This original watercolor painting on heavy watercolor paper measures approximately 22 by 27 inches, unmatted and unframed.
It is in outstanding condition, period.
It is signed Ellen Carpenter in the lower left corner. This original watercolor was most likely influenced by the work of Marie Laurencin. The similarities are obvious. It is not, however a copy of Laurencin's work, but a reinterpretation, in the same way Picasso "copied" African art in his paintings.
Ellen Carpenter is listed in Davenport's Art Reference and Price Guide and also in Hughes, Artist's in California.
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 original watercolor painting on water color paper measures 15 by 22 inches.
It dates circa 1940-1960 from a regional school of watercolor painting found in, but not limited to California.
It is in excellent condition and ready to be matted and framed.
This is an original watercolor painting and it is not a giclee or copy of any kind.
This is one painting that was acquired as part of a collection of original California watercolors.
A portion of the collection is represented by signed watercolors by Robert Landry. A few others, unsigned or with different names appear to have been painted by his students.
Check our other listings for additional offerings of similar signed and unsigned period watercolor paintings. We will be adding more as time permits.
(NOTE) We will be keeping some of both the signed and unsigned paintings from this collection for ourselves. In a weak economy, with a falling dollar, they are great investments that can be hung on a wall and enjoyed, feeding both one's soul and pocketbook at the same time.
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 websites.
This old Sino Tibetan bronze seated figure riding a Chinese Lion measures 6 1/2 inches wide by 6 1/4 inches tall by 3 1/4 inches in depth.
The seated figure appears to be a Hotai or Budai wearing a crown and holding a mongoose in one hand and making the Karana symbol in the other.
It dates from the late 19th through early 20th Century.
It is in excellent condition, except that it has no bottom seal ( covering on the base). This may be another case of a bronze figure's base being opened while searching for hidden jewels. It also has two small areas of green verdigris: one on the lions mouth and the other near the left foot of the figure. There is additional verdigris evident up inside the base, leading to the conclusion that the bottom has been exposed for some time.
This original oil painting measures 11 by 14 1/4 inches (16 3/4 by 19 1/2 inches, including gilded frame). It is painted on an old Windsor Newton artist's canvas panel and set in a period style gilded frame.
It is in excellent condition.
It is signed Clif Sawyer, lower left.
Clifton Howard Sawyer was a California artist ( 1896-1966) who lived in Altadena, California. He is listed in numerous artist's biographical references such as Hughes' Artist's in California 1786-1940: Volume 2 and Davenport's Art References.
His works have sold at Butterfields and John Moran Auctions, among others.
This original carving of a Chinese lions and cub.
It dates from the Qing Dynasty (1644-1911).
Each one holds a lingzhi in its mouth.
It measures about 55 mm x 41 mm x 20 mm ( 2.1 x 1.5 x .75 inches)
It is carved from a uniformly pale celadon jade.
This original watercolor painting measures 18 by 26 inches, including the mat and frame (under glass) that it is set in.
The subject is a young man resembling Ringo Starr of the Beatles rock group, wearing a robe and sash with stylized angel wings.
It is in excellent condition.
It is signed: g.gill 1964, middle to lower right.
It appears to be part of the "Christ Today " series of paintings by the artist Gene Gill in 1964. See photo enlargement #6.
Gene Gill was an established artist in the Los Angeles area. Born in Memphis, Tennessee in 1933, he received his Bachelor of Fine Arts from The Chouinard Art Institute (California Institute of the Arts) and has exhibited widely in the Los Angeles area since 1970.
He spent most of his career as both an artist and an art teacher. In 1975 Reseda High became the first school in the LA City School District to offer Advanced Placement, Studio Art with Gene Gill as the teacher. He started teaching Art at Reseda in 1968 after spending five years teaching art at Gardena High School. He would remain at Reseda until his retirement in 1988. At Reseda, Gill developed his own art program where "select" senior art students were able to work more independently and use materials not available to an entire class. When the "Gifted" adviser at Reseda came to him in 1974, about the possibility of offering a new Advanced Placement class in art, he immediately put the program into the art curriculum.
