A few examples of appraisal values for
BORDER FINE ARTS KEEPING UP LINKED EDITION

• LARGE CHINESE BRONZE FIGURE OF
  LARGE CHINESE BRONZE FIGURE OF WEI TUO,MING D. Large Chinese bronze figure of Wei Tuo,dated to Ming Dynasty, standing with the feet wide,the hands clasped in the anjalimudra in front of the chest, and the gaze directed a head,the sturdy body elaborately dressed in a long under robe with brocade borders, an armored knee length tunic, and a short silk jacket tied at the chest, as well as richly ornamented arm and shin guards, patterned boots, a bejeweled cap secured with a ribbon, and a bilowing sash framing the figure, the jacket sleeves and the hem of the underrobe similarly blowing in the wind, the round face with wide eyes drawn upwards at the corners, a short beard and mustache with a short tang extending from each foot,standing on a fixed cast bronze base H: 16 1/4"(41.2 cm) Provenance: purchased from Eastern Pacific Co., Hong Kong, prior 1987 please note this item is currently belong to a New York collector Catalogue Note: Weituo is a bodhisattva responsible for protecting the teachings of Buddhism and is the leader of the 24 celestial guardian deities, similar Ming Dynasty bronze figures include a pair in the collection of the Seattle Art Museum published in Hugo Munsterberg,Chinese Buddhist Bronzes, Rutland and Tokyo,1967,pg 93 and 94 Link to HD Natural Light photos:Click here for high resolution images Condition: in general good condition overall with surface wear and bronze patina throughout
• CHINESE ROSE MEDALLION PUNCH BOWL
  CHINESE ROSE MEDALLION PUNCH BOWL W/FIGURES,18TH C A Chinese export canton rose medallion punch bowl with figures, dating from the 18th century. A deep bowl features different shaped panels with figures in scenes, against gilt red geometric background, inside decorated with encircled 3 figures with floral border as lappets,bowl sits on a short stout foot. D. 10 3/8" (26.2 cm), H. 4 3/8" (11 cm) Provenance: purchased from Polly Latham Asian art in Boston, MA Link to HD Natural Light photos:Click here for high resolution images Condition: in overall good condition with two faint hairline to the rim
• LARGE CASTELLI ISTORIATO MAIOLICA
  LARGE CASTELLI ISTORIATO MAIOLICA CHARGER 1648-56, PROBABLY PAINTED BY FRANCESCO GRUE the centre painted with the martyrdom of Saint Sebastian, the broad scrolling foliate border painted with flowers, birds and putti, centred above by a coat of arms for Francesco Massucci, Bishop of Penne and Atri 1648-5641.5cm diameterProvenance: A paper label to the reserve is inscribed 'Property of J.J. Stonborough, From the Baron von Lana Collection'.Lyon and Turnbull would like to thank Celia Curnow for researching and cataloguing this lot.Note: The probable print source for this scene is an engraving by Jan Muller (1571-1628),published by Harmen Jansz. Muller (c. 1540–1617) of about 1600[1] after the oil painting by Hans von Aachen (1552-1615), (National Museum, Warsaw, Poland).According to Luciana Arbace[2] these arms for Francesco Massucciwere first identified by Franco Battistella in 1989. Carola Fiocco and Gabriella Gherardi recently document four Castelli pieces decorated with this coat of arms.[3]This lot is now the fifth known piece bearing this coat of arms. The decoration on the the plate stylistically relates to one of the four previously documented pieces which is decorated with the subject of Scipio Ordering the Beheading of Prisoners, now in the TERCAS Collection Teramo, signed on the reverse with the initials F.G.P.[4][1] Metropolitan Museum of Art (Accession Number:51.501.6495)Jan Muller | Martyrdom of St. Sebastian | The Metropolitan Museum of Art (metmuseum.org) for downloadable link[2] Arbace, Luciana. Fondazione Raffaelle Paparella Treccia e Margherita Devlet 1: Francesco Grue (1618-73). La Maiolica a Castelli d’Abruzzo dal Compendiario all’Istoriato, 2000, fig100, p116-9 and Note 42.[3] Fiocco, Carola, Gherardi, Gabriella. “L’araldica dei Vescovi Massucci e Raffaelli della Diocesi di Penne e Atri nella maiolica di Castelli D’Abruzzo.” InLa Ceramica nello scaffale, Fondazione Cassa Risparmio di Fano, 2018, p63-8 and note 3. https://www.maiolicaitaliana.com/pubblicazioni/carola-fiocco-gabriella-gherardi/araldica-dei-vescovi-massucci/[4] Moccia, Lello. Mostra dell’ antica maiolica di Castelli D’Abruzzo,1965, cat29, tav XXV, p28.
