This original oil painting on masonite board measures 20 x 24 inches (painting only ) and it is framed in a carved and gilded frame that measures 28 x 32 inches.
It dates circa 1930-40 and is signed M. Magnusson in the lower right hand corner. It also has the remnants of one old label ( circa 1930 ) and another old paper label with the title and artist's full name.
It is in outstanding condition, period!
This small jade or hard stone carving of a stylized face measures 2.25 inches x 2.75 inches x 1.5 inches in depth.
It's colors range from a medium to dark green to a pale green with areas of translucence. It also has natural inclusions in the stone with areas of dark brown or off white oxidation.
It is carved in the style of old Olmec carvings, but it may be early 20th century. It may also be Chinese, rather than Latin American in origin, but neither origin has been documented yet.
It is unusual in that it has a mounting bracket extending from the reverse side. Similar brackets have been seen on occasion to allow for mounting as architectural components or as decorations in religious settings.
If this stylized carving actually is older than our estimate, it would be worth a great deal more than our asking price.
The mounting bracket would allow for this piece to be worn as a belt slide or buckle, or as a large pendant.
These hand tooled silver bracelets or bangles are Asian (possibly Miao or Tibetan) and date from the early 20th century.
They are almost identical but not a matched pair. One of them is slightly larger than the other.
The larger one measures approximately 3 1/8 inches (7.7 cm) in diameter and just under 2 1/2 inches (6.3 cm) on the interior diameter. The smaller one measures approximately 3 inches (7.4 cm) in diameter and just under 2 3/8 inches (6.1 cm) on the interior diameter.
There are no silversmiths marks, silver marks or country of origin marks of any kind on either bracelet.
We haven't weighed these, but they are appear to be hollow, with lovely hand worked details overall. They are in excellent condition.
They are part of a small collection of Asian silver items (Tibetan, Chinese & SE Asian that were acquired from the same source(see photo enlargement ) and will be offered, or are currently being offered for sale.
This original watercolor painting measures about 20 by 26 inches (image only) and 27 by 32 inches under glass in it's mat and frame.
It is a mountaintop view of an island with the sea and more mountains in the background.
We estimate this painting to be circa 1940-1950.
It is signed N. Kirk , Lower right.
It is in excellent condition.
This original oil painting on stretched canvas measures 22 by 27 inches and sits in an original period frame measuring 27 by 32 inches.
It is signed PETER NIELSEN in the lower left corner.
Peter Nielsen has numerous biographical listings and auction records. A contemporary of William Wendt, Peter Nielsen's works have recently begun to move up in price towards the high prices realized by his peers.
THIS IS AN EXCELLENT CALIFORNIA PLEIN AIR PAINTING AND IT'S AUTHENTICITY IS GUARANTEED.
NOTE: Any white spots on the photos are merely bounce back from the flash. They are not on the painting itself. IT IS IN EXCELLENT CONDITION AND READY TO HANG.
This Japanese Satsuma Vase is unmarked, 15 inches tall and about 9 inches in diameter.
It dates to the Meiji Period (1868-1912) and has Kwannon and Lohans with an elephant pictured upon it.
It is in excellent condition with some light rubbing on the high relief gilded areas exposing an outstanding crackle beneath.
This 18th-19th century Tibetan or Nepalese bronze oil lamp measures approximately 6 inches tall by 6 inches wide (pan tip to dragon tail).
It was designed to be used as a lamp using either Yak butter or oil.
It has a standing dragon for a handle and a pan with Ganesha on a shield. It is a classic design which incorporates motif from the two cultures (India and China) which are major influences on Tibet (situated between the two of them).
It dates from the late 18th through the middle of the 19th century.
It is in excellent condition with a small amount of verdigris in the recessed areas. It does appear to have been cleaned at some time in it's history and appears to be toning down nicely. It also has some wax residue remaining in a few crevices.
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.
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 original oil painting on canvas laid down on board measures 12 by 16 inches, and it is mounted in an original carved and gilded frame which measures 16 by 20 inches.
It is unsigned and in excellent condition.
We estimate it to date circa 1930-1940.
The subject is the San Gabriel Mission which has numerous Moorish or Spanish architectural motifs.
It is painted in a loose, impressionist style with very bright, almost Fauve colors.
The Mission San Gabriel Arcángel is a fully functioning mission and also an historic landmark in San Gabriel, California.
It was founded by Spaniards of the Franciscan Order on "The Feast of the Birth of Mary" (September 8) in 1771.
The Mission often referred to as the "Godmother of the Pueblo of Los Angeles," was designed by Father Antonio Cruzado (who hailed from Córdoba, Spain, which accounts for the strong Moorish influence).
In 1776, a flash flood destroyed much of the crops and ruined the Mission complex, which was subsequently relocated five miles closer to the mountains in present-day San Gabriel (the native settlement of 'Iisanchanga).
