This is an original antique Chinese carved lacquer cup.
It measures 2.75 inches in diameter and about 4.2 inches wide (including the Fu Lion handles on either side of the cup.)
It stands about 2 inches tall (measured from top to bottom.)
It has two robed figures seated on clouds set out against a repeating pattern.
This cup dates to the Qing Dynasty (1644-1911) or, quite possibly, even a bit earlier.
It is in excellent condition except for a tiny loss of lacquer on the interior lip of the cup (see closeup photo).
This cup was part of a small collection of Chinese carved lacquer purchased about 25 years ago from a private collection established in the early 20th century.
This is one of two similar cups that were part of the original collection. The cups were not a matching pair, but are of a very similar style. We will be offering the other cup later on.
This original contemporary Chinese ink and watercolor painting measures approximately 18 1/2 by 38 inches, and 22 1/2 by 65 inches, including the silk brocaded scroll it is mounted on.
It has the seal and signature of the artist along the middle right side edge.
The subject is a somewhat impressionist view of a waterfall with a pair of birds sitting in a tree in the foreground, surrounded by floral blossoms.
It is in excellent condition.
It dates to the second half of the 20th Century.
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 carved jade or hardstone figure of Xipe-Totec measures 8.5 inches tall x 4.5 inches in width x 3.25 inches in depth.
It is in basically good condition, with the loss of the bottom portion of both legs. It also has some old repairs to its left hand and right arm at the shoulder. A few other interior cracks round out it's condition problems.
All things considered, it is in pretty good shape, coming from a culture that ritually killed it's pots and figures on a regular basis (along with numerous human slaves and prisoners).
Although it has some stylistic similarities with Olmec figures (except around the mouth), it has more similarities with the Aztec or Mayan Cultures
It shows a figure wearing a second (flayed) skin, with hanging hands and stitch work up the backside to the head which would hold the flayed skin in place. The level of detail on the reverse stitchwork carving is remarkable and an indication of the importance of this piece.
Although we seriously believe this antique jade carving to be authentic and extremely old, we are not going to date this piece. . The buyer should make his or her own judgement as to the merits of this carving.
We never attempt to misrepresent or oversell a piece. For that reason we have priced this huge, well carved jade statue as if it were an old copy. If it turns out that this carving can be verified to be older than that, we are certain the buyer will not be disappointed. _________________________________________________________________________
Xipe-Totec, the flayed god, originated in Teotihuacán culture and continued in importance into Aztec times. In Aztec mythology, Xipe Totec ("our lord the flayed one") was a life-death-rebirth deity, god of agriculture, the west, disease, spring, goldsmiths and the seasons. He supposedly flayed himself to give food to humanity, symbolic of the maize seed losing the outer layer of the seed before germination. He represented a fertility cult and was said to assist the earth in making her new skin each spring.
Annually, slaves were selected as sacrifices to Xipe Totec. These slaves were carefully flayed to produce a nearly whole skin which was then worn by the priests during the fertility rituals that followed the sacrifice. Some accounts indicate that a thigh bone from the sacrifice was defleshed and used by the priest to touch spectators in a fertility blessing.
Paintings and several clay figures have been found which illustrate the flaying method and the appearance of priests wearing flayed skins. Without his skin, Xipe-Totec was depicted as a golden god. The priests of Xipe-Totec impersonated him by wearing a gold-dyed human skin for twenty days, or until the skin rotted away. The priest would then emerge reborn. .
This original work of art consists of a painting applied over what appears to be a serigraph. It is interesting in that the artist who signed and gifted it to his friends at the bottom, was known to be proficient in both mediums: print and watercolor or gouache.
It measures 13 by 19 inches (image only) on an 18 by 24 inch panel board.
It is signed: Jara Valenta, on the lower right portion of the panel. It is also signed: To Teresa and Frans, lower left.
Jaroslav Henry Valenta was born May 23, 1899 in Czechoslovakia. He is listed in Who Was Who in American Art as a Brooklyn artist.
He was also listed as a member of the America Artist's Congress ( est 1936).
He exhibited works at the Federal Art Gallery in New York City and the American Artists Congress. He is also listed as a WPA Artist.
Jaroslav (Yaroslav) Henry Valenta (1899- )is listed in Davenport's Art Reference and Price Guide. He is also listed on Artprice.Com. In addition, he has work held in the Smithsonian Art Collection.