• 1960S EDDIE ARNING OIL PASTEL, KENT
  1960S EDDIE ARNING OIL PASTEL, KENT CIGARETTES, OUTSIDE...Eddie Arning (American, 1898-1993). Oil pastel on paper, ca. 1960s. A large oil pastel drawing by Outsider Artist Eddie Arning inspired by advertisements for Kent cigarettes. Arning has a man who is smoking a cigarette while pulling a wheelbarrow and a woman who is holding a plant, perhaps a tobacco plant, beside an oversized box of Kent cigarettes. The scene is contextualized with the following handwritten inscription, "to a Smoker Happiness is the taste of Kent …. More taste … fine tobacco." Arning covered the background in golden yellow with a bold green and brick red border. Both figures are dressed in colorful garb and white gloves; the gentleman wears a red and yellow gingham shirt, an orange neckerchief, and blue jeans with red socks, brown shoes, and a green cap; the lady wears a sky blue dress, and the flower pot she holds is cotton candy pink, just like her complexion. The piece is set in a custom frame under glass. Size: 16" L x 21.875" W (40.6 cm x 55.6 cm) Size of frame: 25.3" L x 31.375" W (64.3 cm x 79.7 cm) According to the Smithsonian American Art Museum, "Arning, like many self-taught artists, used magazine advertisements and illustrations as models or inspiration for his work. Nonetheless his work is highly individual; the link with the original source is often difficult to discern. Most of the print sources for Arning’s drawings have been saved. Institutionalized for most of his adult life, Arning was introduced to drawing in 1964 by a hospital worker who supplied him with materials. Arning’s medium from 1964 to 1969 was Crayolas. In 1969, he switched to oil pastels, or 'Cray-pas.' Regardless of his media, Arning always worked in the same manner, covering the entire surface of the paper with dense strokes of color. He stopped drawing in 1974; a year after leaving his nursing home." Source: Lynda Roscoe Hartigan "Made with Passion: The Hemphill Folk Art Collection in the National Museum of American Art" (Washington, D.C. and London: National Museum of American Art with the Smithsonian Institution Press, 1990) An Eddie Arning craypas drawing hammered for $4,400 at Slotkin Folk Art Auction on April 24, 2021 - lot #178. Arning's work is in the permanent collections of many respected museums including the Museum of Fine Arts in Boston, the Smithsonian American Art Museum, the Milwaukee Art Museum, and the American Folk Art Museum in New York. Provenance: J Compton Gallery, Wimberley, Texas, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #172738 Condition: This artwork has not been examined outside the frame but appears to be in very nice condition save a diagonal crease mark at the upper left corner. Minor puncture to gallery paper on verso that does not impact the artwork. The imagery as well as the text are vivid and legible. The frame is also very nice save slight scuffs here and there. Wired for suspension and ready to display.