His work has ranged from paintings to mixed media and three dimensional architectural renderings or models. He is listed in Davenports Art Reference and Price Guide, Who Was Who in American Art. He is also listed on the Askart.com and Artprice.com websites. http://www.askart.com/askart/artist.aspx?artist=11000091 His paintings and graphics are included in the permanent collections of The Los Angeles County Museum of Art, the Palm Springs Desert Museum, and the Container Corporation of America, Atlantic Richfield Corporation, the Northrop Corporation, Home Savings, and the Ronald Reagan Presidential Library.
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 artist's canvas panel board measures about 12 by 16 inches, not including the simple wooden frame it sits in.
The subject is a nude woman reclining on a bed under partially draped covers.
It dates circa 1950-1960.
It is signed PL (with initials) in the lower right corner. It also has a name tag on the reverse : Peggy Lancaster ( see closeup photo).
it is in excellent condition.
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 silver Turkoman or Kazak fibula (breastplate) measures approximately nine inches from top to bottom. The diamond shape measures about five inches side to side or 4 1/2 inches when measured straight across as a square. It is about 1/4 inch or 6-7 mm in thickness. It appears to be solid rather than hollow. It has a black linen pad hand stitched to the reverse , which helps to document that it was actually a family heirloom, rather than merely having been produced to sell to tourists. It dates from the latter part of the 19th century and is in excellent condition. It is inset with carnelian, jade and black onyx or jet cabachons. It is covered on the front with gilding and triangular silver shapes covered with silver dots. It is unmarked, but guaranteed to be about .900 silver or better. Many silversmiths melted old silver coins to obtain their silver for making jewelry. Most coins were about .900 silver in quality.
This original contemporary Chinese ink and watercolor painting measures 24 by 24 inches (image only) and 27 by 62 inches, including the silk brocaded scroll it is mounted on.
It has the seal and signature of the artist, lower right. There are additional seals that may be collector's seals on the painting also.
The subject: A cat pursuing a cricket.
This painting has intricate details and a combination of strong colors and subtle shading.
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.
These two apple green jade carvings are close enough in size, style and color to be loosely called a pair.
Each is carved on both sides with a happy Buddha figure also known as a Bodhai or Putai (see photos).
They each measure about 20mm x 25 mm x 5 mm in depth.
They are both apple green jade.
They are a close match, but not absolutely identical-with minor inclusions that differ slightly.
These date to about the middle of the 20th century in China.
They are in excellent condition with no damage or restoration-and drilled for hanging.
We don't believe these are dyed, based on where and when they were acquired, but we cannot guarantee that without testing them- which was not done. Instead we have priced them so that it won't matter either way. In addition, if we are correct and they aren't dyed, the buyer should be even more pleased with the purchase.
Price on Request
This original oil painting on stretched canvas measures approximately 24 by 36 inches (image only) and it is mounted in a simple carved and painted wooden frame.
The subject is a small European or Baltic village set in a snow covered landscape by a lake or river.
It is signed, somewhat illegibly, in the lower right corner (see enlarged photo). It appears to be E. Brac--- (Possibly E Bracht or E. Bracket?)
We estimate this painting to be between late 18th to 19th century in style and execution.
The quality of the work is exceptional and was obviously painted by a very talented artist.
The condition of the painting is generally good, but it has an overall craquelure which shows up more obviously under certain lighting conditions.
It also has a small, less than professional repair in the lower left corner (see enlarged photo). It is not that obvious because it is in a dark bush, but it is there.
For a collector with a bit of imagination, this painting may turn out to be an amazing work of art, after a little repair and additional research.
Currently At Auction
This jade carving of a Chinese lion, Chimera or Fu dog sits at an alert posture on all four paws.
It has a split or bifurcated tail and stylized wings.
It measures 2 1/2 inches by 1 7/8 inches by 1 1/4 inch (57 mm x 49 mm x 31 mm).
It is carved from a piece of off white to celadon colored jade with natural striations running through it. There is a natural brown irregularity which runs from it's foot to it's ear on one side along with a small area of brown suffusion on it's flank.
(This is the fancy way of saying it has few areas of rust. Not a bad thing for a genuine antique jade carving.)
We are dating this one to the late Ming through early Qing Dynasty, but it may actually be earlier.
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 .
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.