Nepalese Bronze Bodhisattva Avalokiteshvara Padmapani
11th to 14th century: circa 1000-1300 AD.
This outstanding bronze statue of the Bodhisattva Avalokiteshvara Padmapani stands 13.5 inches tall not including the two rectangular mounts that extend into it's bronze base.
It stands 15 inches tall including it's bronze lotus base.
It is in excellent condition with much of it's original gilt remaining on the raised areas and his face. The remainder of the original gilt has been lost over the last thousand years or so, exposing a deep copper colored bronze surface.
Among the many forms of Avalokiteshvara, Padmapani is probably the oldest.
Avalokiteshvara is the embodiment of all of the Buddha's infinite compassion.
Padmapani means "lotus in hand". His left hand holds the lotus stalk, while his right hand is lowered in the gesture of granting favors.
This is an early example the use of semi precious stone inlays, a distinctive feature of Tibetan and Nepali sculpture.
His smooth torso and broad shoulders reflect the impact of the Gupta style, which existed in Northern India from the fourth to sixth century. The armlets and crown are traditionally found on 10th to 12th century sculpture.
Additional Nepalese or Nepali scuptural traditions can be seen in the shape of the broad face and full cheekbones which differ from the smaller and fuller facial features found in Indian art. The curves of the eyebrows and eyes and the long line of the nose are also typically Nepalese in style. In addition, the delicately engraved or incised floral pattern of the sarong around his waist is also typically found on early Nepali sculptures .
A larger, but stylistically similar example of an 11th century bronze Bodhisattva Avalokiteshvara Padmapani is held in the Cleveland Museum of Art:
On September 21, 2007 Christies NY sold a 14 inch gilt bronze Avalokitesvara Padmapani for $577,000.00 .
Recently - On March 20, 2012, a 17 7/8 inch tall bronze Padmapani was sold for $2.8 million dollars by Christies Auction House in New York.
THIS IS A MUSEUM QUALITY BRONZE AND IT IS GUARANTEED TO BE AS DESCRIBED, WITH NO EXCEPTIONS.
Payment will be by bank to bank transfer.
This ORIGINAL OIL PAINTING on stretched canvas measures about 31 by 36 inches framed (25 x 30 inches - oil only).
It is in EXCELLENT CONDITION!
It is signed Elizabeth Crawford (see photo enlargement #5) in the UPPER LEFT corner.
This painting dates to the early part of the 20th century.
Elizabeth Crawford is listed in Artprice.com as a 20th century artist.
This original oil painting on panel board measures 11 by 14 inches and it is framed 20 by 23 inches in a simple dark wooden frame.
It is signed Mottola in the lower right corner. It also has an old label on the reverse that reads: COPYRIGHT RESERVED BY FIL MOTTOLA - ARTIST. " Winter in Vermont" 11 x 14.
The painting is in excellent condition with a minor paint scratch in the middle upper sky area. The frame is in good condition with some scuffing on the raised surfaces.
Artist Biography: Filastro (Fil) Mottola was born in 1915 in the Italian section of Orange, New Jersey. In 1921 the Mottola family moved to Los Angeles. Fil Mottola is also included in Edan Hughes’ Artists in California, 1786-1940 ( Volume Three).
In 1938 Mottola enrolled at the Otis Art Institute in Los Angeles. Within a few weeks his art samples got the attention of John Hubbard Rich, Donna Schuster, Paul Clemens, Ralph Holmes, and the Dean of Otis, Roscoe Shrader. Upon recommendation, Filastro was offered and accepted a full-time, one-year scholarship. The scholarship was extended for two additional years.
Just prior to the Pearl Harbor attack in 1941, Mottola was drafted into the Army. His 164th Infantry Regiment was attached to the First Marines, which fought at Guadalcanal. Mottola created for himself many opportunities to sketch his Army experiences, including fellow soldiers and pilots engaged in battle at Guadalcanal. Because of wounds and malaria, Filastro got an early discharge from the Army in late 1943.