• THE MILDMAY SERVICE – A PAIR OF
  THE MILDMAY SERVICE – A PAIR OF GEORGE I BRITANNIA STANDARD DINNER PLATES Paul de Lamerie, London 1725, each of circular outline with a moulded border, engraved with armorial and crest to border, the reverse engraved with numbers 14 and 34 and with scratch weights 20:18 and 20:15 respectively(2)Diameter: 24cm, combined weight: 35ozProvenance:The Estate of Ray Slater Blakeman; Christie's, New York, 15 October 1985, lot 313 and 314 with Sandra Lipton, London, May 1989.Sotheby’s Auction, 17th November 2010, Fine Furniture, Tapestries, Silver, Ceramics, Clocks and Rugs, Lot 15Heraldry:The arms are those of Mildmay quartering Fairfax with Schomberg in pretence for Benjamin Mildmay, 19th Baron FitzWalter and 1st Earl FitzWalter.Note:Benjamin Mildmay, Baron and later Earl FitzWalter (1672-1756) The rapid social ascendancy of the 1st Earl of FitzWalter is an example of the nature of Georgian wealth and is visible in his commissions and the alterations to his stately home, Moulsham Hall in Essex.In 1724, at the age of 51, Mildmay married the widowed Lady Frederica Susanna, daughter of the 3rd Duke of Schomberg, who was famed for his role in the Battle of the Boyne. This consequently gave Mildmay access to Schomberg House, on Pall Mall, and therefore also to the heart of London society. Soon after, in 1728 he inherited the Barony of FitzWalter from his elder brother, who had died without issue, and then in 1730 he was given the title of Viscount Hardwich, in the county of Essex, and Earl FitzWalter; all in a mere six years.Moulsham Hall in Essex, formed part of the estate he inherited from his late brother. The hall was originally built in 1540 by Thomas Mildmay, and it would remain in the family for over 300 years. Indeed, it was esteemed enough to host Elizabeth I for four days on her annual progress in 1579, before being refashioned in 1591 into a grader Tudor home.In 1728 as soon as Mildmay inherited the property, he, along with the architect Giacomo Leoni, transformed the house into a Neo-Classical mansion in the Palladian style. Together they were extremely methodical about keeping records for each purchase and transaction. These records are now archival material held with Essex record office, and they show the wealth and investment for both the exterior and interior of the house.Mildmay himself had established a successful government career, from 1720-28, he was Commissioner of the Excise and was later promoted to Treasurer of the Household in 1737. The fusion of his career, his inheritance and his marriage meant that Mildmay was able to commission only the best and most fashionable craftsmen of the time.In 1725, he ordered ‘12 Dishes & 3 Dozen of plates’ from the well-respected Huguenot silversmith Paul de Lamerie, as detailed in the Essex Record office. It is most likely that these plates, dated 1725, were commissioned to mark his marriage with the engraved armorials enforcing this. The Essex Record Office hold invaluable account details and show that a further service of dinner plates was commissioned in 1737 and this is most likely linked to his appointment as Treasurer of the Household as he had an entitlement of 1000oz of plate for his own use from the Jewel House.Furnishing one’s abode with plate was the ultimate Georgian display of wealth, contemporary peers of Mildmay also chose to display their wealth by investing in plate. George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years also invested in a silver service and also chose Paul de Lamerie to craft his wares. Lyon & Turnbull offered one serving dish from his service in March of 2022, Lot 130, achieving £7,800.De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his mark in 1712. The continent was to continue to inspire his work, from the 1730s he was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided by his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commissioned a wine cistern in 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold.Mildmay died without issue, leaving the house and contents with no viable heir. The house was later occupied by defensive forces fearing an invasion during the Napoleonic Wars and eventually demolished, but the furnishings are unaccounted for. Whenever items do appear at auction, there is always much anticipation. Twelve similar plates, also marked for 1725, are currently housed in the Sterling and Francine Clark Art Institute in Massachusetts (acquisition number 1955.405).
• (3) GENTS SOUTHWEST SILVER &
  (3) GENTS SOUTHWEST SILVER & TURQUOISE RING GROUP(lot of 3) Gents Southwest silver and turquoise rings: (1) having oval stone within scalloped bezel, stamped sterling, approx size 12; (1) silver (content unknown) ring with green free form stone, beads to one size, serrated bezel within rope border, wide stamped sides fold over thin shank, size 10.5; (1) silver (content unknown) ring, angular stone in smooth bezel, link border, approx size 11.5; 96.2 grams (inclusive of all materials) **Provenance: The estate of a true Texas ambassador, Kevin Williamson (Austin, TX 1962-2021) was a charismatic chef and founder of Austin’s iconic restaurant Ranch 616 and the creator of the modern cocktail Ranch Water. Renowned for his eclectic, visionary nature towards art, furniture and jewelry**
