Catalog (164)

Charles François Daubigny landscape oil on panel signed lower left presented in a quality gold leaf frame. Panel measures 10.5"W x 7.75"H. overall framed size 16.0" W x 13.0" H x 2.5" D A French landscapist of the Barbizon School, Charles-Francois Daubigny was born in 1817 in Paris. In 1835, having received a small scholarship, he went to Italy, where he spent an unproductive year. He earned a living by doing engravings for books and regularly sent to the Salon peaceful landscapes, painted in a highly detailed style, with great respect for nature.

A beautiful colorful post impressionist oil painting by Charles Camoin (1879 - 1965). Oil on canvas signed lower right and noted painted in Paris. Born in Marseille in 1879, Camoin studied firstly in his home city before moving to Paris in the 1890s to study under the influential and controversial Symbolist painter Gustave Moreau at the Ecole des Beaux-Arts. Here he met some of the artists who would go on to define French painting in the early part of the 20th century, including Henri Matisse, Albert Marquet, Henri Manguin, Andre Derain and Maurice de Vlaminck. However, it was a move to the south of France in 1900 which was instrumental in defining Camoin's artistic career. Following in the footsteps of Van Gogh and Gauguin, he painted many of the places that they had frequented and, moving to Aix-en- Provence, he met Cezanne whose influence was key in developing Camoin's colourist style.

An original oil painting on board by Cecil C. Bell signed lower center and on reverse. Measuring 22 x 30 inches. The painting of a New York nocturne featuring a Westside cowboy of the The New York central line. West Side Cowboys were employed by the City to ride in front of street-level freight trains and wave pedestrians out of the way. This was the City’s stopgap measure to stop the carnage on what was known as “Death Avenue.” The Cowboys were phased out after the High Line was built, raising train traffic to the third story of industrial buildings.

Biography

Bell was born in Seattle, WA in 1906, and he later moved to Staten Island, NY. It was in New York City where he found the inspiration for his work, the city and its people, focusing on daily life subjects. He studied at the Art Institute of Chicago and the Art Students League with John Sloan. Exhibition venues include the Corcoran Gallery, Museum of Modern Art and the Tacoma Art Museum.

Carl Milles Danish (1875-1955) Leaping Deer bronze sculpture. A fine example of this artists work. In excellent condition measuring 13 inches tall cast at Lrasmussen foundry Copenhagen. Carl Milles dominated the Swedish art world. He received many public commissions in Sweden and abroad. He was a monumental sculptor who received many public art commissions at a time when many cities expanded and were modernised.

A fine original Early California Landscape By Carl Jonnevold oil on canvas signed lower right in original frame and in excellent condition measuring approx. 12 x 16

Biography

Landscape painter. Born in Norway on June 1, 1856. Jonnevold came to the U.S. in the 1880s and is known to have painted in the Northwest before moving to California in 1887. Settling in San Francisco, he maintained a studio at 1617 California Street. He was a self-taught painter except for brief study in the galleries of Paris in 1908. While in France, he was influenced by the Barbizon painters and their dark palette. Returning to California, he continued to paint the beauty of northern California in the Barbizon style. Often working in late afternoon when shadow prevails, he produced hundreds of attractive tree and meadow scenes which he exhibited in local galleries. By the time of the stock market crash in 1929, Jonnevold was poverty stricken and living alone at his small studio at 560 Kearny Street. In that year he was sentenced to two months in jail for aiming a gun at his landlord. Jonnevold disappeared from San Francisco about 1930. A letter at the Oakland Museum gives his date of death as June 9, 1955 but no location. His works have gained renewed respect in recent years and are highly sought after by collectors. Exhibitions: Calif. State Fair, 1899-1902 (awards); Mechanics' Inst. (SF), 1897; SFAA, 1908-12; Alaska-Yukon Expo (Seattle), 1909 (bronze medal); Kanst Gallery (LA), 1915. In: Oakland Museum; CHS; De Young Museum. Source: Edan Hughes,

