This original oil painting on stretched canvas measures 22 by 27 inches and sits in an original period frame measuring 27 by 32 inches.
It is signed PETER NIELSEN in the lower left corner.
Peter Nielsen has numerous biographical listings and auction records. A contemporary of William Wendt, Peter Nielsen's works have recently begun to move up in price towards the high prices realized by his peers.
THIS IS AN EXCELLENT CALIFORNIA PLEIN AIR PAINTING AND IT'S AUTHENTICITY IS GUARANTEED.
NOTE: Any white spots on the photos are merely bounce back from the flash. They are not on the painting itself. IT IS IN EXCELLENT CONDITION AND READY TO HANG.
This original bronze figure of a seated and robed official holding a jui (symbol of power) measures 8 1/2 inches tall by 5 inches wide by 3 1/2 inches.
It is covered overall with a very subtle and dark patina. It has a softness of detail that only comes from hundreds of years of handling. It also has a few cracks and slight losses to it's surface that do not detract from it's overall appearance.
It dates to a period ranging from the 15th through the 17th centuries in China.
The buyer will not be disappointed, as it is nicer than the photos would indicate. This bronze figure is guaranteed to be an original ( of the period. It is NOT a copy or reproduction of any kind.
This original oil painting on stretched canvas measures 22 by 28 inches (image only) and 26 by 32 inches framed.
The subject is a view of San Francisco Bay from a hillside vantage point, with old buildings in the foreground. The view looks down on covered docks or wharfs with ships and the bridge in the background.
It is signed Helen Louise Conser in the lower left corner.
It is in outstanding condition overall.
It is painted in a loose Impressionist style which incorporates strong brush strokes and the use of a pallette knife.
This is one of two paintings by the artist that we are currently offering. Although they are not an exact matching pair, they are similar in size, colors and subject matter.
Artist Biographical Information: Helen Louise Conser was born in Portland, Oregon on July 17, 1899. She settled in San Francisco in the early 1930s. She studied with George Post. She was a painter and worked with other WPA artists on projects at the time. She was also a member of the SWA (Society of Western Artists.) She apparently never married and died in San Francisco on Nov. 25, 1980 at 81 years of age. She is listed in the following publications: 1. Edan Hughes, "Artists in California, 1786-1940, Volume 2. 2. Peter Falk, “Who Was Who In American Art (1564-1975)” 3 City Directory; Death record; San Francisco Chronicle, 11-27-1980.
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 hand painted ceramic vase measures about 10 inches (24.5 cm)tall by 5 inches (13 cm) in diameter at it's widest point.
It dates circa 1870-1900 (during the late Meiji Period) in Japan.
It is in excellent condition with virtually all of the high relief gilding intact.
This original oil painting on stretched canvas measures 15 by 21 inches, unframed. It is in excellent condition with no damage, flaking, losses or repairs. The varnish is a bit dry and it's colors would improve with a new coat of varnish, but we will leave that decision to the new owner. It is signed O'loughlin 52 in the lower right corner. (Thomas) O'loughlin is a listed California Artist in Davenport's Art Reference & Price Guide (1994-5 Edition). This is a loose attribution and not verified. This painting was purchased about 35 years ago in Southern California.
This Chinese Export or English Chinoiserie lacquered box measures about 7 inches by 5 3/4 inches by 1 3/4 inches.
It dates from the late 18th-middle 19th century.
It is hand painted with a scene of eight figures in a pagoda and garden landscape. The figures are painted in gold over a black lacquer and wood base.
It is in very good condition except for a few very minor cracks and small losses to the lacquer.
This original oil painting on old artist's board measures 12 1/2 by 18 inches and it sits in a gilded oak frame (18 x 24 inches) with a raised antique rake motif on it (see photo).
It is unsigned and dates circa 1880-1910. It appears to be Russian or Baltic in origin and the simple frame with rake motif seems to verify that observation.
It is in excellent condition with no evidence of restoration or repairs. It has the remnant of an old label on the reverse. The simple frame appears to be contemporary with the work itself.
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 original oil painting on stretched canvas measures 28.5cm by 33cm (about 11 1/4 by 13 inches, not including the simple but detailed wooden frame it sits in.
The subject is an alpine mountain landscape with a Swiss or Bavarian style building and a dome topped church or building beyond. The scene includes snow capped mountains in the distance.
It is signed J. Felsinger in the lower right portion of the painting. Josef Felsinger (1908-1972) is listed on Artprice.com with a history of auction sales.
This painting is executed in a very crisp, well detailed impressionist style.
The colors are vibrant and better looking in person than the photos would indicate. Any white dots on the pictures are the result of flash bounce back and are NOT on the painting itself.
