A few examples of appraisal values for
1 MILLION

• A Gustavian Style Giltwood Wall
  A Gustavian Style Giltwood Wall Clock P. Bengtsson, Malmo, 19th/20th Century the movement stamped '28/ 1 Million/ 30554' Height 30 x width 16 inches.
• BRONZE SCULPTURE OF THE RACEHORSE
  BRONZE SCULPTURE OF THE RACEHORSE NASHUA AND CLEM BROOKSLiza Todd-Tivey (Born 1957)Nashua and Clem (1982)This two-color patinated bronze sculpture numbered 18 from an edition of 75 is a smaller version of the life-sized original at Spendthrift Farm in Lexington, Kentucky where Nashua stood at stud for decades following his retirement from thoroughbred racing. His groom of thirty years, Clem Brooks, was a celebrity there in his own rite. The two are depicted here well-sculpted and in various colors of patinated bronze.Nashua was the leading thoroughbred money-winner of his time, earning more than $1.1 million in three years of racing during the mid-1950s.The sculptor Liza Todd-Tivey is a well-known New York artist specializing in and famous for Equestrian sculpture.Measures 12.5 x 16 x 12 inches.Very good condition, noting a separation of the lead and build-up of glue from old repairs.
• LENZKIRCH ART NOUVEAU MANNER MANTLE
  LENZKIRCH ART NOUVEAU MANNER MANTLE CLOCK German Lenzkirch "1 Million" Art Nouveau / Jugendstil manner brass clock with pendulum movement decorated with a floral / foliate motif, includes winding key. 18.5" H x 10" W x 5.5" D.
• NATIVE AMERICAN BLOODMAN BY
  NATIVE AMERICAN BLOODMAN BY HOWARD TERPNING (1927 - )A limited-series framed print of a Native American man. Dated 1987, BLOODMAN is a realist work featuring a boldly-featured man in traditional dress. The print is numbered (901 of 1250), masked, framed in oak-stained molding and contains a brass plate with title and artist name. Terpning is a acclaimed Western artist, known today for his award winning Native American scenes, and a career which includes a Marine Corps Combat Artist Hall of Fame induction for his work during Viet Nam; the creation of iconic cinema posters for movies like THE GUNS OF NAVARONE, DOCTOR ZHIVAGO, and THE SOUND OF MUSIC; and frequently commanding over 1 million dollars at auction for his original work. 12"H x 9"W, pictured. Artist: Howard Terpning Issued: 1987 Dimensions: 19.5"H x 16.5"W, framed Edition Number: 901 Edition Size: 1250 Country of Origin: United States Condition: Good
• DALE CHIHULY - YELLOW BASKET
  DALE CHIHULY - YELLOW BASKET SETTitle of Artwork: Yellow Basket (1999) Dimensions: 6h x 11w x 9d Signed: 'Chihuly 99'' Medium: Blown glass Born in 1941 in Tacoma, Washington, Dale Chihuly was introduced to glass while studying interior design at the University of Washington. After graduating in 1965, Chihuly enrolled in the first glass program in the country, at the University of Wisconsin. He continued his studies at the Rhode Island School of Design (RISD), where he later established the glass program and taught for more than a decade. In 1968, after receiving a Fulbright Fellowship, he went to work at the Venini glass factory in Venice. There he observed the team approach to blowing glass, which is critical to the way he works today. In 1971, Chihuly cofounded Pilchuck Glass School in Washington State. With this international glass center, Chihuly has led the avant-garde in the development of glass as fine art. His work is included in more than 200 museum collections worldwide. He has been the recipient of many awards, including two fellowships from the National Endowment for the Arts and twelve honorary doctorates. Chihuly has created more than a dozen well-known series of works, among them, Cylinders and Baskets in the 1970s; Seaforms, Macchia, Persians, and Venetians in the 1980s; Niijima Floats and Chandeliers in the 1990s; and Fiori in the 2000s. He is also celebrated for large architectural installations. In 1986, he was honored with a solo exhibition, Dale Chihuly objets de verre, at the Musée des Arts Décoratifs, Palais du Louvre, in Paris. In 1995, he began Chihuly Over Venice, for which he created sculptures at glass factories in Finland, Ireland, and Mexico, then installed them over the canals and piazzas of Venice. In 1999, Chihuly started an ambitious exhibition, Chihuly in the Light of Jerusalem; more than 1 million visitors attended the Tower of David Museum to view his installations. In 2001, the Victoria and Albert Museum in London curated the exhibition Chihuly at the V&A. Chihuly’s lifelong fascination for glasshouses has grown into a series of exhibitions within botanical settings. The Garden Cycle began in 2001 at the Garfield Park Conservatory, in Chicago, and continued at several locations, among them the Royal Botanic Gardens, Kew, near London, in 2005, and the New York Botanical Garden, in The Bronx, in 2006 and again in 2017. Meanwhile, Chihuly has exhibited at other venues as well, including the de Young Museum in San Francisco, in 2008; the Museum of Fine Arts, Boston, in 2011; the Virginia Museum of Fine Arts, Richmond, in 2012; the Montreal Museum of Fine Arts, in 2013; the Royal Ontario Museum, Toronto, in 2016; and the Crystal Bridges Museum of American Art, Bentonville, Arkansas, in 2017. In addition, Chihuly Garden and Glass, a major long-term exhibition, opened at Seattle Center in 2012.