This image of the Buddha is in a naturalistic style most probably prompted by colonial influences. It has been carved in wood, lacquered and gilded and inset with glass fragments backed with coloured foil (known as hman-zi- shwei-cha) and overlaid thayo work, a process whereby thin, rolled strands of lacquer and ash putty are applied in patterns. The image is in the Mandalay style and shows the Buddha seated in vajrasana, with his right hand gesturing to the earth in the bhumisparsa mudra position. It is probably the most characteristic form of religious sculpture in Burma (Lowry, 1974). The posture, known as 'calling the earth to witness', represents the moment when the Buddha was seated in meditation under the Bodhi tree during the evening before his enlightenment. Mara asked him to name anyone who would give evidence that he had given alms, and the Buddha motioned to the earth with his right hand and said that the earth would bear witness to that - in a previous incarnation when he was known as Vessantara, he had given alms to such an extent that the earth had begun to quake. The image shows the Buddha seated on a low platform or socle and dressed in ample robes with naturalistic folds and pleating. Earlier images of the Buddha across Southeast Asia tended to show the monastic robes in a much more schematic way. The eyes have been inlaid with a white material, usually described as mother-of-pearl, with black pupils probably painted on with black lacquer. The cranial protuberance (unisha) is rounded and the head decorated with tight curls in low relief. Unusually, the curls are arrayed in a pattern on the back of the head, rather than being in a more typical, somewhat random manner. The image has been lacquered with black lacquer and then gilded. Overall, the image is very sculptural and decorative: the naturalistic flow of the robes, and the refinement of the face, are particularly pleasing.37"T x 32"W x 24"D. In good antique condition some minor losses and age cracking.

Original pencil drawing a portrait of a man by Balthasar Klossowski de Rola, signed monogram lower right. Best known as Balthus, a French painter in the second half of the 20th century, famous for his somewhat disturbing paintings of pubescent girls and for his association with some of the greats in modern art, including Pablo Picasso and Salvador Dali. Balthus painted figures and landscapes in a more traditional style than his cubist and surrealist contemporaries, and throughout his career was supported primarily by other artists and dealers. He claimed to be a count, but he was also known to be a prankster who fabricated biographical details while keeping his real life story a mystery. Image site measures 8 x 10 Inches overall paper 11 x 17 inches. Minor staining top left. Provenance a private collection and sold at Sotheby's lot 7767, Impressionist and Modern Art, New York, Thursday, February 21, 2002

Original drawing a portrait of a man possibly a self portrait by Balthasar Klossowski de Rola, signed monogram lower right. Best known as Balthus, a French painter in the second half of the 20th century, famous for his somewhat disturbing paintings of pubescent girls and for his association with some of the greats in modern art, including Pablo Picasso and Salvador Dali. Balthus painted figures and landscapes in a more traditional style than his cubist and surrealist contemporaries, and throughout his career was supported primarily by other artists and dealers. He claimed to be a count, but he was also known to be a prankster who fabricated biographical details while keeping his real life story a mystery. Image site measures 8 x 10 Inches overall paper 11 x 17 inches. Minor staining top left. Provenance a private collection and Sotheby's lot 7767, Impressionist and Modern Art, New York, Thursday, February 21, 2002

By Adolf Muller Crefeld (German 1863-1934) bronze art deco statue of a dancer a beautiful form with great patina a beautiful marble base. measuring overall approx. 14 inches tall. excellent condition. Berlin. Literature:
 “Bronzes, sculptors and founders” by H. Berman, Abage. 
“The dictionary of sculptors in bronze” by James Mackay. Antique collectors club. 


A beautiful antique oak jewelry box with silver on copper mounted art nouveau decorative panels with cherubs having a bacchanal with wine and music and other design motifs and trims circa 1900. The box opens two a plush lined interior with two tiers one with divider and ring or pocket watch holder. Measuring 9.0" W x 5.0" H x 6.25" D in good antique condition minor age imperfections.

