This original oil painting on artist's panel board measures 11 x 14 inches and sits in a carved wood and gesso period frame measuring 17 x 20 inches.
It is signed Ricardo in the lower right corner.
It is in excellent condition.
This carved jade pendant measures about 2 inches tall by 1 1/4 inches wide by about 1/2 inch in depth.
It is carved from a piece of jade that has a basic colors ranging from brown to pale celadon green . It also has a few natural forest green inclusions in the shape of a feather. The strong brown tones were created by utilizing the skin of the jade which is an indication of a water worn worn pebble.
It is carved in the shape of a fish in front of a natural plant shape or lotus leaf.
It weighs 37.6 grams.
It dates to about the middle of the 20th Century in China
This outstanding example of a Muhuashi (Petrified Wood Scholar's Rock) measures 8 inches by 5 1/2 inches by 4 inches tall (including the carved wooden stand it sits in). One photo enlargement shows the stand and the bottom of the rock.
It has the appearance of a craggy old mountain. It was at one time part of a collection of jade mountains. The mineralized wood is actually as hard or harder than jade.
It is difficult to put an actual age on this stone, but we can easily assume that it's age can be measured in centuries, lot's of them!
This engraved Sterling Silver tankard dates from the decade following the American Civil War (circa 1870-79 ).
It measures 3.5 inches tall by 2.5 -2.75 inches in diameter (not including the handle). It also measures 4 inches from the handle to the front edge of the cup.
It weighs 189 grams or 6.08 troy ounces.
It is marked on the bottom of the cup: ENG' STERLING 925-100 .
This is an American Silver Tankard Dated 1879 which may have served as a Christening cup.
A somewhat similar mark can be seen at the link below
It has been suggested that ENG may mean English Silver. This is incorrect because all English silver from this period had to be hallmarked in the English manner. However, before the sterling standard was fully adopted by the American silver manufacturing establishment, manufacturers who WERE making sterling often marked their wares "ENGLISH STERLING", as in this example.
This piece is not English, it just is up to the English sterling standard.
It also has the number 26 with gothic B's in diamond stamps on either side (B 26 B)
In 1866 William Bogert bought out the business of prominent New york City manufacturer Charles Grosjean, and formed William Bogert & Co. with Bernard Beiderhase. We believe that this silver cup or tankard was manufactured by Bogert and Beiderbase (B and B) under the eventual name of William Bogert and Company.
This is a solid sterling silver tankard and guaranteed as such.
It is in excellent condition with a nice even finish and a subtle patina.
It has a couple of extremely minor scrapes along the outside bottom edge where it appears to have been tested for silver purity during the last 130 years.
It is also engraved on the front: Tracey Lay Turner --September 1879 (surrounded by a delicate flowing engraving of wheat and or berries.)
Overall, this is a very clean and pristine example of late 19th century American Silver with documentation that leads us all the way back to it's original owner.
Tracey lay Turner was a Stock broker and banker (among other things) who lived and worked in 19th century Chicago.
The following information is an excerp from the Book Of Chicagoans (a sort of Who’s Who from the 19th-20th Century):
TURNER, Tracy lay, stock broker: born Chicago, Aug. 26, 1879*
Son of Edward H. and Ida B. (Foster) Turner; educated in private schools; married Chicago, Oct. 3, 1899, Claribel Countiss; 2 sons: Tracy L.,Jr. and Foster.
Began in Marshall Field & Co.'s wholesale house, 1896, and later was with Whiteside & Wentworth, real estate.
In 1897 he entered the employ of Chapln & Gaylord, stock and bond brokers and later became office manager.
In February 1901, he is lsted as a partner in the firm of S. B. Chapln & Co , bankers and brokers.
Republican. Episcopalian. Clubs: Chicago Athletic, Union League, South Shore Country, Glen View, Kenwood Country, Tuscumbia. Recreations: golf, fishing and motoring. Residence: 1120 E. 48th St. Office: The Rookery.
*Note_ Tracey Lay Turner was born on August 26, 1879, so either the Chicagoan or the engraver got it wrong by 4 days. It has been suggested that the difference or error may be related to a Christening date. So the date on the cup may actually be the date of christening rather than the date of birth.
This 19th century Japanese carved ivory okimono measures approximately 9 inches tall by 2 1/2 inches in diameter at it's widest point.
It is intricately carved with fully delineated scales and teeth on the fish. The figure riding a fish is carved from one solid walrus tusk and it sits on a separate oval section as a base. The crystalline pattern that is so indicative of walrus ivory can be seen in many places on the carving, including Kinko's robe (interior front left) and the belly of the carp or koi.
It dates from the Meiji Period in Japan (circa 1870-1900).
It is in very good condition with some stabilized antique ivory fractures as are seen on many of these okimonos that are well over 100 years old.
Japan originally imported and adapted many Taoist and Buddhist teachings from China, which were then combined with native Shinto beliefs.
One Taoist figure incorporated into Japanese artwork was Kinko, a holy hermit. He is often depicted mounted on the enormous carp that carried him to the Undersea Kingdom. There, sea creatures taught him that all life is sacred.
