This antique Persian Silver vase measures 7 inches tall (17 cm) by 5 1/2 inches in diameter (14.5 cm).
It dates circa 1700-1850 or earlier.
It is finely engraved with alternating medallions of bird in an ornate floral landscape and medallions of symmetrical calligraphy. Between the medallions are additional engraved floral wreaths
There are three silver hallmarks on the base. The usual standard of Persian silver is .84 or 84/100 pure silver.
Condition is excellent except for a small bung (see enlargement). Overall, this is an outstanding work of art and much nicer than my poor photos would indicate. Any color changes in the photos are from the flash and not on the vase itself.
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 original oil painting on old artist panel board measures 22 1/2 by 31 1/2 inches.
It is unframed.
It is signed "Mt. Rainier, Wash, by F.A. DeHaven, Artist, 840 Raymond Ave" in pencil on the reverse.
It is in excellent condition.
It dates circa 1890-1920.
This outstanding old California landscape is one of two oils by the same artist that I am currently offering. Both offer different views of Mount Rainier.
This original watercolor painting measures 15 by 22 inches.
It dates circa 1940-1950. It is unsigned.
It is painted on heavy watercolor paper.
It is in excellent condition, unmatted and unframed. The paper has a French watermark embossed in one corner.
It is not a giclee, print or copy of any kind.
It was purchased as part of a collection of original watercolor paintings amassed by a student of the well known, published and listed American artist, Robert Landry. Her name was Nancy Louise Hickman and she died in the 1980's.
These watercolor were kept in deep storage so that there has been very little light on them for decades. Many of them are as crisp, bright and clean as the day they were painted : 50 to 60+ years ago. ___________________________________________
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 original contemporary Chinese ink and watercolor painting measures 26 by 26 inches,and 31 by 70 inches, including the silk brocaded scroll it is mounted on.
It has the seal and signature of the artist, Zhao Bin (1939- )on the right hand edge. It also has one collector's seal in the lower left corner.
The subject is a view of temples in a high mountain landscape shrouded in fog.
It is in excellent condition,with the exception of a few marks on the scroll, but not on the painting itself.
Additional information about Contemporary Chinese scroll paintings is available in our Newsletter by clicking on Newsletter on our Home page.
This original oil painting on wooden panel board measures approximately 20 by 26 inches and sits in a carved and gilded frame measuring about 26 by 32 inches.
It is signed J. Winterholler just left of center bottom.
It is a view of Garmisch-Partenkirchen in the Bavarian Alps (site of the 1936 Winter Olympics).
The condition of the painting is very good except for a very small one inch long wood split on either edge, with no losses (see photo enlargements of both). The painting appears to date to the 1940-50 period, or possibly earlier. The frame is newer and has a few very minor losses to detail, but is overall quite presentable.
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 black and iridescent art glass vase measures about 12 inches in height and about 7-7.25 inches in diameter.
It has a wonderful overall iridescence and was created in the threaded style of art glass like that found in Loetz or Pallme Koenig.
It is unmarked but does have a ground spot on it's base where an etched signature would most likely go.
It is in excellent condition, period. No chips cracks or repairs.
We estimate this classic Art Nouveau vase to date circa 1895-1910.
This is an original pair of 18th-19th century wooden carvings of Chinese eunuchs or officials. Each one measures 8.5 inches tall, 3 inches wide and 2.5 inches deep (at the base). They are in good condition with most of the original painted detailing remaining on their faces and some painted details remaining in other areas, such as the hat, sash, and ceremonial jade disk held by one of them. One figure holds what appears to be a representation of an old ceremonial jade. These appear to have been tomb figures that lost much of their original colors.
This original oil painting on old artist's board measures 12 1/2 by 18 inches and it sits in a gilded oak frame (18 x 24 inches) with a raised antique rake motif on it (see photo).
It is unsigned and dates circa 1880-1910. It appears to be Russian or Baltic in origin and the simple frame with rake motif seems to verify that observation.