A beautiful pair of original 19th century antique oil paintings in the manner of George Henry Harlow renowned British portrait painter, 1787-1819]. Both Oil on canvas framed in later vintage gold frames. Both paintings have been professionally restored relined cleaned and re varnished. DIMENSIONS 8.5ʺW × 1.5ʺD × 10.5ʺH

An original antique photograph of Auguste Rodin's marble statue of cupid. Taken by Rodin's personal photographer Henri Manuel signed by him and dedicated and signed by Auguste Rodin in 1913 with the inscription "With Homage and Respect to Madame E Henry Harryman. Mrs Harryman commissioned a marble bust of her husband by Auguste Rodin and this photograph was given as a gift to her. François Auguste René Rodin (12 November 1840 – 17 November 1917) was a French sculptor generally considered the founder of modern sculpture Henri Manuel (24 April 1874, Paris – 11 September 1947, Neuilly-sur-Seine) was a Parisian photographer who served as the official photographer of the French government from 1914 to 1944. In 1900, Manuel opened a portrait studio in Paris with his brother Gaston, which specialised in portrait photography.[2] Manuel quickly became renowned as a photographer of people from the worlds of politics, art and sports, as well as a photographer of art and architecture. Provenance the photograph has the blind stamp of the Metropolitan Museum of Modern Art on the bottom right. Presented re mated in a archival matte and presented in a quality gallery frame overall size 13 x 17".

Pair of original antique botanical Fern lithographs prints circa 1867. Edward J. Lowe’s Ferns: British and Exotic. this print was published in London by Groombridge & Sons in 1867. This work was one of the earliest works to concentrate solely on the subject of the fern. Lowe used his botanical expertise and money to produce this work. He hired A. F. Lydon as the artist for the work and Benjamin Fawcett created the lithograph plates. Presented archival matted and framed. overall size 12.5" x 15.5".

A beautiful antique oil painting of a Girl in a bonnet Holding a Flower Basket. Early 19th century English oil on canvas in original antique frame. Overall size 32ʺW × 2ʺD × 41ʺH in good antique condition minor imperfections commensurate of age.

A beautiful antique oil painting by T. Walter of a French landscape titled "Autumn in the Ccvennes" a mountain range in the south central France. 19th century signed lower left oil on canvas. Presented in a the original magnificent antique gold leaf frame. Frame 39.5 X 34.25 canvas size 28.75 X 22 in

Beautiful original antique oil painting of a mountain sunset and waterfall by William Keith c.1890 oil on artist panel signed lower left. Presented in a quality contemporary gallery frame 16.5ʺW × 3ʺD × 19ʺH. Good antique condition very fine age craquelure very minor touch ups.. Biography: A native of Scotland, William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters." His romanticized views of nature found much favor among the culturally aspiring citizens of San Francisco and hung in many foyers and dining rooms in their elegant homes. He completed thousands of paintings and drawings, and many of them were lost in his studio in the fire of 1906. His early works are dramatic mountainscapes in a realistic style adopted from the Dusseldorf School of Germany. The paintings of the last two decades of his life are looser and obviously influenced by his exposure in France to the Barbizon School of landscape painters, who were the first colony of painters to complete paintings "en plein air," or directly from nature rather than in studios. A forerunner of Impressionism, this style also included Tonalism espoused by Barbizon painter Camille Corot [1796-1875] and also apparent in Keith's later works, which are darker, smaller, and much more intimate with emphasis on mood. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. By the early 1900s, Keith was likely one of the wealthiest artists in the United States and certainly earned the most money of any California-based artist. People from all over the world sought out his studio where it was said that he would specially select a painting for a client from behind a black velvet curtain, order everyone to be quiet, part the curtains, and set the work on a easel, flooded in light. It was unthinkable not to buy a painting on these occasions. Many of his paintings were shown in New York at the Macbeth Gallery, and in 1898, he had a special exhibition in New York. Keith died April 13, 1911, and his work is in most of the institutions representing major California artists

Lantaka a 18th century cast bronze SWIVEL-CANNON “Rail Gun” or “Deck Cannon” solid bronze beautiful details measuring approximately 36 inches long. These cannon were used by the legendary Malay pirates, with small cannon-balls it was a powerful offensive weapon. Lantakas were manufactured during the 17th and early 18th century in Holland by Dutch East India Company for export to Indonesia, Malaysia and Philippines. Later in the 18th century most of them were cast in Indonesia by Dutch colonists and also by local people. Since the bronze cannons were very expensive they become a symbol of wealth and a form of currency; in fact the more cannon a man owns the greater his wealth.