In Japan the carp (koi) is also a symbol of persistence, longevity, and fertility. Land-locked farmers have kept carp in their ponds to provide food for centuries and also bred them for their beautiful colors.
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This bronze figure of Jambhala (also known as Vaisravana) measures about 11.5 inches tall by 9 inches wide by 5 inches in depth (including the bronze lotus mount and lion that it sits on).
He is commonly considered to be the god of wealth and protector of the north, riding on a lion.
A mongoose sits on a lotus under his left foot.
His right hand holds a citron or lemon (a symbol of fertility).
The character of Jambhala or Vaisavana is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics, each of them has different functions and associated myths.
Although brought into East Asia as a Buddhist deity, Vaisravana has become a character in folk religion and has acquired an identity that is independent of the Buddhist tradition .
Vaisravana is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Mount Sumeru. He is the leader of all the yaksas who dwell on the Sumeru's slopes.
He is often portrayed with a yellow face.
He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth.
The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.
In Tibet, Vaisravana is considered a worldly dharmapala or protector of the Dharma, a member of the retinue of Ratnasambhava.
He is also known as the King of the North. As guardian of the north, he is often depicted on temple murals outside the main door.
He is also thought of as a god of wealth. As such, he is sometimes portrayed carrying a citron(a type of lemon), the fruit of the jambhara tree, a pun on another name of his, Jambhala . The fruit helps distinguish him iconically from depictions of Kuvera.
He is sometimes represented as corpulent and covered with jewels.
His mount is a snow lion.
This intricate bronze has much of it's original over painting remaining on the faces of both Jambala and his mount. There is a large amount of gilding applied to jeweled portions and accent details. This was a style of decoration that was popular during the later portion of the Ming Dynasty (1368-1644) and also occasionally during the early portion of the Qing Dynasty( 1644-1912).
We estimate this antique bronze to date to the 17th or 18th century, but it may be a bit earlier than that.
This antique bronze is in excellent condition, with one exception. It sits on three mount pins that extend into the sealed lotus base. One of these pins has broken off and is apparently roaming around within the base itself. Sitting on two pins rather than three has had no adverse effect on it's stability whatsoever.
This original oil painting is in the style of a well known California Plein Air Painter of the 1920's-1930's. It is, however, unsigned.
It measures 16 by 20 inches and sits in a period 22 by 26 inch frame.
Both the frame and the painting are in outstanding condition.
This original contemporary Chinese ink and watercolor painting measures approximately 18 1/2 by 38 inches, and 22 1/2 by 65 inches, including the silk brocaded scroll it is mounted on.
It has the seal and signature of the artist along the middle right side edge.
The subject is a somewhat impressionist view of a waterfall with a pair of birds sitting in a tree in the foreground, surrounded by floral blossoms.
It is in excellent condition.
It dates to the second half of the 20th Century.
THIS LARGE ORIGINAL WATERCOLOR PAINTING ON HEAVY WATERCOLOR PAPER IS SIGNED RUTH LEE(LR)
IT MEASURES 22 BY 29 INCHES (UNFRAMED).
RUTH HUDSON LEE (1885-?) was born in Syracuse, New York. She studied with Hawthorne, Adams, George Pearce Ennis, Eliot O'Hara & Paul Ludwig Gill. She also was a member of and exhibited at: the American Watercolor Society in NY, the Washington Watercolor Club and the National Association of Women Artists in New York City. In addition, she was associated with the SYRACUSE EIGHT watercolorists. Her works were shown at the Philadelphia and Baltimore Watercolor Societies, Argent Gallery, Rochester Memorial Art Gallery, Munson Williams Proctor Institute, Binghampton Art Gallery (1 WOMAN SHOW), Auburn Art Museum, ETC, ETC.
She is well listed in numerous artist's biographies and price guides.
This MUSEUM QUALITY WATERCOLOR is in OUTSTANDING CONDITION !!
This unframed work will be shipped ROLLED IN A WIDE TUBE to protect it.
This original antique Chinoiserie wine jar or bottle measures about 9 inches tall by 3 inches in diameter.
It was made in the late 19th century by Rorstrand in Sweden.
It is a classic European interpretation of an Oriental motif, with a robed man holding a tray with serving implements, surrounded by flowering shrubs and plants.
It has TH. WINBORG on it's upper rim. The company TH Winborg was established in Sweden as a seller of vinegar spirits.
It has the Rorstrand mark and additional incised initials (HZ, L and A) on the bottom. The company TH Winborg was established in Sweden as a seller of vinegar spirits.
It is in outstanding condition and much nicer than the photos would indicate.
This seated bronze Buddha in Sukhothai style most likely dates from the 16th to 18th century in Thailand. It may actually be earlier. but we prefer to be conservative in estimations .
It measures 16 inches tall by about 11 inches wide by 7 inches in depth.
It is in very good condition with areas of green patination and overall oxidation in various shades of pale to rusty brown. It has a few areas of casting loss, particularly on one end of the base (see the photo close ups). It also has a few areas where the bronze has either thinned out or pitted (again, primarily on the reverse of the base,)
The history of Thai sculpture dates from sometime during the thirteenth century, when a distinct national school emerged and broke away from Cambodian and Mon influences in terms of the stylistic development of Buddha images. Specific schools and sub-styles are defined on the basis of relatively slight variations in the prescribed dress, the treatment of the hair and so on.
