This pair of Chinese Seated Lions date from the 17th -19th Century or possibly a bit earlier.
These pottery or earthenware lions each measure about 9.5 - 10 inches tall by 6 inches wide by about 4 inches in depth.
They are in very good condition with only a small loss to one of the tails.
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 contemporary Chinese ink and watercolor painting measures 27 by 53 inches, and 31 by 75 inches, including the silk brocaded scroll it is mounted on.
It has the seal and signature of the artist, Jiao Loushi, on the upper left hand edge. It also has one collector's seal in the lower right corner.
The subject is a view of a temple in a high mountain landscape with waterfalls and trees.
It is in excellent condition.
Chinese 20th Century paintings have been an excellent investment lately as prices have been escalating dramatically in both auctions and private sales.
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 original painting on water color 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 glycee 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.
The collection included a number of signed originals by Robert Landry and additional, signed works by the student.
There were also a number of unsigned works that can be attributed stylistically to either Robert Landry or his student.
Check our other listings for additional offerings of similar signed and unsigned period watercolor paintings from this collection.
(NOTE) We will be keeping some of both the signed and unsigned paintings from this collection for ourselves. In a weak economy, with a falling dollar, they are great investments that can be hung on a wall and enjoyed, feeding both one's soul and pocketbook at the same time.
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 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.
He is also listed on Askart.com and other art websites.
This blue glazed on buff colored ceramic or pottery figure of a seated Buddha measures just over 4 inches tall by 2 1/2 inches wide by 1 1/4 inches in depth.
It is in excellent condition with the glaze pooling to black in the crevices.
It dates to the Qing (Ching) Dynasty (1644-1911).
This old Sino Tibetan bronze seated figure riding a Chinese Lion measures 6 1/2 inches wide by 6 1/4 inches tall by 3 1/4 inches in depth.
The seated figure appears to be a Hotai or Budai wearing a crown and holding a mongoose in one hand and making the Karana symbol in the other.
It dates from the late 19th through early 20th Century.
It is in excellent condition, except that it has no bottom seal ( covering on the base). This may be another case of a bronze figure's base being opened while searching for hidden jewels. It also has two small areas of green verdigris: one on the lions mouth and the other near the left foot of the figure. There is additional verdigris evident up inside the base, leading to the conclusion that the bottom has been exposed for some time.
This engraved Sterling Silver tankard dates from the decade following the American Civil War (circa 1870-79 ).
It measures 3.5 inches tall by 2.5 -2.75 inches in diameter (not including the handle). It also measures 4 inches from the handle to the front edge of the cup.
It weighs 189 grams or 6.08 troy ounces.
It is marked on the bottom of the cup: ENG' STERLING 925-100 .
This is an American Silver Tankard Dated 1879 which may have served as a Christening cup.
A somewhat similar mark can be seen at the link below
It has been suggested that ENG may mean English Silver. This is incorrect because all English silver from this period had to be hallmarked in the English manner. However, before the sterling standard was fully adopted by the American silver manufacturing establishment, manufacturers who WERE making sterling often marked their wares "ENGLISH STERLING", as in this example.
This piece is not English, it just is up to the English sterling standard.
It also has the number 26 with gothic B's in diamond stamps on either side (B 26 B)
In 1866 William Bogert bought out the business of prominent New york City manufacturer Charles Grosjean, and formed William Bogert & Co. with Bernard Beiderhase. We believe that this silver cup or tankard was manufactured by Bogert and Beiderbase (B and B) under the eventual name of William Bogert and Company.
This is a solid sterling silver tankard and guaranteed as such.
It is in excellent condition with a nice even finish and a subtle patina.
It has a couple of extremely minor scrapes along the outside bottom edge where it appears to have been tested for silver purity during the last 130 years.
It is also engraved on the front: Tracey Lay Turner --September 1879 (surrounded by a delicate flowing engraving of wheat and or berries.)
Overall, this is a very clean and pristine example of late 19th century American Silver with documentation that leads us all the way back to it's original owner.
Tracey lay Turner was a Stock broker and banker (among other things) who lived and worked in 19th century Chicago.
The following information is an excerp from the Book Of Chicagoans (a sort of Who’s Who from the 19th-20th Century):
TURNER, Tracy lay, stock broker: born Chicago, Aug. 26, 1879*
Son of Edward H. and Ida B. (Foster) Turner; educated in private schools; married Chicago, Oct. 3, 1899, Claribel Countiss; 2 sons: Tracy L.,Jr. and Foster.
Began in Marshall Field & Co.'s wholesale house, 1896, and later was with Whiteside & Wentworth, real estate.
In 1897 he entered the employ of Chapln & Gaylord, stock and bond brokers and later became office manager.
In February 1901, he is lsted as a partner in the firm of S. B. Chapln & Co , bankers and brokers.
Republican. Episcopalian. Clubs: Chicago Athletic, Union League, South Shore Country, Glen View, Kenwood Country, Tuscumbia. Recreations: golf, fishing and motoring. Residence: 1120 E. 48th St. Office: The Rookery.
*Note_ Tracey Lay Turner was born on August 26, 1879, so either the Chicagoan or the engraver got it wrong by 4 days. It has been suggested that the difference or error may be related to a Christening date. So the date on the cup may actually be the date of christening rather than the date of birth.
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).
It has a small.925 mark stamped on the reverse. It is guaranteed to be sterling silver.
The kachina figure is set against a hand tooled repeating pattern background. It is in excellent condition.
It dates circa 1950-1960.
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 condition 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 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 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 original oil painting on artist's canvas panel measures 11 x 14 inches and is framed 13 1/2 x 16 1/2 inches.
It is signed J. Guzman in the lower left corner.
Juan "Pepe" Guzman is a contemporary California artist.
His strong use of color and light is influenced by both his Chilean background and his California roots.
His paintings are a mix of Impressionism, Expressionism, Fauve colors and a dash of California Plein Air.
It is in OUTSTANDING CONDITION, period.
All of my paintings by Juan Guzman were purchased directly by me from the artist himself and are guaranteed authentic unconditionally. Category: Fine Art:Paintings:Oil:N. America:American
This antique bronze figure of the Monkey God Hanuman measures 5 x 4 x 1 1/2 inches (13 x 10 x 3 cm).
It is in excellent condition.
This ancient bronze figure was most likely crafted in Northern India, Tibet or Nepal.
We are dating it to the 17th - 18th century, although it may actually be much earlier, based on it's stylistic similarities with small Pala period bronze figures.
This original CALIFORNIA SCHOOL MISSION OIL PAINTING on old artist's canvas panel board measures 18 by 24 inches, UNFRAMED.
It is approximately 60-70 years old and in very good condition except for one small tear (with no losses) in the canvas.
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 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. .