This large bronze figure of Avalokitesvara dates somewhere between the Song Dynasty and the Ming Dynasty in China.
This figure represents one third of a Buddhist Triad, which may have originally been created as an altarpiece in a Buddhist temple.
This bronze figure measures 21 inches tall by 9 inches wide by 8 inches in depth. He/she is depicted wearing a Tang Dynasty upraised hair style and ornate robes and jeweled detailing.
It is in excellent condition with remnants of old gilt and colors remaining in areas. The head is completely covered with a layer of gold and the remainder is covered with a deep brown patina overall.
Traditionally, Avalokitesvara would sit on the left side of Amitabha Buddha in a three figure triad with Mahasthamaprapta sitting on the right side. There are engraved Chinese characterson the reverse side of it's base which translate as left two.
There are additional marks on the Gui held in front of the figure which may represent the date or the original donor of the bronze.
Since the side figures of a triad were smaller than the central figure,the central Buddha must have been fairly large. This fits with the theory of an origin in a temple or possibly a very wealthy home.
In Chinese Buddhism the Bodhisattva Avalokitesvara is also known as Guanyin. Among the Chinese, Avalokitesvara is almost exclusively called Guanshiyin Pusa. Some Daoist scriptures give her the title of Guanyin Dashi, and sometimes informally as Guanyin Fozu.
In Chinese Buddhism, the worship of Guanyin as a goddess by the populace is generally not in conflict with the bodhisattva Avalokitesvara's nature. In fact the widespread worship of Guanyin as a "Goddess of Mercy and Compassion" is seen as the boundless salvific nature of bodhisattva Avalokitesvara at work. The Buddhist canon states that bodhisattvas can assume whatsoever gender and form is needed to liberate beings from ignorance
This museum quality gilt bronze figure was purchased from an old collection of Asian antiques originally formed during the early portion of the 20th century.
The authenticity of this bronze is guaranteed without exception.
This blue glazed on buff colored ceramic or pottery figure of a seated Buddha measures just over 4 inches tall by 2 1/2 inches wide by 1 1/4 inches in depth.
It is in excellent condition with the glaze pooling to black in the crevices.
It dates to the Qing (Ching) Dynasty (1644-1911).
This original oil painting measures 16 by 24 inches (painting only) and 18 1/2 by 26 1/2 inches including the carved and gilded frame that it sits in.
It is signed J.R. Ashton in the lower left corner (see closeup photo). It is also signed, dated and titled: Woodland, Merri Creek, J.R. Ashton 1900 on a paper label on the reverse of the frame (see closeup photo).
It is in outstanding condition, period.
This is a museum quality, plein air painting in an impressionist style by one of the most renown Australian artists of the 19th-20th centuries.
Julian Rossi Ashton is listed in many published artists biographical references. His works are held by many national museums throughout the world. One museum in Australia (The AG in New South Wales ) has 17 of his paintings in their permanent collection. Many of his accomplishments are listed in the artist biography below. He also has auction estimates and records for his truly exceptional works that range up into six figures.
Earlier this year(2010), an Australian auction house sold a tiny(6 x 9 inches) and somewhat similar oil painting for $18,000.00 including added costs. this works out to about $275.00 per square inch. If we used a similar or comparable measure for evaluating our early, signed and titled work, we would have to ask over $100,000.00 for it. Every painting is a one of a kind entity and although we believe that our painting is actually better, That is only one small criteria that we used to determine it's value. _____________________________________________________________________
Artist Biography : Julian Rossi Ashton was an influential portrait and landscape artist, and teacher known for his vigorous support of the Australian Impressionist Heidelberg School to which his authority has been both powerful and extensive.
Ashton attended the West London School of Art and the Academie Julian in Paris. He arrived in Australia in 1878 when he was invited to Melbourne by newspaper owner David Syme to work as an illustrator for the Illustrated Australian News. Due to creative differences with the editorial staff, he was forced to resign and transfer to the Australasian Sketcher. When Edmund Smith of the Howard Shipping Line offered Ashton a free trip to Sydney in 1883 he began working as an illustrator for The Picturesque Atlas of Australia, and regularly contributed to the Sydney Bulletin Magazine.
Working in both oil paint and watercolor, Ashton used landscapes, portraits and figure composition as subjects in his works which were effectively complemented by his poignant style of precise draftsmanship and delicate atmospheric effects.
His artistic skills proved to help him greatly when teaching at the Art Society of New South Wales from 1892 to 1896 when as a teacher he stressed the importance of accuracy in drawing and the plein air style.