It is in excellent condition with no evidence of restoration or repairs. It has the remnant of an old label on the reverse. The simple frame appears to be contemporary with the work itself.
This Japanese painted bronze figure of Daikoku measures approximately 13.5 inches tall by 6 inches wide by 5 inches in depth.
It is a substantial bronze figure, weighing around 13+ pounds or about 6 kilos.
It is signed or marked on both the figure and the separate base of rice bales (see two of the enlargement pictures).
It dates from the late Meiji to Taisho Period (circa 1890-1912).
It is in excellent condition with most of it's original colored and patinated surfaces intact. An exception to this is the loss of a small triangular shaped piece which was apparently once attached at the figure's midsection (see photo enlargement of loss). This most likely was originally a separate attachment (see the drill hole?) in the shape of a small pouch (or treasure sack) which Daikoku traditionally carried.
Since the 17th century, Daikoku has been known as the Japanese god of wealth, the household and of farmers, although in earlier centuries he was considered a fierce protector deity (Mahakala).
In Japan, artwork of this deity usually shows him wearing a hood and standing on two bales of rice, carrying a sack of treasure and holding a magic mallet. Daikoku is often clad in robes, with a smile on his face.
In some traditions, Daikoku is also considered to be a provider of food, and images of him can still be found in monastery kitchens and in the kitchens of private homes. He is recognized by his wide face, smile, and a flat black hat.
He is often portrayed holding a golden mallet (called a Uchide Nokozuchi), also known as a magic money mallet, and is seen positioned on bales of rice, occasionally with mice nearby (mice signifying plentiful food).
Originally a Hindu deity called Mahakala, he was introduced to Japan in the ninth century, and merged with the Shinto deity of good harvests, Oo-kuninushi-no-Mikoto (or Okuninushi-no-Kami, translated as "Prince Plenty"). The lucky mallet in his right hand is called the uchide nokozuchi. This mallet is said to have magical properties that can produce anything desired when struck. Some stories say that coins fall out when he shakes his mallet. Others say that believers are granted their heart's desire by tapping a symbolic mallet on the ground three times and making a wish.
The symbol of the precious Buddhist Jewel, sometimes found on Daikoku's mallet or belt, represents the themes of wealth and unfolding possibility. It is said to give its holder the ability to see all things (like a crystal ball).
The precious jewel is one of the seven symbols of royal power in Buddhism. Daikokyu, himself is considered to be one of the seven household gods of Japan.
Price on Request
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.
Price on Request
This original OIL PAINTING on artist's canvas panel board measures 16 by 20 inches, not including the gilded frame it sits in (20 x 24 inches).
It appears to have been signed in the lower right corner, but it is mostly illegible. It is difficult to see in good light and virtually impossible to photograph.
Although it is somewhat similar to the early works of Fairfield Porter, we are not selling it as one of his works.
This is an unattributed painting.
This beautifully colored and detailed oil painting is in outstanding condition and was obviously done by a very accomplished hand.
This original oil painting on stretched canvas measures 28.5cm by 33cm (about 11 1/4 by 13 inches, not including the simple but detailed wooden frame it sits in.
The subject is an alpine mountain landscape with a Swiss or Bavarian style building and a dome topped church or building beyond. The scene includes snow capped mountains in the distance.
It is signed J. Felsinger in the lower right portion of the painting. Josef Felsinger (1908-1972) is listed on Artprice.com with a history of auction sales.
This painting is executed in a very crisp, well detailed impressionist style.
The colors are vibrant and better looking in person than the photos would indicate. Any white dots on the pictures are the result of flash bounce back and are NOT on the painting itself.
There is a very fine spiderweb pattern of crackling of the canvas from age that does not show up in the photos, but only when the painting is lit from behind.
Overall, this is a very attractive little gem of a painting by a known artist. The buyer will not be disappointed.
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 .