There is a very fine spiderweb pattern of crackling of the canvas from age that does not show up in the photos, but only when the painting is lit from behind.
Overall, this is a very attractive little gem of a painting by a known artist. The buyer will not be disappointed.
This extremely old hardstone / jade bracelet dates from the Liangzhu Period (3300 BC-2200 BC).
It is a varigated black color with one spot of pale yellow green on the interior.
It is in excellent condition, even though its material has been been degraded over time (The scratch test only works on the green spot due to the degradation of the darker areas). It also has a crystal structure that can be seen under high magnification.
It has an outside diameter of 3 1/4 - 3 1/2 inches (8.5- 9 cm) and an interior diameter of 2 5/8 inches (6.6 cm). It is about 3/4 inch in width (1.8 - 2.0 cm). This is an outstanding piece and is similar in style to another burnt jade bangle of white chicken bone color in published works.
This antique majolica bowl on an ornately detailed bronze stand measures 17 inches wide by 15 inches tall by 7 1/2 inches in depth.
It dates circa 1760-1840. It is European, and most likely French in origin.
It is in outstanding condition, period. The majolica bowl is in excellent condition with no chips or losses, although there is a lovely crackle to the glaze on the interior of the bowl. The bronze mounts retain much of their original gilding, with no apparent repairs to their delicate, almost spiderweb designs.
This blue & white ceramic bottle or jar measures 9 inches tall by 3 1/4 inches in diameter.
It is hand painted with scenes in cobalt blue on a white ground.
It is in excellent condition with a few natural fissures and irregularities to the glaze (see close up photos).
We estimate it to date circa 1700-1900.
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.
This two inch wide silver bracelet in the shape of a cuff contains fifty-eight(58)faceted emeralds.
Each gemstone measures ranges in size from about 8 x 10 mm to about 10 mm x 14 mm in size. There are 17 tear drop shaped stones and 41 oval stones.
The colors range from a slightly pale green to a very rich brilliant green.
There are inclusions in all of the stones as should be expected in emerald or beryl (which is what all emerald really is, regardless of it's color.)
The silver is marked .925 on the clasp and all of the stones are in excellent condition with no obvious damage or repairs.
This bracelet measures about 2.5 inches on it's internal diameter. (This is an estimate, but it's a careful estimate).
Words really don't do justice to this bracelet, but the pictures help.
This original contemporary Chinese watercolor painting measures 27 by 27 inches (painting only) and about 32 by 72 inches, including the maroon brocaded scroll it is mounted on.
It has the seal and signature of the artist, Sun Jing (1945- )lower right along with one collector's seal.
The subject is a young girl playing a flute in a garden setting.
It is in excellent condition.
Additional information about Contemporary Chinese scroll paintings is available in our Newsletter by clicking on Newsletter on our Home page.
This original watercolor painting on water color paper measures 15 by 22 inches.
It dates circa 1940-1950.
It belongs to a regional school of watercolor painting loosely known as California Impressionism. A more accurate description might be "California Moderne".
It is in excellent condition and ready to be matted and framed.
This is an original watercolor painting and NOT a giclee or print of any kind.
This is one painting that was acquired as part of a collection of authentic California watercolors originally purchased from the estate of a student of Robert Landry.
Robert Landry is a well known, listed and published painter from the middle 20th century.
Biographical information: Robert Landry (1921-1991) ... Born: Washington, D.C.
Studied: Abbott Art School, Art Instruction, Inc. Member: San Diego Watercolor Society, Watercolor West.
Robert Landry attended high school on the East Coast then went into the military service during World War 11. After the war, he studied art in Washington, D.C. and Minneapolis on the G.I. Bill.
He became a commercial illustrator for the United States Air Force Graphic Arts Division at the Pentagon, and art director for the Federal Aviation Agency and Convair Astronautics.
After the late 1940s, Landry began a serious painting career and started exhibiting fine art watercolors. His paintings often depicted regional subjects with buildings, boats or coastline structures. Creating a mood was important to him and gives his works a narrative quality.
Robert Landry's watercolors were primarily sold through art galleries in San Diego and Dallas. He also taught at watercolor workshops near his home in San Diego and in traveling workshops held in Oregon, Arizona and Hawaii.
He is listed in numerous artist's biographical publications. His works have also sold at auctions over the years, such as John Moran Auctions in Pasadena, California.
He is also listed on Askart.com and other art gallery websites, where they have sold and are currently being offered for up to $4000.00 each.
This Meiji period JAPANESE KUTANI VASE measures 7 inches in diameter and 11 inches tall. We date this one circa 1880-1910.
It is in excellent condition overall with the raised gilding in outstanding condition.
It is unsigned, but there is a hand painted mark on the bottom edge that looks like: I I I O .