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 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 original carved "oosik" or penis bone measures about 11 inches long by 1 inch wide by 1 1/2 inches in depth at it's wide at the base.
Although it has the appearance of ivory, it is actually carved from heavily fossilized walrus penile bone. It is much harder than traditional ivory and as such has been used by native people for generations to producing knives and important implements.
This is likely a fertility totem in as much as it has a hooded woman riding a phallus with the raven and a stylized bear above her.
A work of this quality would have taken a great deal of time talent and effort to create.
The workmanship and details of the carving are outstanding and can honestly be described as museum quality.
This original watercolor painting on heavy watercolor paper measures approximately 20 by 28 inches, unmatted and unframed.
It is in outstanding condition, period.
It is signed Ellen Carpenter, 1940 in the lower right corner.
Ellen Carpenter is listed in Davenport's Art Reference and Price Guide and also in Hughes, Artist's in California.
This original contemporary Chinese watercolor painting measures 24 by 24 inches (watercolor only) and about 27 by 62 inches, including the brocaded scroll it is mounted on.
It has the seal and signature of the artist, Li Tong Yuan (1958- ) along with two collector's seals.
The subject is two colorful parrots sitting in a palm tree.
It is in excellent condition and has very fine and subtle details.
This is an outstanding example of how some Contemporary Chinese Art can be influenced as much by Western Art as by the traditional Chinese styles of painting.
Additional information about Contemporary Chinese scroll paintings is available in our Newsletter by clicking on Newsletter on our Home page.
This original watercolor measures 18 by 24 inches, unmounted and unframed.
The subject is nine boys standing around and swimming in a waterfall fed pond in a lush tropical landscape.
It is in excellent condition .
It is signed W. Thurston C.1987 in the lower right corner.
Preliminary research on the artist is inconclusive. There is or was an artist, William Thurston who worked as an illustrator for the Hawaiian Sugar Planters Association, but this connection has not been verified yet.
This is one of two watercolors we are offering by the same artist. Both have Hawaiian themes.
This Japanese bronze handled mirror measures about 8 inches in diameter (21cm) with an extended handle which increases the full height to about 12 inches or 30 centimeters(cm).
It dates to the late Edo Period or Early Meiji period ( about the middle of the 19th century (1840-1860).
It is signed in the left portion of the front. It also has birds flying over churning waves in the ocean.
It still has most of it's silver ovrlay on the two large Kanji marks on the front. It also has remnants of it's silver on the reverse or "Face" of the mirror.
Bronze mirrors were introduced into Japan from China and Korea about 300 BC - AD 300.
At first they had a religious function and were regarded as symbols of authority.
The Japanese soon learned to make their own mirrors using lost-wax casting and decorated them with Japanese or Chinese designs.
By the Nara period (AD 710-794) mirrors were made for everyday use and used designs such as plants and animals to symbolize good fortune.
From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular.. More new designs and the first handled mirrors appeared in the Muromachi period (1333-1568).
During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimetres across and were placed on stands. The faces of mirrors were highly polished or burnished, with itinerant tinners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).
This antique wooden mask is a representation of Mahakala.
It dates from the late 19th or earlier.
It is similar in style and iconography to masks from Nepal, Tibet or Sikkim.
It measures about 13 inches high by 9 inches wide.
It is in very good condition except for a few small cracks and losses to the wood. It has remnants of remaining overpaint in the crevices and recessed areas.
Comparables Note: a slightly larger mask with the original paint remaining is listed in Miller's Price Guide(2003) at $7,800-$9,400 (Sotheby's - NY)(see photo enlargement #4).
This original, unsigned California School oil painting on canvas board measures 16 by 20 inches and sits in a 22 by 26 inch carved and gilded frame.
This classic mountain lake landscape is reminiscent of many locations in California, Colorado, Utah, Washington, Idaho or even Oregon
It is in excellent condition and ready to hang.
Inquire for Price
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 Chinese Export or Chinoiserie lacquered wooden box measures 7 1/4 inches by 5 1/4 inches by 1 3/4 inches.
It dates from the late 18th century to middle 19th century.
It is hand painted with a scene of five 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.
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.
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 green nephrite jade carving measures approximately 8 inches by 4 inchs by 3/4 of an inch high.
The subject is a Chinese lion astride a flattened and curling leaf.
Although archaic in style it most likely dates to late 19th or early 20th Century.
It is in very good condition, except for some minor roughness around the edges of the leaf.
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 painting on watercolor paper measures 15 by 22 inches.
It dates circa 1940-1960 from a regional school of watercolor painting found in, but not limited to California.
It is in excellent condition and ready to be matted and framed. This is an original watercolor painting and not a giclee or print of any kind.
This is one painting from a collection of original California watercolors, originally purchased from a student of the noted California watercolor artist, Robert Landry.
The collection had been in storage for about 25 years.
Biographical information: Robert Landry (1921-1991)… Born: Washington, D. C. Studied: Abbott Art School, Art Instruction, Inc. Member: San Diego Watercolor Society, Watercolor West. Robert Landry attended high school on the East Coast then went into the military service during World War 11.
After the war, he studied art in Washington, D. C. And Minneapolis on the G. I. Bill and became a commercial illustrator for the United States Air Force Graphic Arts Division at the Pentagon, and art director for the Federal Aviation Agency and Convair Astronautics. After the late 1940s, Landry began a serious painting career and started exhibiting fine art watercolors. His paintings often depicted regional subjects with buildings, boats or coastline structures. Creating a mood was important to him and gives his works a narrative quality.
His watercolors were primarily sold through art galleries in San Diego and Dallas. He also taught at watercolor workshops near his home in San Diego and in traveling workshops held in Oregon, Arizona and Hawaii.
He is also listed in numerous artists’ biographical publications. His works have also sold at various auction houses over the years including John Moran Auctions in Pasadena, California. In addition, he is listed on www.askart.com and other art and auction websites.
Currently Being Researched
This large oil painting on canvas was apparently painted during the early 20th Century, based on the age and quality of the canvas and the paints used. It is unusual in that it is painted on the "inside" of the stretched canvas and the painted image extends onto and over the stretcher bars.
It is painted in the style of David Siqueros or other Mexican Muralist painters.".
The subject is an intense woman. One name for the woman comes to mind but we are not allowed to mention it without suffering the wrath (and possible lawsuits) of overly protective name/copyright owners (One name that comes to mind would have the initials, FK).
It measures 24 by 32 inches, unframed.
It is in outstanding condition and the paint is applied with thick, heavy and powerful brush strokes.