19th Century pastoral landscape oil on canvas. Golden age, old master influenced painting depicting a shepherd with his sheep and a cottage. Signed Wayland, lower right. Wax Relined and presented in an intentionally distressed gold wood frame. Image size, 16 x 20 overall framed size 24.5ʺW × 2.5ʺD × 20.5ʺH.

Original antique 19th century Japanese Woodblock Print by KUNISADA (AKA TOYOKUNI III, 1786-1864). Presented matted and framed. In good antique condition some surface soiling commensurate of age. Kunisada Utagawa was born in 1786 in Honjo, in the outskirts of Tokyo, the capital of Japan, then called Edo. His father died when he was about one year old. But he had left his son a hereditary ferry-boat license which provided a safe income. In contrast to so many other ukiyo-e artists like for instance Kuniyoshi Utagawa or his student Yoshitoshi Tsukioka, Kunisada never had to experience any financial hardships during his lifetime. The idea of a hereditary ferry-boat license seems strange to us today. You must know that the Japanese society of the Edo period (1603-1868) was extremely rigid. Your place in life was defined by your birth. If you were born as the son of a farmer, your destiny was to be a farmer for your whole life. Another example was the samurai warrior class. You could not become a samurai. You were born as a samurai.

Beautiful antique original Italian watercolor landscape painting of a waterfall and castle ruins by Vincent Blatter signed lower left. Presented matted and framed. Vincent Blatter (1843 - 1913) was active/lived in Italy. Vincent Blatter is known for painting landscapes. Overall framed size 15 x 20" excellent condition.

A beautiful 19th century Italian Chinoiserie Bombe Chest of drawers. Beautiful form and quality antique construction. All original with original label.

Beautiful antique Indian rosewood and brass mounted dowry / marriage Box. A pyramid form box with with hinged top over a compartmentalized interior. Measures 9.5 inches x 13 inches x 10.25 inches. Dating from the 19th century india. In good antique condition minor imperfections commensurate of age.

Pair of original hand colored horse lithographs from "Professor Low's Illustrations of the Breeds of the Domestic Animals London, 1840" . Drawn by Mr. Nicholson, R.S.A. from a painting by Mr. Shiels, R.S.A. Drawn on stone & printed by Fairland. Published by Longman, Orme, Brown , Green & Longmans, Paternoster Row, London 1840. Presented framed and matted in quality vintage burl wood frames. Measuring 12.5 x 17 inches, matte window 10" x 13" overall framed size 18" x 24" Low was a professor of agriculture at Edinburgh University who also set up an agricultural museum in Edinburgh with the assistance of a grant from Earl Spencer. William Shiels, member of the Royal Scottish Academy, was commissioned to produce a series of paintings of all the significant breeds then of economic significance in Great Britain. These paintings were then used as the basis for the present work with the addition of Low's text. Shiels' work is appreciated today for its faithfulness to the actual appearance of the animals, as opposed to idealized versions meant to please their owners, which were common at the time. William Nicholson, also a Royal Scottish Academy member, made the drawings after Shiels' paintings to convert them to prints.

Original antique hand colored Lithograph of parrots from Mathew's The Birds of Australia. . Presented archival matted and framed. Overall framed size 13ʺW × 1ʺD × 16ʺH in excellent condition. This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. c. 1910. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies.

A beautiful antique standing gilt bronze Buddha, Thailand. Mid 19th Century. Standing in the fearless gesture (abhaya mudra) with arms bent & palms forward. In good antique condition losses to the gold gilt wear commensurate of age. A fine example would be a nice addition to any collection or decor. Measuring 8ʺW × 5ʺD × 20ʺH The Rattanakosin kingdom is one of the most powerful kingdoms in the history of Siam. Unlike Sukothai and Lanna styles, which vanished, Rattanakosin style was the continuation of Ayutthaya style and quite different from other styles. The material of choice was bronze

Beautiful rare antique 18th century French hallmarked 950 pure silver ladle with whale baleen handle hall marked. Silver is in excellent condition some inscect damage to handle. Overall a rare and beautiful piece of antique French silver. Overall length measures 16 inches.