After his recovery, Mottola returned to Otis to visit his former teachers, whom he now considered friends. Wanting to prepare Mottola for a teaching position at Otis, Roscoe Shrader offered him a lifetime scholarship painting from the model and an opportunity to take over Donna Schuster’s Saturday class, who desired to leave her position. Anxious to make a livelihood as an independent artist, Filastro declined the offers.
In 1949 Mottola went to work as a story sketch artist for the Disney Studios. In 1961 he made the decision to leave Disney and commit himself to a life of painting and selling his own art.
During his long career, Filastro worked in many mediums, including ink, pencil, charcoal, pastel, watercolor, and oil, believing that each one could offer something unique that would not be duplicated in another medium. Over the years he painted plein-air in many locations, such as Italy, France, small towns in Mexico, the Mother Lode country, the Southwest, the Northeast and the California coastal cities of San Francisco, Monterey, and Laguna Beach. His brushwork ranges from tight strokes, creating smooth surfaces to loose, free strokes, creating surfaces with full textures. Regardless of style, the use of rich, saturated colors is a hallmark of his oil painting.
This original, contemporary oil painting on stretched canvas measures 16 by 20 inches and sits in a simple wood frame (18 by 22 inches).
It is signed in ink on the stretcher, "Spring Bouquet" 3/90 R.D.Kick.
Insured shipping is included within the United States.
This antique bronze figure of the Monkey God Hanuman measures 5 x 4 x 1 1/2 inches (13 x 10 x 3 cm).
It is in excellent condition.
This ancient bronze figure was most likely crafted in Northern India, Tibet or Nepal.
We are dating it to the 17th - 18th century, although it may actually be much earlier, based on it's stylistic similarities with small Pala period bronze figures.
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.
This Chinese nephrite jade carving of a Qilin or Chilong measures about 4.5 inches from nose to tail (or no tail-in this case) by about 4 inches tall by 2 inches at its width (hoof to hoof).
It was carved from a celadon green mottled jade with areas of grey green and dark green.
It also has numerous inclusions - natural fractures in the stone with oxidation and subsequent staining.
This mythological beast has the head of a lion or dog and the wide body of a goat, resting on its hooves. It has no tail: but that may have happened sometime after it was originally created. His rump appears to have been polished down some time ago.
We estimate that this jade originated some time between the Han Dynasty and the Song Dynasty, based on stylistic similarities and the condition of the stone itself.
This original contemporary Chinese watercolor painting measures 17 by 26 inches (watercolor only) and about 21 by 65 inches, including the brocaded scroll it is mounted on.
It has the seal and signature of the artist, along with one collector's seal.
The subject is two small birds in a lotus pond.
It is in excellent condition and has very fine details. This is an outstanding example of Contemporary Chinese Art.
This antique tinned copper tray has traditional engraved bird motif surrounding a Homa bird symbol (Iran Air logo).
It measures about 16 inches in diameter.
It has a shield with an Arabic inscription at the top and (in English)IRAN AIR in a shield at the bottom of the circular field.
Iran AIR was established in 1946.
This tray probably dates circa 1946-64. The possibility exists that the tray is actually older and the Iran Air markings were added later.
It is in very good condition with the exception of a small dent in the field. it is small and relatively insignificant with all of the detail of the engraved patterns.
This antique hardstone carving of a reclining ox dates from the Song Dynasty (960-1279 AD) or the early portion of the Ming Dynasty (1368-1644 AD).
It measures about 2 3/4 x 1 1/2 X 1 1/4 inches or 58mm x 31mm x 30 mm.
It is carved from white variegated stone with a small area of pale gray in the center.
It is in excellent condition with a substantial amount of reddish brown oxidation on it's base.
We are describing this as hard stone because it does not pass the scratch test for jade. The possibility exists, however, that it is actually altered jade which has been softened over time and proximity to the elements.