• PAIR OF CHINESE BLUE & WHITE VASES,
  PAIR OF CHINESE BLUE & WHITE VASES, KANGXI PERIOD A pair of Chinese blue and white floral vases, dating from the Kangxi period (1661-1722). Vases with oval bodies tapering to elegant curved necks and flared mouths. Designs on body with 3 kinds of flowers and blossoming tree. scrolling flowers border at the shoulder H. 10 3/4" (27.4 cm) Provenance: Christie's New York, Nov 8th, 2006 ,sale 1749, Lot 59, Arts d' Autrefois,Garanti ancien, Paris, France; please note, current owner purchased from Sotheby's New York Link to HD Natural Light photos:Click here for high resolution imagesCondition: both in good condition with minor chips and glaze flake to the mouth rim, firing imperfection
• JEWELRY: THIRTEEN ANTIQUE AND
  JEWELRY: THIRTEEN ANTIQUE AND VINTAGE PIECES OF GOLD, SILVER, ENAMEL, ETC., PIECES INCLUDE: ONE GRADUATED FRESHWATER PEARL NECKLACE WITH 10K WHITE GOLD FILIGREE FISHHOOK CLASP, 20" L.; ONE STERLING SILVER COIN PURSE W...JEWELRY: Thirteen antique and vintage pieces of gold, silver, enamel, etc., pieces include: one graduated freshwater pearl necklace with 10K white gold filigree fishhook clasp, 20" l.; one sterling silver coin purse with compact, monogrammed "ED" to cover, chain tested silver, interior stamped sterling and includes two coin slots and powder will with cover to one side and money clip to other, one coin slot damaged and not set in place, case: 3 5/8" l. (Total Weight including any non-silver parts: 4.7 ozt.); pendant necklace tested 14K gold and inset with garnet type stone including a tear-drop shaped drop, inscribed on reverse of pendant and dated "1864", accompanying hand-written note, 14" l. (7 grams including all non-gold parts); high school ring tested 14K with enameled letters "HPHS", child size, (3.3 grams); 10K yellow gold science/ medical pin, stamped 10K, 1/2" diam. (2 grams); silver link bracelet with faceted citrine colored stones, many abraded, 7" l. (weight including stones: 0.3 ozt. tw.); a pink guilloche enamel and gold-plate locket necklace, 20 1/2" l.; hand-carved coral pin mounted on gold-plate base and stem, some loss to coral, 1 7/8" l.; and four pairs of cufflinks: two pairs of "F &B" enamel on sterling, one lavender guilloche with black and white enamel borders, the second an Art Deco type with black and white pinstripe center and white border; pair of abalone cufflinks by Krementz; and a pair of gold-plated "Talon Grip" cufflinks, all pieces with wear consistent with age and use, sold as found. [Total weights including any non-gold/silver parts: 5.4 ozt. tw. of silver; 10.3 grams of 14K; 2 grams of 10K] [NOTE: ALL PROCEEDS ARE TO BENEFIT HARTFORD CHARITIES.]
• ROMAN 15K+ GOLD PENDANT CRESCENT
  ROMAN 15K+ GOLD PENDANT CRESCENT SHAPED, 8.5 GRoman, Hellenistic to Imperial Period, ca. 1st century BDE to 1st century CE. A gorgeous 15K+ gold (72% gold, equivalent to just under 18K) pendant of an overall crescent moon form adorned with granules and a filigree border. At the center of the crescent is a large granule flanked by two granules to either side that descend in size. Gold wire outlines the inner border and is accentuated by and additional two granules of a petite size at the pointed ends, and the generously filigreed border is punctuated by two more granules of a size comparable to the centermost granule, making a total of nine granules. Finally, a ridged suspension loop is underscored by a granulated band. Size of pendant: 8.6" W x 1.55" H (21.8 cm x 3.9 cm); cord is: 19" L (48.3 cm), total weight: 8.5 grams. This pendant is replete with impressive artistry, technique, and symbolic meaning. The crescent moon shape was associated with Luna, the divine embodiment of the moon usually depicted in Roman art paired with the Sun and driving a four-horse chariot known as a quadriga. Lunar motifs are also linked with the Roman goddesses Diana and Juno. Provenance: private New York, USA collection; ex-private New York, USA collection. All items legal to buy/sell under U.S. Statute covering cultural collection; ex-private New York, USA Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #155510 Condition: Gold has been cleaned but has some light deposits in lower profile areas. Very slight bending to form but overall in excellent condition. Includes a modern cord with silver-plated clasp to make it wearable.
• An Estate Art Deco Platinum Diamond
  An Estate Art Deco Platinum Diamond and Sapphire Bracelet ca. 1930's Platinum articulated bracelet with a loose ribbon design in the center featuring an Asscher cut diamond estimated weight 2.26 ct set into a bezel mounting bordered on each side with square cut sapphires the design is completed with a series of links set with six diamonds and two French cut sapphires one of the links on each side and on clasp is turned 90 degrees for additional interest; total estimated gemstone weight is approx. 8.56 ct including the center; overall weight 27.7 gm. Length 7"L.