Antique oil painting on canvas of fireworks, likely of Bastille day from the Seine in Paris. The work depicts a dark evening nocturne offset by bright red and yellow fireworks with multiple figures in 18th century period attire in the foreground. Thickly applied paint is used throughout the painting to provide texture. The painting has been professionally relined, and is from the late 19th-early 20th century. Signed “Roybal,” bottom right, and presented in a black and gilt wood frame. Canvas size: 24" x 30".

Beautiful impressionist landscape of a shepherd and his dog and sheep in a landscape with trees. Bold impressionist brush strokes with a warm subdued palette. Oil on panel signed indistinctly lower right. Panel measuring 13" x 16" presented framed in a fine contemporary gallery frame overall size 18.5" x 21.5".

A beautiful rare antique French Gilt Bronze Dore bust of a young woman by Jean-Baptiste Greuze Paris circa 1799. Dor'e or bronze finish signed on reverse on a marble base. Dimensions 4ʺW × 2.5ʺD × 6.5ʺH in good antique condition minor imperfections commensurate of age. Biography; An 18th-century artist of melodramatic genre, morality lessons, female figures and portraits whose subjects included Mozart and Benjamin Franklin, Jean-Baptiste Greuze was born in the Burgundy region of France. He spent most of his career in Paris, where he was mentored by a portrait artist from Lyon named Grandon (Grondom). This artist was an advocate for the young Greuze, whose father had discouraged him from following his art talents. In Paris, Greuze worked from the live model at the Royal Academy. Gradually his work attracted the attention of members of the nobility such as the family of Madame d'Epinay, a French writer whose love affairs included Jean-Jacques Rousseau and Denis Diderot. In 1755, Greuze's painting, Father Reading the Bible, was judged accomplished enough to merit much encouragement from Academicians. That same year, he went to Italy with Abbé Louis Gougenot, who had influence among fine art professionals, which led to Greuze being elected him an honorary member of the Royal Academy in Italy because of his accomplishments in allegory and mythology. However, he was not encouraged by the exposure he got in Italy, and returned to Paris in search of better training for portraiture, genre and figure work. Beginning in the late 1850s, he received increasing accolades for his painting, which influenced by Rousseau, was getting increasingly naturalistic. By 1765, he had reached a great high point with the exhibition of thirteen paintings at the Academy's Salon. However, members gave him a tough time because they demanded that he show them a diploma from an accredited art institution, something he did not have. The Academy finally received him as a new member with all honours but as a genre painter, meaning he was not officially recognized for his portraits or history canvases. In 1769, Salon organizers rejected his painting, Septimius Severus Reproaching Caracalla, and Greuze was so angered that he did not exhibit again until 1804, when the Academy was much less rigid because of the Revolution breaking down aristocratic barriers. However, by that time his subjects and Neo-Classical style had waned in popularity. The next year, 1805, Jean-Baptiste Greuze died in the Louvre. He was impoverished, having been wealthy but having squandered his fortune and also losing money to an embezelling wife. During his last years, he was desperate for commissions but diminished in talent, which meant that much of his late work was lacking in the quality for which he had been known. One of his last paintings was an 1804 portrait of Napolean Bonaparte. Greuze left many paintings, many which are in the Louvre as well as the Wallace Collection in London, the Musée Fabre in Montpellier and a museum dedicated to him in his hometown of Tournus.

Exquisite pair French gilt bronze 5 light candelabra with cherubs and garland leaf and flower motif supported by a white marble base. Measuring 28" x 13" x 8".

Original antique watercolor floral botanical painting of a tulip 19th century c.1850. This lovely original watercolor is from a mid 19th century botanical watercolor album. While little is known about the work, it was clearly done by a highly skilled artist. The paper is Whatman watermarked and dated. . Presented matted with archival materials and framed.

