This rectangular jade box and cover measures approximately 5 inches by 3.5 inches by 2.5 inches (12cm x 9.4cm x 5.5 cm).
It is covered overall with incised decoration in leaf and flower patterns. The top has a simple lotus pond garden scene within a repeating line patterned maze design.
The box was carved from one piece of pale green celadon colored jade with a prominent natural inclusion along with cloud band patterns.
The bottom of the box appears to have been set in separately, but carved from the same piece of jade..
This box dates from the Qing Dynasty in China (1644-1911).
It is in excellent condition except for a couple of insignificant rim chips along the edge. They are difficult to see or photograph, but they can be felt when running a finger along the edge. They are VERY insignificant nicks.
NOTE: This box has very well patterned inclusions that help to document it's origin from a single large translucent stone.
This standing pottery figure measures 11 inches high by 8 inches wide by 5 1/2 inches in depth.
It represents a shaman or tribal leader wearing a feathered cloak. It is Precolumbian in style, but may be a 19th or 20th century copy executed in the same style. It is in very good condition, except for a few small losses.
This carved jade or hardstone figure of Xipe-Totec measures 8.5 inches tall x 4.5 inches in width x 3.25 inches in depth.
It is in basically good condition, with the loss of the bottom portion of both legs. It also has some old repairs to its left hand and right arm at the shoulder. A few other interior cracks round out it's condition problems.
All things considered, it is in pretty good shape, coming from a culture that ritually killed it's pots and figures on a regular basis (along with numerous human slaves and prisoners).
Although it has some stylistic similarities with Olmec figures (except around the mouth), it has more similarities with the Aztec or Mayan Cultures
It shows a figure wearing a second (flayed) skin, with hanging hands and stitch work up the backside to the head which would hold the flayed skin in place. The level of detail on the reverse stitchwork carving is remarkable and an indication of the importance of this piece.
Although we seriously believe this antique jade carving to be authentic and extremely old, we are not going to date this piece. . The buyer should make his or her own judgement as to the merits of this carving.
We never attempt to misrepresent or oversell a piece. For that reason we have priced this huge, well carved jade statue as if it were an old copy. If it turns out that this carving can be verified to be older than that, we are certain the buyer will not be disappointed. _________________________________________________________________________
Xipe-Totec, the flayed god, originated in Teotihuacán culture and continued in importance into Aztec times. In Aztec mythology, Xipe Totec ("our lord the flayed one") was a life-death-rebirth deity, god of agriculture, the west, disease, spring, goldsmiths and the seasons. He supposedly flayed himself to give food to humanity, symbolic of the maize seed losing the outer layer of the seed before germination. He represented a fertility cult and was said to assist the earth in making her new skin each spring.
Annually, slaves were selected as sacrifices to Xipe Totec. These slaves were carefully flayed to produce a nearly whole skin which was then worn by the priests during the fertility rituals that followed the sacrifice. Some accounts indicate that a thigh bone from the sacrifice was defleshed and used by the priest to touch spectators in a fertility blessing.
Paintings and several clay figures have been found which illustrate the flaying method and the appearance of priests wearing flayed skins. Without his skin, Xipe-Totec was depicted as a golden god. The priests of Xipe-Totec impersonated him by wearing a gold-dyed human skin for twenty days, or until the skin rotted away. The priest would then emerge reborn. .
This silver over bronze figure of a seated Tibetan or Nepalese deity measures 9.5 inches tall by 7.5 inches wide by 5.5 inches in depth.
It dates to the middle of the 20th century although it was created in an earlier style.
It is in very good to excellent condition with a few small areas of green verdigris and a few minor spots where the silver has worn through to the bronze (usually on outside edges).
This Melanesian carved wooden mask measures 23 inches top to bottom by 9 inches wide by 2 inches in depth.
It was produced by the Middle Sepik River Culture of Papua New Guinea; most likely from the Washkuk region.
It dates from the early to middle 20th century and is in excellent condition.
The mask is carved in a representation of an elongated face with stylized tatoos overall, with a frog shaped headdress and a flying bird post or goatee. It has shell eyes and the bird is also set with red stone or glass eyes.