He also has work held in the Indianapolis Museum of art: (http://www.imamuseum.org/art/collections/artist/jara-h-valenta).
He also has work that can be viewed in the AMICA Library (http://www.davidrumsey.com/amica/amico1062343-112516.html).
Additional links to other works by Jara Henry Vanenta below:
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 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 oil painting on masonite measures 18 by 24 inches and is framed 20 by 26 inches.
it is signed Cal Bailey 60 in the lower left corner.
Artist Biography: Calvin Bailey (1915- )
Calvin (Cal) Bailey is listed on Askart.com and in additional publications:
Who Was Who in American Art 1564-1975 (3 Vol) 1999 Falk, Peter Hastings (Editor)
Afro-American Artists: A Bio-Bibliographical Directory 1973 Cederholm, Theresa Dickason
This Japanese Carved Wooden Mask measures 10 inches tall by 7 3/4 inches wide (ear to ear) by 4 inches in depth. It is also about 1 1/2 inches in thickness at center narrowing down to about 3/4 inch thick at edges.
It is carved from a tightly grained wood similar to those found in 19th century Japanese furniture.
It has a nice patina and retains traces of original pale maroon color in some areas.
It is in excellent condition and has wonderful parallel grooves over entire interior: most likely carving marks, but very finely detailed. They do not show up well in photos.
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 seated bronze Buddha in Sukhothai style most likely dates from the 16th to 18th century in Thailand. It may actually be earlier. but we prefer to be conservative in estimations .
It measures 16 inches tall by about 11 inches wide by 7 inches in depth.
It is in very good condition with areas of green patination and overall oxidation in various shades of pale to rusty brown. It has a few areas of casting loss, particularly on one end of the base (see the photo close ups). It also has a few areas where the bronze has either thinned out or pitted (again, primarily on the reverse of the base,)
The history of Thai sculpture dates from sometime during the thirteenth century, when a distinct national school emerged and broke away from Cambodian and Mon influences in terms of the stylistic development of Buddha images. Specific schools and sub-styles are defined on the basis of relatively slight variations in the prescribed dress, the treatment of the hair and so on.
This Buddha is seated on an undecorated pedestal in the cross-legged yogic posture of satvaparyankasana, the right leg placed over the left. His right hand is lowered, long fingers pointing downward in the earth touching gesture. The latter symbolizes Shakyamuni's triumph over the forces of the demon Mara, who attempted to distract him from his quest for enlightenment, a ubiquitous theme in Thai Buddhist art. The Buddha's monastic robe is worn leaving his right shoulder bare, and a long thin section of cloth representing his narrowly folded shawl falls downs from his left shoulder to below his navel terminating in two points.
This original oil painting on canvas measures 24 by 36 inches and sits in a 31 by 43 inch carved frame.
It is signed W.E. Rollins in the lower right corner.
It is is excellent condition with the exception of a patched repair with a very small paint loss to the canvas off center right in the area of the tidepool (see enlarged photos of front and rear of repair). This is an outstanding image; even so, this old oil could use a good cleaning to brighten up the colors and a very minor touchup on the old repair.
Warren Eliphalet Rollins (1861-1962) was born in Carson City, Nevada and raised in Northern California. Following his study at the San Francisco School of Design, he traveled throughout the southwest, living with a number of Native American Tribes. He lived and painted in Pasadena, California from 1910-1917, at which time the Santa Fe Railroad Company lured him to Arizona with the offer of a studio on the Grand Canyon. He remained in Arizona for the rest of his life. He has often been called the dean of the Santa Fe and Taos Art colonies, he died in Arizona in 1962.
He is listed in many artist's publications and also online on ArtPrice.com and Askart.com. He is also listed as a WPA artist in Who Was Who In American Art(1985). Many examples of his southwest works have been offered and sold at auctions during the last decade. Very few outstanding examples of his California paintings have come to auction during that period, although a few lesser ones have.
This carved jade bangle measures 3 inches (outside diameter) by 1 3/8 inches in width. It's interior diameter is 2 1/4 inches.
This is a very heavy carved nephrite jade bracelet with outstanding carved archaic repeating pattern symbols.
Although the carved patterns are archaic in style and execution, this heavy jade cuff most likely dates between 1880-1920. It is in excellent condition and there is a natural inclusion in the stone (see close up photos).
