This pair of charming 18th-19th century copper censors are in the form of small archaic wine jars. They have some verdigris on them but they are in excellent condition.
They measure 5 1/4 inches tall by about 4 1/2 inches wide.
The tripod feet are comprised of foo dogs or temple lions with elongated tongues. They have been used as candle holders at some time and retain a small amount of wax on the interior.
There are no marks on these censors. Circa 1780-1840's.
This large jadeite carving of Guanyin (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 original watercolor measures approximately 12 by 16 inches (sight) and it is matted under glass in a 15 by 19 inch frame.
It is signed lower left, Verna Evans.
Verna Evans was an artist living in San Marino, California during the early to middle 20th century. She was a student of Millard Sheets and also exhibited at local art shows in San Bernardino County.
This is only one work from a folio collection purchased many years ago from a local estate.
It is in excellent condition.
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, 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 original contemporary Chinese watercolor painting measures 27 by 52 inches (painting only) and about 31 by 70 inches, including the brocaded scroll it is mounted on.
It has the seal and signature of the artist, Shang Xiao Fang along with one collector's seal.
The subject is a pair of red headed cranes standing amidst pine foliage.
It is in excellent condition and has very fine and subtle details.
Additional information about Contemporary Chinese scroll paintings is available in our Newsletter by clicking on Newsletter on our Home page.
This antique bronze head of Kandoba or Shiva with a Naga canopy dates from 18th century India (Rajastan).
This may also be known as a Muhkalinga.
It measures approximately 10 inches (24 cm) tall and 5 inches (12 cm) in diameter.
This is a very substantial old bronze in both weight and appearance and it is in excellent condition.
This nephrite jade carving is a pale celadon to yellow jade altered to brown overall.
It appears to have been buried for an extended period of time, based on the level of alteration or oxidation.
We conservatively estimate that this antique nephrite jade dates to the late 19th - early 20th century.
It may actually be much older. Please view the detailed photos carefully.
The buyer will not be disappointed.
It measures 80 mm x 45mm x 12 mm in depth.
It is in very good condition with the exception of a slight loss to one wing tip, which appears to have happened ages ago because it shows wear and toning consistent with the rest of the carving.
The shape of the tail is unusual in that it looks like a sea monster . Without its pointed beak, it could be mistaken for a dragon or a kylin.
This substantial bronze handled pitcher measures 6 inches tall by 4 inches wide by 7 inches in depth.
We are dating this one to circa 1790-1820, but it may be much, much older. It is either a Neoclassical bronze copy of a Roman bronze or the real thing. We have priced it as a copy, but if real, you can add a couple of "00"s to it's price.
It is in excellent condition, except for a few small bungs and a restoration to the base. The bottom appears to have had three holes filled a long time ago. It may also have been leveled a bit to allow it to sit evenly (this part is speculation).
It has an even greenish black patina overall.
Price on Request
This antique mesh bracelet has an old classic carved shell cameo mounted in the clasp.
It is surrounded by an ornate Pinchbeck frame which measures about 1.25 to 1.5 inches. It is attached to a gold color mesh bracelet or cuff that measures 6.5 inches clip to clip. It also measures about 1.5 inches in width.
It dates from the late 18th century to the early 19th century.
It is not marked in any way and we have not tested it for gold content.
"Pinchbeck" is a form of brass, an alloy of copper and zinc, mixed in proportions so that it closely resembles gold in appearance. It was invented in the 18th century by Christopher Pinchbeck, a London clockmaker. Since gold was only sold in 18-carat quality at that time, the development of pinchbeck allowed ordinary people to buy gold 'effect' jewelry on a budget. Pinchbeck was used to replace gold for a very short period of time.
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 19th century Japanese carved ivory okimono measures approximately 9 inches tall by 2 1/2 inches in diameter at it's widest point.
It is intricately carved with fully delineated scales and teeth on the fish. The figure riding a fish is carved from one solid walrus tusk and it sits on a separate oval section as a base. The crystalline pattern that is so indicative of walrus ivory can be seen in many places on the carving, including Kinko's robe (interior front left) and the belly of the carp or koi.
It dates from the Meiji Period in Japan (circa 1870-1900).
