (see enlargement). This antique cup is in perfect condition, except for one tiny rim chip on it's upper edge.
This antique bronze figure of the Monkey God Hanuman measures 5 x 4 x 1 1/2 inches (13 x 10 x 3 cm)and is in excellent condition.
This ancient bronze figure originated in Northern India, Tibet or Nepal. It dates to about the 17th or 18th century, although it may actually be much earlier, based on similarities with small Pala period bronze figures.
This Tibetan Silver and Copper Conch shell trumpet (rag gshog-ma) measures approximately 14 inches by 10 inches by 3 inches in depth.
This right-turning shell, itself one of the eight auspicious symbols, with an attached wing and elongated posterior rod. Repoussé details on wing depict a sea dragon (makara) and the eight auspicious symbols. The added wing lengthens the cavity, producing a lower pitch, as well as serving a decorative function.
The Tibetan silver in this trumpet is a mixed silver/ white metal and is not sterling or coin silver. IT IS PRIMARILY COPPER , BUT THE WORKMANSHIP ON IT IS OUTSTANDING.
It is in very good condition, except for a slight crimp or dent at the mouth piece and some slight corrosion on the wing.
It is very similar to one in the National Music Museum in the collection of the University of South Dakota (internet link below):
This silk panel with embroidered figures of Six Chinese Immortals measures 12 x 29 inches (including the carved and gilded frame it sits in under glass).
It dates from the late Ming through early Ching Dynasty.
It is in good condition with a few small areas of separation of the silk background which do not affect it's appearance measurably. Its colors have faded to more subtle shades, not unusual, given it's age.
This original gouache and acrylic painting on rice paper measures 18 by 26 1/2 inches (image only). It is framed and matted under clear, unbreakable plexiglass.
It is signed and sealed Trung Van Nguyen 1996. There is also a gallery lable Wth the original price tag from 16 years ago.
It is in excellent condition.
A European silversmith created this hallmarked silver goblet or kiddish cup during the last half century of the Austro Hungarian Empire.
It measures 6 inches (15.4 cm) tall and 2.75 inches (7 cm) in diameter.
It weighs 4.13 troy ounces or 128.5 grams.
It is engraved with delicate but ornate leaf and flower designs around an oval plaque that has never been engraved..
The silver marks on it verify its origin as Vienna, Austria (circa 1867-1900) and list the initials of the silversmith in two places on the cup (see the close up photos) as either WH or HM. They also list the silver purity as .800 with is slightly less than sterling, but still qualifies as solid silver.
The confusion arises because while stamping the silver marks in two different places on the cup; one of the marks was rotated 180 degrees and they can now be read two different ways : WH or HM.. There were three silversmiths working in Vienna during this period (1867-1900) : 1. Halpern Mayer (1857-1870), 2. Heinrich Matzka (1867-1892), and 3. Wilhelm Hirschberger (1847-1900)
It is in excellent condition with no dents, dings damage or repairs.
This antique necklace consists of large (35 mm diameter) carved silver beads mixed with large (20 mm -25 mm diameter) Tibetan turquoise beads and finished with finely detailed silver end caps.
The large silver beads have carved auspicious symbols on them. The silver beads are hollow, but also thick and substantial. They were created in two pieces and put together at the widest point of the bead. They are hand tooled and, although unmarked ( as is a lot of silver from this area) they are of high quality (.800-900 or better). Full return privileges otherwise.
We estimate it to date primarily to the period of 1880-1920.
It is in excellent condition and weighs (both silver and turquoise) about 190 grams (over 6 troy ounces). It measures about 19 inches (48 mm) long stretched out end to end. This short strand with make an impressive choker.
NOTE: Our photos of the silver appear darker than they actually are. The silver is actually a nice even silver tone, not dark as if stored for some time. Not cleaned, just a lighter tone than the photos appear to be.
This old auction catalog is from 1943 and very rare in any condition.
It's Cover reads: Chinese Porcelains and Pottery. Chinese & Japanese Paintings & Bronzes, Persian and Mesopotamian Pottery. Property from the estate of the Late Mrs. Samuel T. Peters( New York) By Order of the Executors. Part One Public Auction Sale October 15 and 16 at 2PM. Parke-Bernet Galleries 30 East 57 Street. NewYork 1943.
Parke-Bernet Galleries became Sotheby Parke-Bernet and finally changed it's name to Sothebys.
It includes mostly Chinese ceramics from the estate of Mrs. Samuel T. Peters of New York.
Mrs Peters and her husband, Samuel T. Peters were serious collectors of Asian artifacts back in the day.
Mrs Peters left some amazing items to the Metropolitan Museum (and other museums).
This catalog is in very good condition with slight smudgingon the cover as might be expected on a catalog that is nearly 70 years old.
Mrs. Samuel T Peters was also the subject of a famous painting by the well known American artist, Mary Cassatt.
The original paper cover is intact except for a very minor loss to the end tips of the spine. The interior is clean and intact.
The catalog includes the description of 420 lots and 85 pages long. The black and white photos are all of items that are classics by today's standards.
The estimate of values and prices realized sheets are both missing. Their main purpose in today's market would be to show how much prices have risen in the last 69 years. Often a classic catalog like this is valuable for establishing provenance for specific items.
This small nephrite jade carving of a child measures approximately 2 3/4 inches tall by 1 3/4 inches in width by 1 1/2 inches in depth ( 70 mm x 45 mm x 35mm)
It has colors ranging from a deep greenish gray celadon color to a pale off white stained down to a pale speckled yellow gray by oxidation ( on the rear/ backside).