His influence over the Australian art world attracted a wide circle of followers including Charles Conder, Alfred James Daplyn and Albert Henry Fullwood, who often accompanied him to paint in the picturesque Hawkesbury River Region in New South Wales.
Upon completion of one of his most well-known works, Evening, Merri Creek (1882; Sydney, A.G. NSW) he claimed to have accomplished the first plein air landscape in Australia. His works were outstanding examples of the desolate majesty of the Australian landscape.
In 1887 Julian Ashton became President of the Art Society of New South Wales. He used his position to vigorously campaign for the cause of Australian art. Later, as a trustee of the Art Gallery of New South Wales he helped emerging Australian artists of the Impressionist or Heidelberg School. The decision to keep a permanent collection of these works owes much to Ashton’s influence. As a trustee he declared that not less than 500 pounds be spent annually on the purchase of Australian Art. He also encouraged Government purchases which made possible the NSW Society of Artists’ Traveling Scholarship and the foundation of the Education Department Gallery in Sydney in 1913.
Ashton organized the first overseas exhibition of Australian art which helped the artists of the Heidelberg School to be recognized as significant contributors to the international art world.
Ashton also established the Sydney Art School in 1896, later renamed the Julian Ashton Art School. This institution, since it's inception, has been a center of activity for many aspiring young artists. With such prominent artists as William Dobell, John Passmore, John Olsen and Brett Whiteley among those who attended, the art school became famous to generations of students and continues its rich heritage in educating art students today.
A highly regarded gentleman of Australian art until his death in 1942 Ashton continued to push for the cause of Australian Art in which his influence is still strongly felt today.
It has a small.925 mark stamped on the reverse. It is guaranteed to be sterling silver.
The kachina figure is set against a hand tooled repeating pattern background. It is in excellent condition.
It dates circa 1950-1960.
This original painting on heavy watercolor paper measures 21 by 29 inches, unmounted and unframed.
It is signed A. Shepstone in the lower right corner. It was acquired as part of a collection of paintings purchased directly from the artist many years ago.
It is in outstanding condition.
It will be shipped to the buyer rolled carefully in a wide tube or shipping container.
This original watercolor measures 22 by 30 inches, unmounted and unframed.
The subject is young boys playing in a waterfall and swimming in a pond set in a lush tropical mountain landscape.
It is in excellent condition .
It is signed William M Thurston C.1988 in the lower right corner.
There is an artist, William Thurston who worked as an illustrator for the Hawaiian Sugar Planters Association, but this connection has not been fully documented yet.
This is one of two similar Hawaiian theme watercolors that we are offering by this artist.
This antique gilt bronze figure of Tara dates to 11th-12th century Nepal.
It measures approximately 12 inches tall (13 inches with custom wooden stand).
It is in outstanding condition, especially considering that it is over 900 years old.
NOTE: This 900+ year old bronze does have one condition issue:
The lotus flower on Tara's left shoulder is bent forward slightly and needs to be repositioned professionally.
It is a relatively simple and inexpensive process, but it should be done by someone with experience in such matters.
Just bending it back might have the unwanted effect of snapping it off. It needs to be heated, softened and gently moved back into place by a pro.
Tara is the most important goddess in the Buddhist pantheon.
She stands, gracefully and powerfully modeled in a hip-shot posture.
Her right hand is held in a gesture of varadamudra (fearlessness and wish granting).
Her left hand is held in a teaching gesture (vitarkamudra) while holding a lotus flower rising to her shoulder.
Her face has a serene expression with downcast eyes flanked by large earrings.
She is wearing a diaphanous dhoti rolled down to the waist. It is incised with floral patterns and secured with a jeweled sash inset with precious stones.
She also wears a jeweled neck piece, armbands and tiara enclosing her up swept hair.
Tara occupies a unique status in that she has mythological origins as a goddess, as a Bodhisattva and is also frequently viewed as a Buddha.
THIS IS A MUSEUM QUALITY BRONZE AND IT IS GUARANTEED TO BE AS DESCRIBED, WITH NO EXCEPTIONS.
We prefer payment by Paypal, but also accept other methods of payment, including bank transfers on larger purchases . Email us for details.
All payments must clear completely prior to shipment.
Please check all of our feedback to find many other satisfied buyers and repeat customers.
This glazed ceramic seated Buddha measures 7 inches tall by 6 1/2 inches wide by about 5 inches in depth.
It consists of a blue glaze over buff ceramic. The glaze is a deep sky blue ranging to shades of turquoise and pooling to black in the crevices. The bottom has a very fine mesh pattern embedded in it that resembles linen. There are no marks of any kind on it.
This seated figure dates to the Kangxi period of the Ching Dynasty (1644-1911) or possibly earlier.
It is in excellent condition, period.