• ? PAIR OF GEORGE III SATINWOOD
  ? PAIR OF GEORGE III SATINWOOD AND MARQUETRY DEMILUNE CONSOLE TABLES, ATTRIBUTED TO THOMAS CHIPPENDALE CIRCA 1760 the semi-elliptical tops inlaid with fan medallions and wide bands of leaves and anthemion, enclosed by narrow borders of anthemion and leaves separated by inlaid dot banding, the edges in Greek key, above friezes inlaid with conjoined floral paterae between carved leaf tip moulding and Vitruvian scroll inlay, raised on slender square tapering legs headed by carved elliptical paterae and inlaid with pendant husk trails ending in crisp laurel leaf carved square toupie feet(2)115cm wide, 91cm high, 48cm highProvenance:Purchased Arthur S. Vernay, Inc., New York, 1920sThe Collection of Mrs. John Rovensky, sold Sotheby's New York, 26 January 1957, lot 632Sotheby's London, 3 June 1977, lot 137, where purchased by the vendor's family and thence by descentNote:This pair of demilune console tables with their fine inlay and marquetry details demonstrate the Neoclassical influence gaining in popularity in the second half of the 18th century. While deceptively simple in appearance, they are of exceptional quality and workmanship. Utilising a design vocabulary based on Greek and Roman antiquity, they eschew the extravagant excesses of the Rococo. Gone are the curvilinear outlines and scrolling embellishments, replaced with ordered repetition and symmetry. The tables bear design similarities to the famed library table by Thomas Chippendale, made for Harewood House, and commissioned by Edwin Lascelles, 1st Baron Harewood, and now in the collection at Temple Newsam. What is most directly related is the marquetry design of the frieze, with its repeat pattern of linked paterae, interspersed with further elliptical carved paterae. In the Parke-Bernet Rovensky sale catalogue of 1957, the tables are listed as ‘parcel-gilded’, however there is no mention of gilding when they re-emerge for sale at Sotheby’s, London, twenty years later. An examination of the black and white image from the 1957 catalogue shows what appears to be gilding on the carved feet and the carved paterae heading the legs. When the tables appeared at Sotheby’s in 1977, they were then attributed to Chippendale, an attribution that remains today.The New York socialite and heiress Mrs. Mae Manwaring Plant Hayward Rovensky [née Caldwell] was married four times, and was one of the richest women in the United States, with homes in New York City; Newport, Rhode Island; Palm Beach, Florida; Hartford, Connecticut; and Groton, New York. A woman of considerable charm, wit, and beauty, she famously persuaded her second husband Morton F. Plant, to negotiate the sale of their lavish Italian Renaissance Revival mansion on East 52nd Street and Fifth Avenue with Pierre Cartier for a rare double strand of one hundred and twenty-eight natural pearls. Maisie, as she was called, and Morton moved to their new, larger Italian Renaissance Revival mansion on East 89th Street and Fifth Avenue, and Cartier turned the 52nd Street mansion into the Cartier New York headquarters and showroom, which it remains to this day.As well as a lover of fine jewels, Mrs. Rovensky was a collector of the fine and decorative arts, and would have been well-known to all the top New York dealers. When she died in 1956, Parke-Bernet conducted the sale of her estate over two weeks in January 1957, with specialist catalogues dedicated to paintings, jewellery, silver, furniture, porcelain, and works of art. The news of her death, and the auction of her estate, was covered in Time magazine, in a story entitled "At The End Of An Avenue".The present pair of tables were offered in Part Two of the sale, which included the contents of Clarendon Court, Newport, and the final portion of the collection from 1051 Fifth Avenue, New York. Sold as lot 632, they are listed in the sale catalogue as a pair of ‘Hepplewhite’ demilune consoles, having been purchased from Arthur S. Vernay, Inc. New York. Based on the order of the sale and catalogue notes, it is believed the tables came from the Fifth Avenue mansion.Arthur Stannard Vernay (1877-1960) was one of the most successful and influential dealers in English antiques in the United States in the first decades of the 20th century. An Englishman, Vernay was born Arthur Avant but changed his name and came to America as a young man in 1904. By 1906 he had opened his first shop in New York City, called Arthur S. Vernay, Inc. on East 45th Street, near Madison