This Buddha is seated on an undecorated pedestal in the cross-legged yogic posture of satvaparyankasana, the right leg placed over the left. His right hand is lowered, long fingers pointing downward in the earth touching gesture. The latter symbolizes Shakyamuni's triumph over the forces of the demon Mara, who attempted to distract him from his quest for enlightenment, a ubiquitous theme in Thai Buddhist art. The Buddha's monastic robe is worn leaving his right shoulder bare, and a long thin section of cloth representing his narrowly folded shawl falls downs from his left shoulder to below his navel terminating in two points.
This original, unsigned California School oil painting on canvas board measures 16 by 20 inches and sits in a 22 by 26 inch carved and gilded frame.
This classic mountain lake landscape is reminiscent of many locations in California, Colorado, Utah, Washington, Idaho or even Oregon
It is in excellent condition and ready to hang.
This black and iridescent art glass vase measures about 12 inches in height and about 7-7.25 inches in diameter.
It has a wonderful overall iridescence and was created in the threaded style of art glass like that found in Loetz or Pallme Koenig.
It is unmarked but does have a ground spot on it's base where an etched signature would most likely go.
It is in excellent condition, period. No chips cracks or repairs.
We estimate this classic Art Nouveau vase to date circa 1895-1910.
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 original oil painting on canvas laid down on board measures 12 by 16 inches, and it is mounted in an original carved and gilded frame which measures 16 by 20 inches.
It is unsigned and in excellent condition.
We estimate it to date circa 1930-1940.
The subject is the San Gabriel Mission which has numerous Moorish or Spanish architectural motifs.
It is painted in a loose, impressionist style with very bright, almost Fauve colors.
The Mission San Gabriel Arcángel is a fully functioning mission and also an historic landmark in San Gabriel, California.
It was founded by Spaniards of the Franciscan Order on "The Feast of the Birth of Mary" (September 8) in 1771.
The Mission often referred to as the "Godmother of the Pueblo of Los Angeles," was designed by Father Antonio Cruzado (who hailed from Córdoba, Spain, which accounts for the strong Moorish influence).
In 1776, a flash flood destroyed much of the crops and ruined the Mission complex, which was subsequently relocated five miles closer to the mountains in present-day San Gabriel (the native settlement of 'Iisanchanga).
The Mission is the base from which the pueblo that became the City of Los Angeles, California was sent. On December 8, 1812 (the "Feast Day of the Immaculate Conception of the Blessed Virgin") a series of massive earthquakes shook Southern California. The 1812 Wrightwood Earthquake caused the three-bell campanario, located adjacent to the chapel's east façade, to collapse. A larger, six-bell structure was subsequently constructed at the far end of the capilla.
Legend has it that the founding expedition was confronted by a large group of native Shoshone peoples whose intention was to drive the strangers away. One of the padres laid a painting of "Our Lady of Sorrows" on the ground for all to see, whereupon the natives (known to the settlers as the Gabrieliños) made peace with the missionaries, so moved were they by the painting's beauty. Today the 300-year-old painting hangs in the Mission's sanctuary.
This antique mesh bracelet has an old classic carved shell cameo mounted in the clasp.
It is surrounded by an ornate Pinchbeck frame which measures about 1.25 to 1.5 inches. It is attached to a gold color mesh bracelet or cuff that measures 6.5 inches clip to clip. It also measures about 1.5 inches in width.
It dates from the late 18th century to the early 19th century.
It is not marked in any way and we have not tested it for gold content.
"Pinchbeck" is a form of brass, an alloy of copper and zinc, mixed in proportions so that it closely resembles gold in appearance. It was invented in the 18th century by Christopher Pinchbeck, a London clockmaker. Since gold was only sold in 18-carat quality at that time, the development of pinchbeck allowed ordinary people to buy gold 'effect' jewelry on a budget. Pinchbeck was used to replace gold for a very short period of time.
Leonard Borman, an exceptional California artist, died in 1995. This large and attractive oil is a sleeper.
Biographical Information:Leonard Borman was born in the 19th century and started painting in 1917 while recovering from a war injury, sustained as a Canadian veteran. His mother was an artist and encouraged her son, who attended the Art Institute of Chicago where he studied under Joseph Pennell and George Bellows. Borman came to Pasadena in 1924, settling in the nearby town of Sierra Madre. His desert and other plein air landscapes are most often encountered, but he also was an etcher and painted portraits of animals. Borman lived to the age of 101.
This heavy wooden carving measures about 13 inches tall by 12 inches wide by 10 inches in depth.
It is painted red, white and black over a hand tooled wooden carving. There are no eye holes and the base is carved flat for standing so it may have been used for ceremonies rather than as a mask.
It is in excellent condition except for some scuffing of the paint around the nose. There is also a very minor area of separation at the point where the nose is joined to the face. Otherwise it is in outstanding condition.
This carving is in the Northwest Coast style of carving, however, there are no marks indicating either a maker or country of origin.