The Mission is the base from which the pueblo that became the City of Los Angeles, California was sent. On December 8, 1812 (the "Feast Day of the Immaculate Conception of the Blessed Virgin") a series of massive earthquakes shook Southern California. The 1812 Wrightwood Earthquake caused the three-bell campanario, located adjacent to the chapel's east façade, to collapse. A larger, six-bell structure was subsequently constructed at the far end of the capilla.
Legend has it that the founding expedition was confronted by a large group of native Shoshone peoples whose intention was to drive the strangers away. One of the padres laid a painting of "Our Lady of Sorrows" on the ground for all to see, whereupon the natives (known to the settlers as the Gabrieliños) made peace with the missionaries, so moved were they by the painting's beauty. Today the 300-year-old painting hangs in the Mission's sanctuary.
This fine bronze ewer or kettle (aftaba) dates to the 18th Century in Wughal India.
It is of typical form and good weight. It measures: height: 26cm, width: 24cm.
It has a prominent faceted spout along with its original lid with a bud-like finial, an 'S' shaped handle which has a stylized lion head at one end and a lotus bud finial at the other. It stands on four short feet.
The flattened, globular pear shaped body tapers to a long neck. The body has been cast with raised cloud or foliage borders to the top and bottom, The design work on the body is of better quality than usually seen. The body, lid and spout have been engraved overall with repeated stylized vegetable or poppy motifs. The lid has similar patterns.
Ewers of this type originated in Persia and the Middle East. Typical Islamic ewers comprised a central chamber to which a spout, foot, handle and neck were attached. They permitted water to flow - notations in the Koran described flowing water as 'clean'.
Ewers were introduced to India by Muslim invaders during the late thirteenth and early fourteenth centuries. Later Indian inspired designs became more curvaceous and many were decorated with lush plant and floral motifs.
In India, local Muslims used such vessels for hand washing. They became a practical tool of hospitality, being used to welcome visitors by pouring scented water over the hands and feet and into a basin, and took on a great variety of shapes and types whilst adhering to the basic ewer form.
This example is in excellent condition. There are no repairs, splits or dents. as mentioned, the lid is original – usually the lid is missing or replaced.
A slightly larger (39.4 cm tall) sold at Sotheby's on October 5, 2011 for 6250 British pounds( $9784.00 in US dollars) (lot 265) . It had much less surface detailing. ( http://www.sothebys.com/en/auctions/ecatalogue/2011/arts-of-the-islamic-world/lot.265.html )
Provenance: The southern California art market prior to 1980.
Reference: Zebrowski, M., Gold, Silver & Bronze from Mughal India, Alexandria Press, 1997.
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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 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 American carved wooden sculpture of a seated woman dates circa 1930-1950.
It measures 17 inches tall by about 7 inches in diameter.
It is unsigned and unmarked.
This 1940's American Folk Art Carving is in the style of the sculptures of Henry Moore.
It is in very good condition and appears to have been carved from the limb of an old weathered tree.
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 unusual painted lacquer and carved Shibiyama panel measures about 15 1/4 inches by 12 inches by 1/2 inch thick. It has an outstanding pattern of carved and inlaid pieces creating a finely detailed picture of birds and flowers on a deep sky blue oval background. It is surrounded by raised gilt and vermillion lacquer paintings of fruit and plants.
It dates to the late 19th century or Meiji Period in Japan.
It has an inset, carved rectangle with the artist's signature in the lower left corner of the blue lacquer oval.
It may have originally been the cover to a book or woodblock print album.
THIS LARGE ORIGINAL WATERCOLOR PAINTING ON HEAVY WATERCOLOR PAPER IS SIGNED RUTH LEE(LR)
IT MEASURES 22 BY 29 INCHES (UNFRAMED).
RUTH HUDSON LEE (1885-?) was born in Syracuse, New York. She studied with Hawthorne, Adams, George Pearce Ennis, Eliot O'Hara & Paul Ludwig Gill. She also was a member of and exhibited at: the American Watercolor Society in NY, the Washington Watercolor Club and the National Association of Women Artists in New York City. In addition, she was associated with the SYRACUSE EIGHT watercolorists. Her works were shown at the Philadelphia and Baltimore Watercolor Societies, Argent Gallery, Rochester Memorial Art Gallery, Munson Williams Proctor Institute, Binghampton Art Gallery (1 WOMAN SHOW), Auburn Art Museum, ETC, ETC.
She is well listed in numerous artist's biographies and price guides.
This MUSEUM QUALITY WATERCOLOR is in OUTSTANDING CONDITION !!
This unframed work will be shipped ROLLED IN A WIDE TUBE to protect it.
This Chinese Export or English Chinoiserie lacquered box measures about 7 inches by 5 3/4 inches by 1 3/4 inches.
It dates from the late 18th-middle 19th century.
It is hand painted with a scene of eight figures in a pagoda and garden landscape. The figures are painted in gold over a black lacquer and wood base.
It is in very good condition except for a few very minor cracks and small losses to the lacquer.