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.
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.
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 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 old oil painting on heavy canvas measures 25 inches by 30 inches (image only) and 30 x 36 inches framed .
It is unsigned.
It is in excellent condition, with an overall crackle to the surface as should be expected from a painting between 180-220 years old .
Portraits of this type were very expensive at the time, so this would have been a wealthy or important person of the period.
The level of detail in the face is outstanding, so this was very likely painted by an accomplished artist, unlike the numerous folk artist painters who produced the two dimensional portraits so collectible (and expensive) today.
Inquire for Price
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 original, unsigned oil painting measures 24 by 36 inches unframed. It is painted on stretched canvas over wooden stretcher boards.
It is in excellent condition, except for one small paint loss chip measuring about 1/2 by 1 inch. See closeup photo.
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 or print of any kind.
This is one painting that was acquired as part of a collection of original California watercolors.
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.
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 auctions over the years, such as John Moran Auctions in Pasadena, California.
He is also listed on Askart.com and other art websites:
Original 1940-50s Watercolor: New England Village Landscape
This original watercolor painting measures 15 by 22 inches.
It dates circa 1940-1950.
It is from a regional style of painting found in, but not limited to California .
It is painted on heavy watercolor paper, in excellent condition, unsigned and unframed.
This original painting (it is NOT a giclee or print of any kind) is in the style of the early-mid 20th Century painters such as Robert Landry, Rex Brandt or Herbert Vincent Olsen.
This is one painting from a collection of California watercolor paintings that were originally purchased from the estate of a student of the well known and listed California artist, Robert Landry.
This painting is unsigned and we will leave it at that. Further research may very well allow for it to be more specifically described at a later date.
Robert Landry's work may be seen on askart .com, where auction records are available and examples of his signed work are offered for between $2000.00-$4000.00.
NOTE-WE ARE NOT OFFERING THIS WORK AS A SIGNED PAINTING OF ROBERT LANDRY. It is unsigned.
This ceramic elephant on a stand measures 6 3/4 inches tall by 6 inches wide by 3 inches in depth.
It dates from the first half of the 20th century.
Although the glaze is identical to certain Chinese glazes, it may be American or European in origin.
It may also be Chinese, but we don't believe so, based on it's design.
It is in excellent condition with the exception of two minor flecks to the glaze and two holes drilled in it's base. It may have been filled with sand at one time to serve as a bookend. If there was a mate to this piece, we've never seen it.
It is a charming little piece, with legitimate age - at least 75 years.
This glazed ceramic seated Buddha measures 7 inches tall by 6 1/2 inches wide by about 5 inches in depth.
It consists of a blue glaze over buff ceramic. The glaze is a deep sky blue ranging to shades of turquoise and pooling to black in the crevices. The bottom has a very fine mesh pattern embedded in it that resembles linen. There are no marks of any kind on it.
This seated figure dates to the Kangxi period of the Ching Dynasty (1644-1911) or possibly earlier.
It is in excellent condition, period.
This original contemporary Chinese ink and watercolor painting measures approximately 18 by 27 inches, and 21 by 61.5 inches, including the silk brocaded scroll it is mounted on.
It has the seal and signature of the artist on the upper left hand edge. It also has one collector's seal in the lower right corner.
The subject is a stylized and somewhat modern view of the waterfall with a cliff in the foreground and people viewing the falls from a small pavillion, with a substantial number of pink blossoms dangling precariously from the cliff below.
It is in excellent condition.
Additional information about Contemporary Chinese scroll paintings is available in our Newsletter by clicking on Newsletter on our Home page.
This original Chinese watercolor painting measures 20 by 42 inches (ink and watercolor painting only) and 24 by 71 inches, including the brocaded scroll it is mounted on.
It has the seal and signature of the artist, along with one or two additional seals which may be collector's seals.
The subject is a classic Chinese motif which includes people walking across bridges in a small village situated in an extensive mountain and waterfall landscape. There is also a temple on the highest point of the mountain which is likely their destination.
It dates from the late 20th Century.
It is in excellent condition.
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 original oil painting on stretched canvas measures 22 by 27 inches and sits in an original period frame measuring 27 by 32 inches.
It is signed PETER NIELSEN in the lower left corner.
Peter Nielsen has numerous biographical listings and auction records. A contemporary of William Wendt, Peter Nielsen's works have recently begun to move up in price towards the high prices realized by his peers.
THIS IS AN EXCELLENT CALIFORNIA PLEIN AIR PAINTING AND IT'S AUTHENTICITY IS GUARANTEED.
NOTE: Any white spots on the photos are merely bounce back from the flash. They are not on the painting itself. IT IS IN EXCELLENT CONDITION AND READY TO HANG.
This tinned brass covered box in the shape of a duck or goose measures 11 x 8 x 10 1/2 inches. It is covered with intricately hand tooled designs. It is in outstanding condition.
It is marked illegibly on the bottom and retains most of it's original tinning.
It dates circa 1880-1920. Most likely from the Far East, although there are some stylistic similarities with Russian or Balkan motifs on the wing.
This antique Chinese nephrite jade carving of a naturalistic motif, possibly a squash or gourd.
It measures 2 inches long by 1 1/8 inches tall by about 1/2 inch in depth.
It dates to the Qing Dynasty (1644-1911)in China and is carved from a pale green celadon jade.
This original oil painting on stretched canvas and stretcher boards measures 15 by 30 inches, not including the split bamboo frame that surrounds it.
The subject of this charming painting is two geishas on a bridge with a pagoda and flowers.
It was painted and signed, lower right, by Aubrey Leech.
Aubrey Leech was known as a New York lamp designer of motion lamps in the early 20th Century and is specifically associated with the Econolite Jr. Models.
These rotating and painted lamps were very popular from 1920-1960 and have even had a resurgence of collecting interest today.
This original painting is in very good condition with the exception of a few small losses along the right side.
We prefer payment by Paypal, but also accept other forms of payment .
All payments must clear completely prior to shipment.
Thank you for looking: William Brooks