Companion hand-colored, pen & ink drawings of Georgian-style building facades. English School, c. 1850. Custom matted and framed w/gold fillet. Dimensions (both): 17 3/4" x 21 3/4"

A 19th Century Tibetan Thanka painting on canvas of Blue Vajrapani, riding a horse, representing the power of Buddhas; custom mounted in a complementry green painted frame, behind glass, showing the entire banner. Tibet, c. 1850. Dimensions: 38 1/2" H x 30 1/2" W

Black lacquer cube table stunningly hand painted in Chinoiserie style. Each angled corner is painted with wisteria branches. The top panel is painted with songbirds among flowering wisteria on a gold leaf ground; the glass top is inset. The painting is signed R(ein) Vanderhill 1984. The table measures 20 x 20 inches square and 16 inches high. Oil on gold leaf.

An American primitive still life painting of fruit. Oil on canvas, after John McCloskey, circa 1890. Wrapped oranges in and around an Appalachian willow basket nestled among orange branches. The painting is mounted in a classic birds-eye maple frame with a gold leaf fillet. Note: the painting has been professionally restored, including repair of a small 3-corner rip at the upper mid section, verso. Unsigned, though several names are penciled on the frame: Caroline A. Bible & J. Girisling (sec). Dimensions (overall): 19" H x 25.25" W.

Lloyd Raymond "Bill" Ney abstract mixed media 3-dimensional composition oil painting on board circa 1945, signed lower right and also tagged verso. Well listed American Modernist artist: Davenports, Who Was Who in American Art, Ask Art, etc. Ney was born in Friedenburg, PA, in 1893. He studied at the PA Mus. Sch. of Industrial Art and at the PA Academy of Fine Arts in Philadelphia. In 1918 he won a Cresson Fellowship to study in Europe. He traveled to France where he studied and painted in Paris among the European modernist community. He lived at the Hotel de Versailles in Montparnasse. During this period Ney created his major work, "The Drinkers." Later he would write extensively about the process of developing this work and the transforming experience of integrating the Modernist ideal he had witnessed in Paris. After returning to the US, Ney settled in the art community of New Hope, PA. He was among a group of artist known as the "Independents," who challenged the traditional and impressionistic subject matter of regional artists. They formed a new exhibition group. Ney was part of the "New Hope Modernist School" for most of his life as a painter. During the period of the W.P.A. in the early 1940s, Ney was commissioned to paint a mural for the New London, OH, post office. The documentation of the controversy over this mural and its modernist style was the subject of numerous letters between Ney and the Director of the Federal Arts Project. It was finally reconciled when the citizens of New London, petitioned Washington to allow Ney to execute the first abstract mural in a government post office. The original cartoon for this mural is in the collection of the Michener Mus. of Art, New Hope, PA. The documents over this controversy are in the Archives of American Art, Smithsonian Institution in Washington D.C. along with much of Lloyd Ney's original writing and correspondence, including the original manuscript, Art Appreciation For The People, How To Look At Paintings, What Constitutes A Work Of Art, 1949. Ney's career included 15 years of exhibitions at the Solomon R. Guggenheim Museum, NYC, and 3 of his paintings are in the museum's permanent collection. His work was exhibited in France, Germany, Switzerland, and Italy during his lifetime. Posthumously, the James A. Michener Museum in Doylestown, PA, mounted a major exhibition of the "New Hope Modernists," featuring Ney and his contemporaries, C. F. Ramsey, Charles Rosen, B.J.O. Nordfeldt, Lee Gatch and R.A.D. Miller. Ney's prolific career encompassed over 50 years, painting in Paris, Capri, Key West, Martinique, Mexico and New Hope, PA. Hope Modernists," featuring Ney and his contemporaries, C. F. Ramsey, Charles Rosen, B.J.O. Nordfeldt, Lee Gatch and R.A.D. Miller. He died in 1964. Custom frame dimensions: 29" square. Artwork dimensions: 15" square.