This original oil painting measures 16 by 24 inches (painting only) and 18 1/2 by 26 1/2 inches including the carved and gilded frame that it sits in.
It is signed J.R. Ashton in the lower left corner (see closeup photo). It is also signed, dated and titled: Woodland, Merri Creek, J.R. Ashton 1900 on a paper label on the reverse of the frame (see closeup photo).
It is in outstanding condition, period.
This is a museum quality, plein air painting in an impressionist style by one of the most renown Australian artists of the 19th-20th centuries.
Julian Rossi Ashton is listed in many published artists biographical references. His works are held by many national museums throughout the world. One museum in Australia (The AG in New South Wales ) has 17 of his paintings in their permanent collection. Many of his accomplishments are listed in the artist biography below. He also has auction estimates and records for his truly exceptional works that range up into six figures.
Earlier this year(2010), an Australian auction house sold a tiny(6 x 9 inches) and somewhat similar oil painting for $18,000.00 including added costs. this works out to about $275.00 per square inch. If we used a similar or comparable measure for evaluating our early, signed and titled work, we would have to ask over $100,000.00 for it. Every painting is a one of a kind entity and although we believe that our painting is actually better, That is only one small criteria that we used to determine it's value. _____________________________________________________________________
Artist Biography : Julian Rossi Ashton was an influential portrait and landscape artist, and teacher known for his vigorous support of the Australian Impressionist Heidelberg School to which his authority has been both powerful and extensive.
Ashton attended the West London School of Art and the Academie Julian in Paris. He arrived in Australia in 1878 when he was invited to Melbourne by newspaper owner David Syme to work as an illustrator for the Illustrated Australian News. Due to creative differences with the editorial staff, he was forced to resign and transfer to the Australasian Sketcher. When Edmund Smith of the Howard Shipping Line offered Ashton a free trip to Sydney in 1883 he began working as an illustrator for The Picturesque Atlas of Australia, and regularly contributed to the Sydney Bulletin Magazine.
Working in both oil paint and watercolor, Ashton used landscapes, portraits and figure composition as subjects in his works which were effectively complemented by his poignant style of precise draftsmanship and delicate atmospheric effects.
His artistic skills proved to help him greatly when teaching at the Art Society of New South Wales from 1892 to 1896 when as a teacher he stressed the importance of accuracy in drawing and the plein air style.
His influence over the Australian art world attracted a wide circle of followers including Charles Conder, Alfred James Daplyn and Albert Henry Fullwood, who often accompanied him to paint in the picturesque Hawkesbury River Region in New South Wales.
Upon completion of one of his most well-known works, Evening, Merri Creek (1882; Sydney, A.G. NSW) he claimed to have accomplished the first plein air landscape in Australia. His works were outstanding examples of the desolate majesty of the Australian landscape.
In 1887 Julian Ashton became President of the Art Society of New South Wales. He used his position to vigorously campaign for the cause of Australian art. Later, as a trustee of the Art Gallery of New South Wales he helped emerging Australian artists of the Impressionist or Heidelberg School. The decision to keep a permanent collection of these works owes much to Ashton’s influence. As a trustee he declared that not less than 500 pounds be spent annually on the purchase of Australian Art. He also encouraged Government purchases which made possible the NSW Society of Artists’ Traveling Scholarship and the foundation of the Education Department Gallery in Sydney in 1913.
Ashton organized the first overseas exhibition of Australian art which helped the artists of the Heidelberg School to be recognized as significant contributors to the international art world.
Ashton also established the Sydney Art School in 1896, later renamed the Julian Ashton Art School. This institution, since it's inception, has been a center of activity for many aspiring young artists. With such prominent artists as William Dobell, John Passmore, John Olsen and Brett Whiteley among those who attended, the art school became famous to generations of students and continues its rich heritage in educating art students today.
A highly regarded gentleman of Australian art until his death in 1942 Ashton continued to push for the cause of Australian Art in which his influence is still strongly felt today.
This original oil painting on stretched canvas and wooden stretchers measures 26 by 40 inches unframed.
It is signed Paine in the upper left portion of the canvas. It is also signed Louise Paine on the reverse and again on the stretchers bars.