This original oil painting on masonite board measures 20 x 24 inches (painting only ) and it is framed in a carved and gilded frame that measures 28 x 32 inches.
It dates circa 1930-40 and is signed M.Magnesson in the lower right hand corner. It also has the remnants of one old label ( circa 1930 ) and another old paper label with the title and artist's full name.
It is in outstanding condition, period!
This is an original antique Chinese carved lacquer cup.
It measures 2.75 inches in diameter and about 4.2 inches wide (including the Fu Lion handles on either side of the cup.)
It stands about 2 inches tall (measured from top to bottom.)
It has two robed figures seated on clouds set out against a repeating pattern.
This cup dates to the Qing Dynasty (1644-1911) or, quite possibly, even a bit earlier.
It is in excellent condition except for a tiny loss of lacquer on the interior lip of the cup (see closeup photo).
This cup was part of a small collection of Chinese carved lacquer purchased about 25 years ago from a private collection established in the early 20th century.
This is one of two similar cups that were part of the original collection. The cups were not a matching pair, but are of a very similar style. We will be offering the other cup later on.
This original contemporary Chinese ink and watercolor painting measures 18.5 by 19 inches, and 22 by 59.5 inches, including the silk brocaded scroll it is mounted on.
It has the seal and signature of the artist, Zhao Bin (1939- ) on the left hand edge. It also has one collector's seal in the lower right corner.
The subject is a view of a high mountain landscape shrouded in fog with a small temple with people viewing it in the distance.
It is in excellent condition.
This is one scroll painting from our collection of over 400 original Chinese ink and watercolor paintings on paper or silk that we collected over a period of about 20 years. Most were purchased directly from the artist or their agents and mounted for us in China prior to shipping them home. All are guaranteed to be original paintings, not prints or copies of any kind.
This original oil painting on stretched canvas and stretcher boards measures 15 by 30 inches, not including the split bamboo frame that surrounds it.
It was painted and signed, lower right, by Aubrey Leech.
Aubrey Leech was known as a New York lamp designer of motion lamps in the early 20th century and is specifically associated with the Econolite Jr. models.
These rotating and painted lamps were very popular from 1920 -1960 and even have had a resurgence of collecting interest today.
This original painting is in very good condition with the exception of a few very small scuffs to the canvas, causing a minor amount of paint loss ( easily restoreable).
This painting should be of interest to any serious lamp collector, especially one who collects the type of lamps that Aubrey Leech designed. The fact that the subject of the painting is also a lamp or lantern can be considered an added bonus.
This is one of two similar paintings by the same artist that we are currently offering. A discount of 25% is available if both paintings are purchased at the same time. They are close enough in style, content and size to look like a matched pair.
This antique silver cup was probably made from melted Spanish silver coins that came from silver produced in the mines of Mexico or South America, c. 1800-1860.
It has engraved and chiseled decorative borders and an applied handle in the shape if a two headed dragon.
It stands 3 1/2" in height, 4 1/4" across the handle and weighs 108 grams or 3.72 Troy ounces.
It is in excellent condition with no dents, losses or repairs.
It also has no marks or monograms and is guaranteed to be at least .900 pure (coin silver).
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 original oil painting on stretched canvas and wooden stretcher bars measures 20 by 28 inches and it sits in a carved frame measuring 24 by 32 inches.
It is signed J.W.McCoy in the lower middle right portion of the painting. It also has the title and the artist's name on the reverse stretcher along with some minor blacked out areas (perhaps a previous owner obscuring the original artist's price tag).
This painting was either mounted or remounted circa 1975, based on notes on the stretcher.
On June 19, 2011 a watercolor/gouache painting (approx. 20" x 28") by John McCoy sold for $12,500.00.
This set of 5 matching porcelain dishes with flying cranes pattern dates from the late 19th through the early 20th Century in China.
Each dish measures about 6 1/8 inches in diameter.
The dishes are in generally good condition with minor edge roughness or rim frits as often found with this type of delicate thin porcelain.
The pattern of six flying cranes is transfer printed rather than hand painted: a type of detailing that became popular in the 19th century although it originated slightly earlier than that. In China it was used in the early 20th Century (Republic Period) and it's use ended about WWII.
This hand painted, original ink and watercolor painting measures 23 by 75 inches, including the silk brocaded scroll it is mounted in.
It is in excellent condition, except for a slight loss to the paper along the upper edge before remounting.
It is signed by the artist Zhou Zongbai (1930- ?) in the upper right corner along with his seal. There are three additional seals (most likely collector's seals.)
Although attributed as Chinese, this scroll has many similarities to Meiji period Japanese Art, as well.