Avenue. From the 1920s he had moved premises to East 54th Street, as well as having a shop in London at 217 Piccadilly, and a summer shop in Newport, Rhode Island. Catering to an elite clientele of New York clients, his roster of customers reads like a who’s who of early 20th century society with names like Vanderbilt, Guggenheim, and Morgan among others. Vernay retired from his eponymous antiques business in 1942, but it continued to operate, undergoing a name change in 1978 to Vernay & Jussel, and continued until 1994, when it ceased trading. Vernay’s extensive sales archives are in the Winterthur library.Literature:Gilbert, Christopher The Life and Work of Thomas Chippendale, pp. 201-2, 215Mauchline, Mary Harewood House, One of the Treasure Houses of Britain, pp. 86-103Vernay, Arthur Stannard Decorations and English Interiors, 1927
• HERMES BALLADE DE HEIAN SILK
  HERMES BALLADE DE HEIAN SILK SCARFwith pink border, geometric design and scenes inspired by Heian period Japan, titled in upper center, marked "Hermes - Paris" on bottom center, signed "N. Hidaka" in right column, tag reads "Made in France/100% silk/dry clean only", with Hermes box and scarf catalog, 34-1/2 x 35 in. Note: "Composed with all the delicacy of harmonious music, the carr‚ expresses the elegance of the Heian period (from the eighth to the twelfth century), a fruitful era for the arts in Japan. Bordered by a traditional geometric design, the central tableau and the accompanying scenes pick up themes recurrent in Japanese prints: Mount Fuji in its clouds, travelers on horseback, in palanquins or in boats, accompanied by porters... Four medallions link the stylized flowers, patterns and typical fans found on kimonos. The abundance of cherry-trees, weeping willows, peonies and peach blossom, recalls the refined settings of Japanese gardens." Provenance: Private Collection, Greenville, South Carolina Condition: overall good condition, very slight fraying, stains, and pulling
• An Arts and Crafts Aquamarine
  An Arts and Crafts Aquamarine Gold and Enamel Necklace 14k yellow gold necklace features a three-section pendant lower part set with a mixed cut aquamarine measuring 22.2mm x 14.7mm x 9.86mm estimated weight 19.40 ct trimmed with a seed pearl border and further decorated in black and whtie enameling surmounted by a sections set with a trillion cut aquamarine 7.7mm x 7.35mm x 4.6mm; 16 inch long suspended from a chain featuring navette shape links decorated in black and translucent turquoise enamel; overall weight 19.9 gm.
• INDIAN PETRIFIED BONE MIRROR HANDLE
  INDIAN PETRIFIED BONE MIRROR HANDLE - DANCERS, DWARF**Originally Listed At $700** Ancient South Asia, eastern India, Bengal, Chandraketugarh, ca. 200 BCE to 100 BCE. A lovely intricately hand-carved mirror handle of petrified bone of a bovine or ungulate depicting two bare-breasted women wearing lungis and a demon-like dwarf. Both women exhibit voluptuous hourglass figures, almond-shaped eyes, flat noses, pursed bow lips, and are heavily adorned in large circular earrings, hair ornaments, sizable collar necklaces, and multiple layers of beaded bangles. The standing woman wears a translucent lungi revealing her genitalia and embellished with registers of jewels at her hips as she holds one hand to her stomach and links the other dancer. Placing her hands atop his head, the second woman sits on the shoulders of the dwarf who presents with a bulbous belly, petaloid ears, and striated face. Both wear striped lungis. Due to the hedonistic nature of this procession, this dwarf may be Apasmara or Muyalaka, a Hindu dwarf demon who represents spiritual ignorance and nonsensical speech, while the women may be apsaras, cloud and water spirits, or yakshinis, grove spirits. The piece is rich with decorative elements; a border of stars flanks the scene above and below as a column of abstract vegetal motifs separates the two women on one side. A sensuous scene of frivolity from ancient India! Size: 1" W x 3.65" H (2.5 cm x 9.3 cm); 4.125" H (10.5 cm) on included custom stand. Provenance: private Hawaii, USA collection; ex Hirsch collection, Germany All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #156974 Condition: Repaired from a few large pieces, with light adhesive residue and a couple of stable hairline fissures along break lines. Minor nicks to peripheries and figures, with light softening to some finer details, and darkening to bone color commensurate with age. Light earthen deposits in some recessed details.