The Mogul emperors (1526-1857)were patrons and connoisseurs of the arts. The Rajput maharajas, who spent time at the Moghul court after their subjugation, were influenced by the wealth they saw and commissioned additional decorative arts for their courts, The courts of the Moguls had workshops attached to them called karkhanas. The most skilled craftsmen were employed there and they were mostly local workers. Craftsmen were valued so highly that when Timor massacred the inhabitants of Delhi in 1398, he spared the Indian craftsmen and recruited large numbers into his service. The local artisans employed in the karkhanas were either converts to Islam or were former slaves. Moghul-trained Muslim artists also entered into the service of the Rajput courts. The number of foreign craftsmen who came to India was fairly small. Many of the foreigners who were employed in the royal workshops were highly skilled craftsmen who usually acted as the guide and teacher of their local counterparts. The materials from which objects were made as well as the level of sophistication and ornamentation were important indicators of the wealth and standing of those who commissioned them. Thus, objects made of jade and gold were usually produced for the Moghul court. Imperial items were also generally more ornate and spectacular than those made for the other Indian courts. The finest articles produced by the royal workshops were usually given away as gifts or were used for ceremonial purposes.
This 18th or 19th century bronze figure of GANESH is from Northern India or Nepal.
This bronze figure is in outstanding condition with a wonderful patina.
It has lost it's sealed base cover, possibly from someone looking for smuggled jewels or treasure in it's base (the smuggling of valuables in old bronzes was known to happen, although rarely). It measures about 8 inches tall by 9 inches wide by 4 inches in depth.
It shows the elephant headed god Ganesh with five heads and eight arms, each holding a different symbol.
Five-headed Ganesh (Panchamukha Ganesh) The Nepalese Ganesh often has several heads, as well as numerous arms. This may be from an influence of the tantric art of the Vajrayana (a particularly Tibetan aspect of Mahayana Buddhism).The significance of the five-headed Ganesh may be explained by various factors. The number five frequently occurs in Nepalese iconography. An example would be the five Maha Bhûta of the Tattva theory in the Sâmkhya with their corresponding organs. But the most relevant meaning of the five-headed Ganesh is the five heads symbolize the five kosha experienced by the yogi: 1. Annamaya kosha: the flesh body made of matter, 2. Pranamaya kosha: the breath body, or energy body, 3. Manomayakosha: the mental body, 4. Vighnânamayakosha: the body of the Upper Consciousness, and 5. Anandamayakosha: the body of Cosmic Bless. The fifth head of Ganesh symbolizes the highest level of yogic experience, called Anandamayakosha, or Sat-Chit-Ananda, the Pure Consciousness without qualification.
Photo Note: The last photograph is a picture of the five headed bronze in situ with a few other items from our bronze collection. Not all of the items shown are available at this time______wfb
This Chinese jade carving of a young lion or dog measures 2 1/2 inches long by 1 inch tall by 1 1/4 inches in depth.
The lion rests in repose with a flowing plant form in it's mouth.
It is carved from a semi translucent, celadon colored nephrite jade. There are a few areas of brown suffusion on the head and the plant form. (This is the fancy way of saying it has few patches of rust. Not a bad thing for an antique jade carving.)
We are dating this one to the late 19th -early 20th century, but it may actually be somewhat earlier.
250 Years Of Japanese Art.
By Roni Neuer, Herbert Libertson and Susugu Yoshida. Copyright 1979 by Mondadori -Shueisha. Published by Gallery Books 1979.
With the Glossy pictorial dust jacket
A detailed study of the development of the technical and artistic achievement of Ukiyo-e (Japanese graphic art - pictures of the floating world).
It contains a 49-page essay on the history of Ukiyo-e followed by 328 pages of art - full-color plates, most full-page, all with accompanying detailed descriptions.
390 pages. Oversized volume 12.5" by 9.5".
This book is very close to mint condition.
It has spent years in a closed (and properly ventilated - no mold) glass front bookcase, along with many of it's friends.
I have seldom even opened it, only because I have thousands of old reference books and catalogues (really - 40+ years worth) and it was deposited in the wrong place.
So it was recently discovered during a major cleaning. As it turns out, it is one of two copies that I own. The other one is well used and looks it. I am selling the one in nearly mint condition but the knowledge in both copies is priceless.
The dust jacket has a tiny tweak at the top of the spine area which I did while I was taking pictures for this listing. Dumb, huh?
It also has many full color pictures taken from original woodblock prints which accounts for the subtle colors, especially on the really old woodblock prints.
This original oil painting measures approximately 8 by 10 inches (image only) and it sits in a modern carved and gilded frame measuring 13 1/2 by 15 1/2 inches.
The subject of the painting is a European city landscape with people traveling on a road. It is signed FRANK BOGGS in the lower left corner (see closeup photo).
The signature blacklights correctly, so it can be assumed that the signature was painted at the same time as the painting and not added later. The panel board is from the early 20th century. All of these factors are in favor of it's authenticity.
There is, however, some overpainting in the beige or tan portions of the buildings in the middle to right portions of the painting. These areas stand out under the blacklight and may mask some old damage or repairs that are not otherwise evident.
TO BE ON THE SAFE SIDE, WE ARE LISTING THIS PAINTING AS IN THE STYLE OF OR ATTRIBUTED TO FRANK BOGGS, RATHER THAN BY FRANK BOGGS.
If and when it is fully authenticated, the value of this little jewel could rise dramatically.
Frank Myers Boggs (1855-1926) was an American artist who also lived and worked in France. He is listed in many art references and his works are held by numerous museums in both countries. There are many, many auction records available on Frank Boggs.