• FOSSILIZED AMMOLITE AMMONITE W/
  FOSSILIZED AMMOLITE AMMONITE W/ MOSASAUR BITEMARKNorth America, Canada, Alberta, Bearpaw formation, late Cretaceous, ca. 71 million years ago. This is a breathtaking ammonite of the Placenticerus costatum genus, with an iridescent ammolite shell and puncture marks from a mosasaur! Not only is this ammonite astounding for the preserved signs of predation, but this shell also has turned into ammolite, a stunning organic gemstone that boasts an astonishing array of rainbows colors. Here, the brightness of this specimen's colors and the iridescence is a testament to the well-preserved state of the nacreous shell, and glimmers in fiery hues of red and orange. The color play due to lighting on this piece is astounding- best seen in person! Ammonite shells provided much needed protection from most predators, but a sizable and hungry mosasaur (an extinct marine reptile) could probably crush the shell in its jaws to get at the soft tissue. Size: 12.5" L x 2.75" W x 10" H (31.8 cm x 7 cm x 25.4 cm) The puncture holes seen on this shell- the circles near the recessed spiral- are likely teeth marks from mosasaurs, although there is some debate whether the marks are a result from limpets attaching themselves to the ammonites; however, their size as well as presence on both sides of the ammonite, linked them to the upper and lower jaws and the bite of medium-sized Mosasaurs. Another interesting note is the remains of what appears to be the tips of fossilized tentacles or other organic tissue material on the chamber opening! Ammolite is a rare, iridescent, gem-quality material cut from the fossilized shells of extinct sea creatures known as ammonites. Found only in the Bearpaw Formation in Alberta, Canada - along the eastern slopes of the Rocky Mountains - this organic gemstone has a dazzling range of colors and patterns and is highly desired for freeform natural cabochons and assembled jewelry pieces. According to the International Gem Society (IGS) statement on the difference between Ammolite and Ammonite: "You may find the terms ammolite and ammonite sometimes used interchangeably. However, ammonite, strictly speaking, refers to the fossil shells of ammonites, whether gem-quality or not. Ammolite refers to the gem-quality material made from fossils of particular species of ammonites." Also, according to IGS, "Ammonites were marine mollusks that became extinct around 65 million years ago. There were many species of ammonites, and their fossils have been found across the globe. The fossils of Placenticeras meeki, Placenticeras intercalare, and Baculites compressus can yield gem-quality ammolite. To date, this material has been found only in Alberta, Canada." Provenance: ex-private Wildwood, Missouri, USA collection 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. #170127 Condition: Professionally prepared with a clear fixative on surface to protect the shell. Mosasaur puncture holes and old gouges and abrasion to both sides likely from predation activity, and shell material is missing to that area. Stable fissures from fossilization throughout. Gorgeous iridescence!