It is in very good condition with some stabilized antique ivory fractures as are seen on many of these okimonos that are well over 100 years old.
Japan originally imported and adapted many Taoist and Buddhist teachings from China, which were then combined with native Shinto beliefs.
One Taoist figure incorporated into Japanese artwork was Kinko, a holy hermit. He is often depicted mounted on the enormous carp that carried him to the Undersea Kingdom. There, sea creatures taught him that all life is sacred.
In Japan the carp (koi) is also a symbol of persistence, longevity, and fertility. Land-locked farmers have kept carp in their ponds to provide food for centuries and also bred them for their beautiful colors.
This original mid 20th Century California School oil painting on artist's canvas panel board measures 22 by 28 inches.
It is in excellent condition and UNFRAMED.
It is signed J.Hansen in the lower right.
This bronze sculpture of a standing figure of Parvati on a lotus stand measures 14.5 inches tall by 4.5 inches square at the base.
It is a very heavy, solid bronze casting and it is in excellent condition.
It dates circa 1890-1940.
This large seated pottery figure of a woman measures 11 1/2 inches tall by 7 1/4 inches wide by 7 1/4 inches in depth.
It is in very good condition with the exception of a old repaired break on the leg below the figure's right knee.
It still has remnants of old applied colors on the head band, loin cloth, nose ring, arm bands and jar. It also shows the effect of having been burned black in some areas. The mouth is in an unusual open position, as if singing or chanting.
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 standing nephrite jade carving of a bearded and robed figure with long horns or a headdress of some sort measures about 10 1/2 inches tall by 3 inches wide by 1 1/2 inches in depth.
It is carved from a large piece of nephrite ranging from pale to deep green with a strip of oxidized white to yellow jade down the middle. In addition, there is a crackled stripe of oxidation running down through the center of the face through the figure to the bottom of the robe.
There are also engraved rectangular patterns and additional patterns on the robe.
Although the serious possibility exists that this is an old nephrite carving dating to the Shang period, we are dating this one very conservatively to about circa 1900-1920. If it turns out to be much older, we are certain the buyer will not be too upset.
It is interesting to note, however, that the oxidation and subsequent crackling of the stone that runs right down through the face probably occurred after the jade was carved. The question arises: if this is a copy made in the last 100 years or so, why didn't they turn it around before they carved the face, as the center of the back side is pristine where the face could have been positioned, no crackling or deterioration? It would have been the better choice to use as the front and would have made a more attractive and potentially more saleable copy. If however, the deterioration of the stone actually happened over an extended period of time after it was carved, that would make more sense as an explanation as to why the current positioning of the stone in relation to it's natural flaws or irregularities.
This is an original oil painting on canvas panel mounted on wooden stretchers.
It measures 21 3/4 x 28 inches, not including the carved and gilded period frame it sits in. It measures 26 x 30 inches, including the frame.
It is signed, Josephine E. Hyde in the lower left corner of the canvas. It is also stamped "OTIS" & "HYDE" on the cross braces on the reverse side of the painting. Otis Hyde was Josephine's husband and a very well known artist in his own right. It would appear that Josephine "borrowed" some of her husband's art supplies for her own use.
The subject is a still life wth a small Japanese figure seated on a table with an oriental carpet, with a green pitcher and a Chinese porcelain charger.
The painting is in excellent condition. It has a few tiny scuff marks near the signature that can be easily touched up.
It is painted in a broad pallette of colors: toned down by both time and grime. It could use a good cleaning to make the already strong colors even more vivid and bright.
Josephine Hyde was a listed California painter born in Columbus, Ohio in 1885.
She studied at Stanford University with painters, Nell Walker Warner, Edward Withers and Will Foster. She became an art teacher in the Los Angeles and Long Beach school systems from 1923 to the 1950’s. She was also married to the well known artist, Otis Hyde. She died in 1965.
She was a member of the California Art Club, Women Painters of the West, Long Beach Art Association, Painters of the Southwest, and the La Jolla Art Association.
She is listed in Who’s Who in American Art 1953-1962, Artists in California 1786-1940 by Edan Milton Hughes, Davenport’s Art Reference & Price Guide.
She is also listed on the internet with biographical information and auction sale listing on Askart.com