Marie Louise Mattingly Paine is listed on Askart.com and Artprice.com as Marie Louise Paine. She is also listed in Who was Who in American Art and Davenport's Art Reference & Price Guide as M.L. Mattingly.
It dates circa 1920-35.
It is in excellent condition with the exception of one small triangular dent or puncture and a slight loss to the outside edge of the canvas where it wraps around the stretcher (see photo enlargements).
This set of 5 matching porcelain dishes with flying cranes pattern dates from the late 19th through the early 20th Century in China.
Each dish measures about 6 1/8 inches in diameter.
The dishes are in generally good condition with minor edge roughness or rim frits as often found with this type of delicate thin porcelain.
The pattern of six flying cranes is transfer printed rather than hand painted: a type of detailing that became popular in the 19th century although it originated slightly earlier than that. In China it was used in the early 20th Century (Republic Period) and it's use ended about WWII.
Price on Request
This original contemporary Chinese watercolor painting measures 17 by 26 inches (watercolor only) and about 21 by 65 inches, including the brocaded scroll it is mounted on.
It has the seal and signature of the artist, along with one collector's seal.
The subject is two small birds in a lotus pond.
It is in excellent condition and has very fine details. This is an outstanding example of Contemporary Chinese Art.
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 jade carving of a Chinese lion, Chimera or Fu dog sits at an alert posture on all four paws.
It has a split or bifurcated tail and stylized wings.
It measures 2 1/2 inches by 1 7/8 inches by 1 1/4 inch (57 mm x 49 mm x 31 mm).
It is carved from a piece of off white to celadon colored jade with natural striations running through it. There is a natural brown irregularity which runs from it's foot to it's ear on one side along with a small area of brown suffusion on it's flank.
(This is the fancy way of saying it has few areas of rust. Not a bad thing for a genuine antique jade carving.)
We are dating this one to the Qing Dynasty, but it may actually be much earlier.
Price on Request
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 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.
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This bronze figure of Jambhala (also known as Vaisravana) measures about 11.5 inches tall by 9 inches wide by 5 inches in depth (including the bronze lotus mount and lion that it sits on).
He is commonly considered to be the god of wealth and protector of the north, riding on a lion.
A mongoose sits on a lotus under his left foot.
His right hand holds a citron or lemon (a symbol of fertility).
The character of Jambhala or Vaisavana is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics, each of them has different functions and associated myths.
Although brought into East Asia as a Buddhist deity, Vaisravana has become a character in folk religion and has acquired an identity that is independent of the Buddhist tradition .
Vaisravana is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Mount Sumeru. He is the leader of all the yaksas who dwell on the Sumeru's slopes.
He is often portrayed with a yellow face.
He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth.
The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.
In Tibet, Vaisravana is considered a worldly dharmapala or protector of the Dharma, a member of the retinue of Ratnasambhava.
He is also known as the King of the North. As guardian of the north, he is often depicted on temple murals outside the main door.
He is also thought of as a god of wealth. As such, he is sometimes portrayed carrying a citron(a type of lemon), the fruit of the jambhara tree, a pun on another name of his, Jambhala . The fruit helps distinguish him iconically from depictions of Kuvera.
He is sometimes represented as corpulent and covered with jewels.
His mount is a snow lion.
This intricate bronze has much of it's original over painting remaining on the faces of both Jambala and his mount. There is a large amount of gilding applied to jeweled portions and accent details. This was a style of decoration that was popular during the later portion of the Ming Dynasty (1368-1644) and also occasionally during the early portion of the Qing Dynasty( 1644-1912).
We estimate this antique bronze to date to the 17th or 18th century, but it may be a bit earlier than that.
This antique bronze is in excellent condition, with one exception. It sits on three mount pins that extend into the sealed lotus base. One of these pins has broken off and is apparently roaming around within the base itself. Sitting on two pins rather than three has had no adverse effect on it's stability whatsoever.
This Chinese ceramic or porcelain charger measures 15-15.25 inches in diameter. It measures about 2.5 inches in depth.
It dates to the Qing Dynasty in China (1644-1911).
It is hand painted in the Famille Rose palette and design.
It has a black ground border with green scrolling leaves and foliage and rose to pink colored flowers.
The level of detail and the quality of the painting is exceptional.
It is in outstanding condition with no repairs or restoration. It has an amazing clear ring and there are no hidden or hairline cracks.
