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 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).
Price on Request
This carved jade bangle measures 3 inches (outside diameter) by 1 3/8 inches in width. It's interior diameter is 2 1/4 inches.
This is a very heavy carved nephrite jade bracelet with outstanding carved archaic repeating pattern symbols.
Although the carved patterns are archaic in style and execution, this heavy jade cuff most likely dates between 1880-1920. It is in excellent condition and there is a natural inclusion in the stone (see close up photos).
This original, unsigned oil painting on panel board measures 10 by 15 inches , not including the simple gilded wood frame it sits in.
The subject is a strand of eucalyptus trees overlooking the water with a sunset sky in the background.
It is in excellent condition, period.
It dates circa 1920-35.
This Chinese ceramic or porcelain charger measures 15-15.25 inches in diameter. It measures about 2.5 inches in depth.
It dates to the Qing Dynasty in China (1644-1911).
It is hand painted in the Famille Rose palette and design.
It has a black ground border with green scrolling leaves and foliage and rose to pink colored flowers.
The level of detail and the quality of the painting is exceptional.
It is in outstanding condition with no repairs or restoration. It has an amazing clear ring and there are no hidden or hairline cracks.
NOTE: It does have a small number of tiny flake losses to the painting. They are not significant and can be seen in the photographs- if you look closely. They do not detract from it's overall appearance.
This has been in our personal collection for well over thirty years.
This early 20th century tea set consists of 5 pieces of hand hammered pewter (a 4 piece tea set and tray). Although its style could be described as Arts and Crafts, it also has aspects of Art Nouveau in the extensions of the lines of the feet.
Stamped on the base of each piece is a symbol of a lady in a bonnet, "My Lady”over "English”over“Hand Hammered” over “Pewter” which denotes the maker as George Lee & Co. of Sheffield, who used the "My Lady" trade mark some time during the 1920s.
The tea set sits on an old Art Nouveau Kayserzinn pewter tray which dates circa 1900-1910. It is an outstanding classic and original piece of Art Nouveau pewter. It measures about 15 by 22 inches.
While we recognize that the tea set and tray may not have begun life together; they are together now and we hate to breakup a good marriage.
The tea set is in outstanding condition with no dents or dings.
The tray is also in very good condition with a few light scratches as should be expected, given its age and the relative softness of its material. Overall, however, its appearance is quite pleasing.
This original, unsigned oil painting measures 24 by 36 inches unframed. It is painted on stretched canvas over wooden stretcher boards.
It is in excellent condition, except for one small paint loss chip measuring about 1/2 by 1 inch. See closeup photo.
This hand worked Turkoman silver ring has fine details of wrapped silver wire and a gold wash.
It measures about 20 mm (interior measurement).
It is mounted with a carnelian cabochon measuring about 10 mm by 20 mm.
It is in excellent condition and weighs about 8 grams.
It was purchased as part of a collection of Afghan jewelry which included Kazak and Turkoman tribal pieces.
This original 19th century wooden carving of a Chinese Emperor with gilded and polychrome details measures 11 inches tall, 5 3/4 inches wide and 4 1/2 inches deep. It is in outstanding condition with ornate detailing and symbols in high relief on it's golden robe.
The one exception to it's unusually good condition is the loss of one hand. The hair in it's beard is REAL.
This original, unsigned watercolor painting measures 15 by 22 inches.
It dates circa 1950.
It is painted on heavy stamp watermarked French watercolor paper (see enlarged photo of a similar page stamp).
It is in excellent condition, unsigned and unframed.
This original watercolor painting (it is NOT a copy or print of any kind) is in the style of the early 20th Century painters such as Rex Brandt or Herbert Vincent Olsen. It may have been done by a student or follower of Brandt or Olsen. Both were prolific art teachers and, as such, influenced many new artists at the time.
This is one painting from a small collection of early 20th century watercolor paintings, from the estate of a student of the listed artist, Robert Landry. We do not know the specific artist who painted this original watercolor..
Check our other listings for additional offerings of similar period watercolor paintings.
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.
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 original watercolor painting measures 15 by 22 inches.
It dates circa 1930-1950. It is from a regional style of painting found primarily in California, but not limited to California in both location and subject matter.
It is painted on heavy stamp watermarked French watercolor paper ( see enlarged photo of stamp).
It is in excellent condition, unsigned and unframed.
