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 overpainting 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 apparantly roaming around within the base itself. Sitting on two pins rather than three has had no adverse effect on it's stability whatsoever. We only mention it for full disclosure.

We prefer not to open the bases of ancient artifacts that have often been sealed and blessed during religious ceremonies.

This Qing Dynasty Chinese carved jade double tube vase or nuptial cup measures just slightly less than 7 inches tall by about 4 inches wide by 3 inches in depth.

It is also known as a "Champion Vase".

It is carved from one piece of celadon colored nephrite jade with inclusion of lighter jade that give it the appearance of cloud formations. It also has a few rust colored inclusions that follow the natural inclusions of the stone.

It is carved in the shape of a mythological bird or phoenix standing on a Chinese lion or Chilung while holding two ornately carved tubular vases with its wings. The lids of both vases are conjoined by a dragon wrapped around both sides.

Double jade carvings of this type have been described not only as “Marriage or Nuptial Cups”, but also as “Champion Vases” by their owners over the centuries.

These are quite rare and can be found in museum collections throughout the world. There is a jade champion vase in the Victoria and Albert museum in England.

There is also one at the National Palace Museum in Taiwan.

Prices for similar but not absolutely identical jade champion vases have been increasing over the last decade or so. There are major similarities in most all of these vases but the minor details often vary from one to the next.

On November 1, 2004 , Christies Hong Kong sold a calcified green jade Champion vase for $80,256.00 against an estimate of $25,831.00- $38, 746.00 (sale 2177-Lot 834).

On November 27, 2007, Christies Hong Kong sold a white jade Champion vase for $248,842.00 (sale 2388-Lot 1547). It had an estimate of $38,730.00 - $51,640.00. It was 5 1/8 inches tall ( 13 cm).It was exceptional and from a well known collection.

On March 18, 2008, Christies Auction House sold a Champion Vase of somewhat similar appearance for $50,000.00 US (Christies: Sale 2267-Lot #440) It was 5 7/8 inches tall. On June 12, 2012, another jade Champion vase was sold for $64,000.00 (Christies –Sale 3509 /Lot #161). It was 5 1/8 inches tall.

Another jade champion vase is scheduled to go up to auction very soon ( Christies NY- September 13, 2012 ( sale 2580- Lot # ?). It is estimated to bring $50,000.00-$70,000.00. _________________________________________________________________________________

This large jadeite carving of Guanyin (aka Kwan Yin) measures 4. 5 inches wide by 3.5 inches in depth by 12.5 inches tall (including the period carved wooden base it sits on). We estimate the jade itself to be about 11.5 inches tall without the stand. It sits about a half inch down in the stand and is bolted down (actually bolted down to the stand) (Someone was VERY careful with this old jade).

It is carved fom one piece of multicolored apple green jade with various shades of green flowing through it and a wonderfully rich color on it's face. It also has a few small inclusions of very dark green jade near it's base. These are all natural colors. This is NOT a color enhanced jade, guaranteed.

It dates from the late 18th century through the latter part of the 19th century.

It is in excellent condtion with no losses or repairs. It does have some natural inclusions on it's reverse that could be mistaken for damage. Be assured, they are natural fissures in the stone that have oxidized over the last century or so.

This museum quality silvered bronze Nepalese or Sino-Tibetan figure of Tara (also known as Kuan Yin or Guanyin) dates to the 14th to 15th century or earlier.

It stands 10 1/2 inches tall by 3 inches in diameter.

It has exquisite details and very subtle modeling.

It is in excellent condition and retains much of it's original silver finish.

A similar example can be seen in "Oriental Art: India, Nepal & Tibet" by Michael Ridley, 1970, Plate 37 (listed as 14th Century or earlier).

These two original Chinese bronze figures date from the Ming Dynasty (1368-1644) along with the gilt bronze screens behind them.

The bronze Buddha measures 7 3/4 inches tall by 5 3/4 inches wide by 3 3/4 inches in depth. (19.5 cm x 14.5 cm x 10.0 cm). The Buddha has a large percentage of it's original gilding remaining as do both of the gilt bronze backs. The Buddha also has a Wan symbol on his chest.

The bronze Guanyin or Avalokitesvara measures 8.25 inches tall by 5 inches wide by 3.5 inches in depth. (21 cm x 12.5 cm x 8.5 cm).

We are offering both of the bronzes and both of the finely detailed gilt bronze backs as a group (4 pieces -2 figures and 2 screen backs -all at one price.)

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A comparable seated bronze Buddha of the same size (8.25 inches) sold at auction recently at Christies London, South Kensington on May 18th 2012 for $81, 349.00

http://www.christies.com/lotfinder/lot/a-gilt-bronze-figure-of-a-seated-5564312-details.aspx?from=searchresults&intObjectID=5564312&sid=9fa10335-1106-4707-9a6c-05e1583ac92b

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All of these bronzes are original, of the period (Ming Dynasty) and guaranteed as such.

This ancient marble carving of a reclining lion measures 6 1/2 inches wide by 5 inches in depth by 4 1/2 inches high.

It dates to the Tang Dynasty in China (618 AD 907 AD). It is in excellent condition and is very rare.

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.

This original oil painting on old hard panel board 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 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 very similar in size, use of 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 original oil painting on stretched canvas and wooden stretchers measures 26 by 40 inches unframed.

It is signed Paine in the upper left portion of the canvas. It is also signed Louise Paine on the reverse and again on the stretchers bars.

Marie Louise Mattingly Paine is listed on Askart.com and Artprice.com as Marie Louise Paine. She is also listed in Who was Who in American Art and Davenport's Art Reference & Price Guide as M.L. Mattingly.

It dates circa 1920-35.

It is in excellent condition with the exception of one small triangular dent or puncture and a slight loss to the outside edge of the canvas where it wraps around the stretcher (see photo enlargements).

This original oil painting on canvas measures 24 by 36 inches and sits in a 31 by 43 inch carved frame.

It is signed W.E. Rollins in the lower right corner.

It is is excellent condition with the exception of a patched repair with a very small paint loss to the canvas off center right in the area of the tidepool (see enlarged photos of front and rear of repair). This is an outstanding image; even so, this old oil could use a good cleaning to brighten up the colors and a very minor touchup on the old repair.

Warren Eliphalet Rollins (1861-1962) was born in Carson City, Nevada and raised in Northern California. Following his study at the San Francisco School of Design, he traveled throughout the southwest, living with a number of Native American Tribes. He lived and painted in Pasadena, California from 1910-1917, at which time the Santa Fe Railroad Company lured him to Arizona with the offer of a studio on the Grand Canyon. He remained in Arizona for the rest of his life. He has often been called the dean of the Santa Fe and Taos Art colonies, he died in Arizona in 1962.

He is listed in many artist's publications and also online on ArtPrice.com and Askart.com. He is also listed as a WPA artist in Who Was Who In American Art(1985). Many examples of his southwest works have been offered and sold at auctions during the last decade. Very few outstanding examples of his California paintings have come to auction during that period, although a few lesser ones have.

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 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. .