• SIGNED TONY ABEYTA MIXED MEDIA -
  SIGNED TONY ABEYTA MIXED MEDIA - "MORNING STAR PEOPLE"Tony Abeyta (Navajo, b. 1965). "Morning Star People" mixed media on paper, n.d. Signed on lower right. "Morning Star People" is a captivating mixed media composition by Navajo artist Tony Abeyta. The Navajo associate the morning star with their predecessors, linking the star's symbolism to spirits, elders, and ancestors. Abeyta presents a central star with expressive visages that feature lozenge-shaped eyes, straight noses, and circular mouths, all crowned by magnificent feathered headdresses, hovering at each point of the star, as if watching over their people. In addition, Abeyta rendered the heads and star in bas relief, creating a tactile effect. Crescent moons float between the ancestral heads, and cloudlike forms connect the visages. Finally, a gorgeous background of soft periwinkle complementing the bold shades of turquoise and chocolate as well as a decorative border of rhythmic slate grey gestural marks further imbue the piece with a mesmerizing quality. All is set behind glass in an attractive custom frame. Size: 34.375" L x 29.125" W (87.3 cm x 74 cm) Size: 42.25" L x 36.75" W (107.3 cm x 93.3 cm) Artist Biography: "Tony Abeyta is a Dine (Navajo) contemporary artist working in mixed media paintings. A graduate of New York University with an honorary doctorate from the Institute of American Indian Arts in Santa Fe, Tony was the 2012 recipient of the New Mexico Governor's Excellence in the Arts award, and recognized as a Native treasure by the Museum of Indian Arts & Culture. The youngest of three children, he was born into a distinguished family of Dine artists that includes his late sisters, Pablita and Elizabeth, and his late parents, Narciso and Sylvia Shipley Abeyta. Together, his relatives have excelled in painting, pottery, weaving, and silversmithing. Tony, an artist of international acclaim, works in mediums that include charcoal, oil, acrylic, and silversmithing. Tony currently works in both Santa Fe, NM and Berkeley, CA. Tony's work is included in the Smithsonian's National Museum of the American Indian, Boston Fine Arts Museum, Denver Art Museum, Autry Museum in Los Angeles, CA, as well as in many other public & private collections." (Tony Abeyta website) Provenance: private Albuquerque, New Mexico, USA collection; ex-Hugh K. Terrell estate, representative Priscilla T. Bisher All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #175418 Condition: Signed by the artist on lower right. Mounted under glass in an attractive custom frame. Artwork has not been examined outside the frame but appears to be excellent overall. Frame is museum quality and also excellent save one tiny trace of sticker residue at upper right. Fit with suspension wire and ready to display. A gallery label on the verso lists "Morning Star People" for $4500.
• PAIR OF CHINESE BLUE & WHITE
  PAIR OF CHINESE BLUE & WHITE DISHES,KANGXI PERIOD A pair of Chinese blue and white dishes with figures. Each dish has lobbed rim edge, features a child and a robed woman outdoors, with the child being very animated. the outer border features12 flowers. Six character mark on each base within double circle. Sticker on recessed base: J.A. N. Fine Art, London, Kangxi period. D. 6 1/4" (15.8 cm) Provenance: purchased from J.A.N. Fine Art, London, comes with original receipt Link to HD Natural Light photos:Click here for high resolution images Condition: both in good condition with one faint hairline to the rim on each
• COSTUME JEWELRY: MARENA HANDARBEIT,
  COSTUME JEWELRY: MARENA HANDARBEIT, MMA, PERUZZI, ETC., TWELVE PIECES OF BETTER COSTUME JEWELRY, ITEMS OF INTEREST INCLUDE: MOTHER O...COSTUME JEWELRY: Marena Handarbeit, MMA, Peruzzi, etc., twelve pieces of better costume jewelry, items of interest include: mother of pearl brooch/ pendant with mounted seed pearls, signed verso, 1 3/4" h. x 2 1/4" w.; two scarab themed goldtone link bracelets; one MMA (Metropolitan Museum of Art) hat pin with light blue and dark blue enameled lily decoration; one pin with faceted purple stone at center; two sterling bangles, one Italian with raised dot exterior border and signed "Peruzzi, Made in Italy", other a hollow tube design, also marked sterling; third bangle tested silver, etched floral decoration to one side; silvertone and black bead link bracelet, loose parts; one gold tone knot clip; one blue bead necklace with goldtone clasp; and one blue bead bracelet with "MK" on silvertone attached plaque, all pieces with wear consistent with age and use, sold as is.