This jadeite carving measures about 3.5 x 5 inches by .5 inches in depth. It is in the shape of a rectangular plaque with slightly rounded edges.
It features a robed figure of Buddha holding a large lotus leaf while another figure kneels beside him.
This jadeite carving is in excellent condition .
It has colors that range from pale green to variegated colors that include a bright apple green, deep moss green and touches of emerald green.
The colors of the stone have been used to good effect to make the Buddha stand out on the obverse. On the reverse two large lotus leaves are framed utilizing the natural colors of the stone.
These two original Chinese bronze figures date from the Ming Dynasty (1368-1644) along with the gilt bronze screens behind them.
The bronze Buddha measures 7 3/4 inches tall by 5 3/4 inches wide by 3 3/4 inches in depth. (19.5 cm x 14.5 cm x 10.0 cm). The Buddha has a large percentage of it's original gilding remaining as do both of the gilt bronze backs. The Buddha also has a Wan symbol on his chest.
The bronze Guanyin or Avalokitesvara measures 8.25 inches tall by 5 inches wide by 3.5 inches in depth. (21 cm x 12.5 cm x 8.5 cm).
We are offering both of the bronzes and both of the finely detailed gilt bronze backs as a group (4 pieces -2 figures and 2 screen backs -all at one price.)
A comparable seated bronze Buddha of the same size (8.25 inches) sold at auction recently at Christies London, South Kensington on May 18th 2012 for $81, 349.00
All of these bronzes are original, of the period (Ming Dynasty) and guaranteed as such.
This original bronze figure of a seated and robed official holding a jui (symbol of power) measures 8 1/2 inches tall by 5 inches wide by 3 1/2 inches.
It is covered overall with a very subtle and dark patina. It has a softness of detail that only comes from hundreds of years of handling. It also has a few cracks and slight losses to it's surface that do not detract from it's overall appearance.
It dates to a period ranging from the 15th through the 17th centuries in China.
The buyer will not be disappointed, as it is nicer than the photos would indicate. This bronze figure is guaranteed to be an original ( of the period. It is NOT a copy or reproduction of any kind.
This large bronze figure of Avalokitesvara dates somewhere between the Song Dynasty and the Ming Dynasty in China.
This figure represents one third of a Buddhist Triad, which may have originally been created as an altarpiece in a Buddhist temple.
This bronze figure measures 21 inches tall by 9 inches wide by 8 inches in depth. He/she is depicted wearing a Tang Dynasty upraised hair style and ornate robes and jeweled detailing.
It is in excellent condition with remnants of old gilt and colors remaining in areas. The head is completely covered with a layer of gold and the remainder is covered with a deep brown patina overall.
Traditionally, Avalokitesvara would sit on the left side of Amitabha Buddha in a three figure triad with Mahasthamaprapta sitting on the right side. There are engraved Chinese characterson the reverse side of it's base which translate as left two.
There are additional marks on the Gui held in front of the figure which may represent the date or the original donor of the bronze.
Since the side figures of a triad were smaller than the central figure,the central Buddha must have been fairly large. This fits with the theory of an origin in a temple or possibly a very wealthy home.
In Chinese Buddhism the Bodhisattva Avalokitesvara is also known as Guanyin. Among the Chinese, Avalokitesvara is almost exclusively called Guanshiyin Pusa. Some Daoist scriptures give her the title of Guanyin Dashi, and sometimes informally as Guanyin Fozu.
In Chinese Buddhism, the worship of Guanyin as a goddess by the populace is generally not in conflict with the bodhisattva Avalokitesvara's nature. In fact the widespread worship of Guanyin as a "Goddess of Mercy and Compassion" is seen as the boundless salvific nature of bodhisattva Avalokitesvara at work. The Buddhist canon states that bodhisattvas can assume whatsoever gender and form is needed to liberate beings from ignorance
This museum quality gilt bronze figure was purchased from an old collection of Asian antiques originally formed during the early portion of the 20th century.
The authenticity of this bronze is guaranteed without exception.
This original oil painting on stretched canvas measures 18 by 24 inches and sits in a 25 by 31 inch painted wooden frame.
It is apparently unsigned, but has Bernice Jensen 1970, written lightly in pencil on the reverse stretcher bar.
It is in excellent condition, period.