This original painting (it is NOT a glycee or print of any kind) is in the style of the early 20th Century painters such as Rex Brandt or Herbert Vincent Olsen. It may have been done by a student or follower of Brandt or Olsen. Both were prolific art teachers and, as such, influenced many new artists at the time.
This is one painting from a small collection of early 20th century watercolor paintings, some of which are also being offered at this time. Check our other listings for additional offerings.
This old unique jade comb measures 7.5 inches x 2.25 inches x .25 inches in depth.
It is carved from a piece of semi translucent pale green hard jade. This is not serpentine or another jade simulant -this is JADE.
It has a natural feather inclusion along the top edge- a good sign.
We estimate this to be a Qing Dynasty version of a much earlier style of carving.
It has a stylized dragon with archaic symbols as scales on it's body.
This is a very nice jade. The buyer will not be disappointed.
Price on Request
This original contemporary Chinese watercolor painting measures 25 by 26 inches (painting only) and about 29 by 65 inches, including the brocaded scroll it is mounted on.
It has the seal and signature of the artist, Li Tong Yuan.
The subject is a pair of blue kingfishers both trying to eat the same fish.
It is in excellent condition and has very fine and subtle details.
Inquire for Price
This original Ming Dynasty ceramic or stoneware tile with a figure of a seated Buddha measures about 6 3/4 x 9 1/2 x 2 1/2 inches.
It is in very good condition with minor losses to the glaze in a few areas along with a few small rim chips.
Stylistically, it has more in common with Song Dynasty ceramics, but most likely it dates to the Ming Dynasty.
This architectural tile appears to have been designed to be mounted in the wall of a shrine or temple and has a pattern of large shaped dovetails on the reverse for that purpose (see enlargement photo).
This museum quality piece consists of very dense stoneware covered with colored glazes in turquoise, aubergine and yellow.
This Buddha tile dates from the Ming Dynasty or earlier.
A Few Facts:
The Shanyin Hall at the White Dagoba Temple was built or restored by the Qianlong emperor in 1751, 30 years after a large earthquake damaged the same area in Beijing.
Shanyin Hall currently has 445 Buddha tiles of similar style, but of later manufacture (probably circa 1976 -when it was last restored after the Tangshan earthquake.) (See the last photograph).
It may have have had tiles similar to the one we are offering prior to it's previous restorations in 1751 or 1976.
It is quite possible that this turquoise Buddha tile may be a remnant of one of those earlier changes or restorations.
We currently have in our collection a tile similar to the current tiles that are currently mounted in Shanyin Hall in Beijing. Our tile is marked with Wanli reign Marks (1573- 1619). This is not the tile we are offering with this lot. The one we are offering actually appears to be earlier than this Wanli tile, but it is unmarked.
We can't document it yet, but it is a serious possibility that this old Buddha tile dates to before 1619.
Our research shows that the original tiles were probably held in place with lime mortar-not the best thing to use in an earthquake zone.
This tile we offer here may have been salvaged from an old temple restoration or from a temple no longer in existence. This same area has seen earthquakes in 1679, again in 1730 and again in 1976-to name a few.
All of this is a combination of verifiable facts and speculation, but speculation based on observable and documented facts.
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This Japanese bronze handled mirror measures about 8 inches in diameter (21cm) with an extended handle which increases the full height to about 12 inches or 30 centimeters(cm).
It dates to the late Edo Period or Early Meiji period ( about the middle of the 19th century (1840-1860).
It is signed in the left portion of the front. It also has birds flying over churning waves in the ocean.
It still has most of it's silver ovrlay on the two large Kanji marks on the front. It also has remnants of it's silver on the reverse or "Face" of the mirror.
Bronze mirrors were introduced into Japan from China and Korea about 300 BC - AD 300.
At first they had a religious function and were regarded as symbols of authority.
The Japanese soon learned to make their own mirrors using lost-wax casting and decorated them with Japanese or Chinese designs.
By the Nara period (AD 710-794) mirrors were made for everyday use and used designs such as plants and animals to symbolize good fortune.
From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular.. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568).
During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimetres across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tinners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).
This original CALIFORNIA SCHOOL MISSION OIL PAINTING on old artist's canvas panel board measures 18 by 24 inches, UNFRAMED.
It is approximately 60-70 years old and in very good condition except for one small tear (with no losses) in the canvas.