NOTE: It does have a small number of tiny flake losses to the painting. They are not significant and can be seen in the photographs- if you look closely. They do not detract from it's overall appearance.
This has been in our personal collection for well over thirty years.
These two apple green jade carvings are close enough in size, style and color to be loosely called a pair.
Each is carved on both sides with a happy Buddha figure also known as a Bodhai or Putai (see photos).
They each measure about 20mm x 25 mm x 5 mm in depth.
They are both apple green jade.
They are a close match, but not absolutely identical-with minor inclusions that differ slightly.
These date to about the middle of the 20th century in China.
They are in excellent condition with no damage or restoration-and drilled for hanging.
We don't believe these are dyed, based on where and when they were acquired, but we cannot guarantee that without testing them- which was not done. Instead we have priced them so that it won't matter either way. In addition, if we are correct and they aren't dyed, the buyer should be even more pleased with the purchase.
This forest green glazed Kochi ware vase with handles measures 12 cm tall by 12 cm in diameter by 19 cm wide (handle to handle). It most likely dates to the beginning of the 20th century. The glaze pools dark green in the crevices.
There are NO marks or signatures on this vase.
It is in excellent condition. No chips, cracks, hairlines, repairs, etc. It does have a few very light surface scratches to the glaze. There are four round felt pads on the bottom of the vase (see enlargement photos).
The glaze is even and complete. Any white spots or lines are from the flash and are NOT on the vase itself.
Japanese Awaji ware was influenced by or copied after, Chinese Cochin ware: a 16th century pottery originally produced in Southern China or Vietnam. It consisted primarily of green glazed wares with low relief decoration* (*Ceramic Art of Japan, Seattle Art Museum, Page 164)(CAJ).
Another theory about the origin of Cochi or Cochin ware is that it was carried from China to South East Asia (modern Day Vietnam and Thailand) during the Song or Yuan Dynasty . In 1206 the Mongolian tribes met and agreed to unite under Genghis Khan. In 1215 Genghis Khan captured Beijing. In 1279 Kublai Khan, his grandson, completed the Quest of China, ending the Song Dynasty. The Yuan dynasty that they created lasted from 1279 to 1368 (1368- 1644 A.D. Ming dynasty). Faced with Mongol rule artists, potters, merchants and exporters left China and set up their operations in Vietnam and Thailand. The Sung kiln and glaze technologies were transferred to Vietnam. Bat Trang (in Vietnam) prospered and continued to do so as the Ming dynasty maintained a closed-door policy until 1567. It was not until 1684 that the Chinese competed effectively with Vietnamese ceramics exporters. By this time Vietnamese pottery had achieved such popularity in Japan that even the Japanese potters produced ceramics in the Vietnamese style, which they called Cochi or Kochi ware. During the late Edo Period there was a fashion among Kyoto potters (including Eiraku Hozen, Ogata Kenzan, and Aoki Mokubei) to emulate the Chinese wares of the 16th century, especially the export blue and white, gosu-akae, and Kochi ware** (**CAJ-pg 158).
This original watercolor 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, print or copy of any kind.
This painting was part of a collection of original California watercolors that was in storage for decades. Most are signed, but many of the unsigned works are of comparable styles, period and quality to the signed ones.
A portion of the collection is represented by signed watercolors by Robert Landry. A few others, unsigned or with different names appear to have been painted by his students.
Check our other listings for additional offerings of similar signed and unsigned period watercolor paintings. We will be adding more as time permits.
(NOTE) We will be keeping many 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.
He 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.
Robert Landry's 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 artist's 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, along with other art websites.
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.
This original watercolor painting measures 15 by 22 inches.
It dates circa 1930-1950. It is from a regional style of painting found primarily in California, but not limited to California in both location and subject matter.
It is painted on heavy stamp watermarked French watercolor paper (see enlarged photo of stamp).
It is in excellent condition, unsigned and unframed.
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 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 oil painting on stretched canvas and wooden stretcher bars measures 24 by 30 inches unframed.
It is signed Dega Vierra in the lower left corner.
It is in outstanding condition, period.
We estimate the period on this original oil painting as circa 1940-1960.
the subject is an open landscape with beech trees in the foreground and a few homesteads in the distance.