Beautiful large antique original oil painting of a European village and landscape by famed American painter Colin Campbell Cooper. Oil on canvas signed and dated lower right 1907. Presented in a quality antique gold leaf frame. In good antique condition some wear commensurate of age. Biography A resident and distinguished impressionist painter of both the East and West Coasts, Colin Campbell Cooper earned an international reputation with his depictions of landscapes, florals, portraits, gardens, interiors and figures. He was especially noted for street scenes and skyscrapers of New York and Philadelphia, and his impressionist* palette was inspired by Childe Hassam, whom he met in New York beginning in the 1890s. In the later part of his life, he focused on West Coast subject matter and espoused The California Style* of watercolor painting, a bold, aggressive new oil-painting look to a medium that had traditionally been used more modestly. He was born in Philadelphia to an upper class family where the father was a surgeon, and he, the son, was encouraged by his educated family to pursue art. He was also inspired by the art he saw at the 1876 Philadelphia Exposition*. He studied at the Pennsylvania Academy* of the Fine Arts with Thomas Eakins and in Paris at the Academies Julian*, Vitti, and Delecluse*. During that time, he traveled throughout Europe and painted picturesque architectural scenes, which gained him widespread recognition. Sadly many of these paintings were lost in a fire of 1896. From 1895 to 1898, he was instructor of watercolor at the Drexel Institute in Philadelphia and then moved to New York City from where he and his artist wife, Emma Lampert, traveled throughout the world in search of subject matter. On a European trip in 1912, they sailed on the Carpathia and became part of the rescue operation of the sinking Titanic, an experience that Cooper depicted in a painting, View of Steamship Carpathia passing along the edge of the ice flow after recuing survivors of the Titanic (1912). Of this event it was written by an historian that Carpathia, built 1902, "was sailing from New York City to Rijeka on the night of Sunday, 14 April 1912. Among her passengers were renowned American painters Colin Campbell Cooper and his wife Emma, journalist Lewis P. Skidmore, photographer Dr. Francis H. Blackmarr and Charles H. Marshall, whose three nieces were traveling aboard the Titanic. . . .At 4 o'clock in the morning Carpathia arrived at the scene after working her way through dangerous ice fields. Carpathia was able to save 705 people, all that survived the sinking of Titanic. Carpathia, outbound for the Mediterranean prior to the distress call, ferried the survivors to New York." (lostliners.com) The Coopers first went to California in 1915, spending the winter in Los Angeles and in 1921, settled in Santa Barbara, where he served as Dean of Painting at the Santa Barbara Community School of the Arts*. He was a member of numerous associations including the California Art Club*, Salmagundi Club*, and the National Academy of Design*. His work is in many museums including the Cincinnati Art Museum, the St. Louis Museum, and the Oakland Museum

Original antique European Alpine Village winter scene oil painting by Anton Doll (1826 - 1887. Oil on canvas signed lower left noted painted in Munich framed in original gold gilt frame. Anton Doll began studying law in Munich, before he turned towards painting. In 1852, he became a member of the Munich Art Association that had exhibited his paintings from very early on. Doll was influenced by Carl August Lebschée and Adolf Stademann, and his main subject was the city of Munich. Besides his historical architectural paintings with a few staffage figures, he painted wintry landscapes, clearly influenced by the great Dutch old masters. Today, works by Doll can be seen, for example, in the New Pinakothek in Munich, and in the Graphic Collection of the Staatsgalerie Stuttgart.

An antique painting portrait of a beautiful woman oil on canvas by William A. Dollond signed lower left. William Anstey Dolland was a British artist who was born in (1858-1929). Known for his oil and watercolor paintings of female figures in traditional scenes. William Anstey Dolland's work has been offered at auction with realized prices ranging as high as $9,991 USD, depending on the size and medium of the artwork. Since 2000 the record price for this artist at auction is $9,991 USD for Waiting; and At the fountain, sold at Christie's London in 2000. The artist died in 1929. Painting measurements 21ʺW × 2ʺD × 25ʺH in very good antique condition.

A very fine original antique Dutch Master School oil painting a portrait of a boy late 19th century. Oil on panel presented in the original antique period frame. Panel measures 5.75" x 8.5" overall framed size 99" x 12"

A original antique Chinese Stoneware with white glaze (Cizhou ware) jar let from the Song Dynasty (960-1279) Measuring approximately 2.5" high and 3" wide. In very good antique condition. This fine quality Chinese celadon jarlet was probably exported to South East Asia from mainland China to Southeast Asia from mainland China. This particular piece has a good shape and glaze. The glazed ware was made extensively in China by the fourth century AD, and it was exported to South-East Asia from the time of the Song Dynasty (AD 960-1279).