It is interesting in it's multiple use of imagery. The mask has a handle bar mustache which also serves as both the wings of the flying bird and the feet of the running frog. This is an exceptional design and also very well executed.
This bronze sculpture of a standing figure of Parvati on a lotus stand measures 14.5 inches tall by 4.5 inches square at the base.
It is a very heavy, solid bronze casting and it is in excellent condition.
It dates circa 1890-1940.
This antique tinned copper tray has traditional engraved bird motif surrounding a Homa bird symbol (Iran Air logo).
It measures about 16 inches in diameter.
It has a shield with an Arabic inscription at the top and (in English)IRAN AIR in a shield at the bottom of the circular field.
Iran AIR was established in 1946.
This tray probably dates circa 1946-64. The possibility exists that the tray is actually older and the Iran Air markings were added later.
It is in very good condition with the exception of a small dent in the field. it is small and relatively insignificant with all of the detail of the engraved patterns.
This old Sino Tibetan bronze seated figure riding a Chinese Lion measures 6 1/2 inches wide by 6 1/4 inches tall by 3 1/4 inches in depth.
The seated figure appears to be a Hotai or Budai wearing a crown and holding a mongoose in one hand and making the Karana symbol in the other.
It dates from the late 19th through early 20th Century.
It is in excellent condition, except that it has no bottom seal ( covering on the base). This may be another case of a bronze figure's base being opened while searching for hidden jewels. It also has two small areas of green verdigris: one on the lions mouth and the other near the left foot of the figure. There is additional verdigris evident up inside the base, leading to the conclusion that the bottom has been exposed for some time.
This original stone carving of a fisherman throwing his nets measures 6 3/4 inches tall by 5 1/2 inches wide by about 3 inches in depth.
It originated in China from about the middle -late part of the 20th century (circa 1960-1980).
It is carved from a mottled beige to brown stone known in China as Shoushan stone. It is a semi hard stone, often used for carving finely detailed calligraphic seals. It is softer than jade and harder than soapstone (steatite).
It is in outstanding condition, except for a very tiny (pencil point sized) rim chip on the edge of the fisherman's hat.
This green nephrite jade carving measures approximately 8 inches by 4 inchs by 3/4 of an inch high.
The subject is a Chinese lion astride a flattened and curling leaf.
Although archaic in style it most likely dates to late 19th or early 20th Century.
It is in very good condition, except for some minor roughness around the edges of the leaf.
This large natural water worn jade is in the shape of a flattened oblong stone. It fits well in the palm of the hand and feels like it has been held that way for generations.
It measures about 3.75 inches by 2 inches by 1.5 inches in depth.
It has a carved figure of Shou Xing nestled within the stone, wrapped in a leaf and with a bat holding a ruyi in its mouth resting spread winged below him. Often, a Ru Yi is depicted with a bat. The bat symbolizes health and longevity. It is considered to be a lucky object, adding good luck to the powers of the Ruyi.
this carving was carefully crafted from a natural water worn piece of either nephrite or jadeite-we are not sure which-but we guarantee it to be jade.
This is an outstanding fondling piece-one we are tempted to keep, but with thousands of pieces already, we can't keep them all.
We estimate that this substantial jade(it weighs 8.27 troy ounces or 257.22 grams) dates from about the middle of the 20th century or possibly earlier.
It is in excellent condition. The buyer will not be disappointed.
This Burmese silver case measures 80 mm by 112 mm by 13 mm in depth. It weighs 4.40 troy ounces.
It's original function was to hold cigarettes, but nowadays it can serve other functions, such as holding business cards, etc.
It has an overall engraved pattern of scrolling leaves with a three dimensional Standing temple lion set in a fluted, oval shield. The detail of the work is truly exceptional. The buyer will not be disappointed.
Burmese silver cases are much, much rarer than the more common Siamese Silver cases although both cultures are good investments these days with the rise of silver prices.
This silver case is unmarked, but guaranteed to be solid silver ranging from .900 to .925 pure.
It dates from the early 20th century,
It is in excellent condition overall. However, the catch slips; it needs minor adjustment to stay closed. It is also missing the original elastic straps: not unusual for it's age (70-80 years).