• FOSSILIZED PTERANODON WINGcirca
  FOSSILIZED PTERANODON WINGcirca 66-201 million years old, fossil with wooden mount, 18-1/2 x 133-1/2 in. (47 x 339.1 cm) Provenance: Phillips Auction New York, June 8, 1996 (lot 472) Niobrara Formation, Kansas; Private Collection, New York Note: The pterosaurs were warm-blooded flying reptiles of the Jurassic and Cretaceous periods, with membranous wings supported by a greatly lengthened fourth finger. Pteranodon g. sternbergi represented some of the largest known flying reptiles, with wingspans over twenty feet. It existed during the late Cretaceous geological period of North America (about 86 million years ago) in present day Kansas, Alabama, Nebraska, Wyoming, and South Dakota. This fossil wing was found in the Niobrara Formation, Kansas. It is an almost complete wing, including hand and three claws. This pteranodon probably had a wingspan of over sixteen feet. Condition: missing humerus
• FOSSILIZED OREODONT MERYCOIDODON
  FOSSILIZED OREODONT MERYCOIDODON CULBERTSONI SKULLNorth America, Western United States, South Dakota, Scenic, Upper Brule Formation, Oligocene, ca. 28.1 million to 23 million years ago. A fossilized upper cranium and lower mandible from a prehistoric oreodont with most of the teeth intact! A bar has been added to the jawbone for mounting on a stand to create an open mouth pose, but currently the upper fits comfortably on the lower in a resting position. The teeth are an interesting high crown shape; pointy and triangular, and their name translates to "mountain tooth" and these mammals were herbivores, roaming the prehistoric North America grasslands in herds grinding up the plants with their "mountainous" teeth. Size (upper): 7" L x 4.75" W x 2.75" H (17.8 cm x 12.1 cm x 7 cm) Provenance: private New Jersey, USA collection 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. #172128 Condition: Professionally prepared and restored. Restoration and infill to gaps and fissures, repairs to tooth crowns, with some chips and losses. Loss to orbit bone left side. Wooden bar added to mandible for support on stand.
• STONE AGE ACHEULEAN HOMO ERECTUS
  STONE AGE ACHEULEAN HOMO ERECTUS FLINT HAND AXENorthwestern Europe, Southeast England, Middlesex, Lower Paleolithic, Acheulean period, ca. 400,000 to 250,000 years ago. A superb flint bifacial hand axe was fashioned by Homo erectus (H. heidelbergensis), the first humans to occupy Europe. It dates back to the Lower Paleolithic Period, made in the Acheulian Tradition, and was the predominant tool technology of the Homo erectus people in Europe from 1 million years ago to possibly as recent as 130,000 years ago. Fine quality English Lower Paleolithic hand axes like this, are legendary among collectors and are harder to find since many were found long ago in the early 20th century and many in the 19th century when open gravel pits were commonly dug during the industrial age of England. Most of the finest known European hand axes in major museums hail from these former English gravel pits. English Lower Paleolithic hand axes often move from one private collection to the next as many sites are now destroyed, built over or protected, and fine specimens such as this axe rarely appear on the market. Size: 7.25" L x 3.75" W (18.4 cm x 9.5 cm) The naturally glossy burial patina and intense golden hue highlight the exceptional flaking. This hand axe features an ingenious, ergonomic grip design, made by extensive flaking and forethought to achieve an ambidextrous design that required a great deal of intelligence and skill to execute. The entire hand axe shows excellent and masterful flaking, a prize of a highly skilled Homo erectus primitive human who once lived in what is now present-day England! Due to the size and heft, it is highly probable this hand axe was used to smash open major bones of all the Ice Age large game animals of the day such as mammoth, bison, horse, and rhino. Provenance: ex-private German collection, formed in the 1970s 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. #175611 Condition: Intact with no repair or restoration. Heavy prehistoric patina and mineral deposits.
• JOHN AND JAMES BARD (NEW YORK,
  JOHN AND JAMES BARD (NEW YORK, 1815-1897), PORTRAIT OF THE GOLD RUSH STEAMER WILSON G. HUNT., OIL ON CANVAS, RELINED, 28.75" X 49.5". FRAMED 39.25" X 59.25".JOHN AND JAMES BARD, New York, 1815-1897, Portrait of the Gold Rush steamer Wilson G. Hunt. Signed and dated lower right "Drawn and painted by J&J Bard, NY 1849". Inscribed at bottom "Steamer connecting Coney Island, Shreveburg, Red Bank & 'W...Cilly' [indistinct] New York Captain A.H. Haggerty - Commander 1849 For T. Hunt Bros. N.J. Built by Thom. & Wm. Colyer N.Y. Engines of Wilson G. Hunt built by H.R. Nenham N.Y. Drawn & painted by J & J Bard N.Y. 1849". Provenance: The Mariner's Museum, Newport News, Virginia. Northeast Auctions, Portsmouth, New Hampshire, March 2001. The Kelton Collection of Marine Art & Artifacts, acquired from the above at that sale. Literature: See J & J Bard Picture Painters, by Anthony J. Peluso (Hudson River Press, 1977), p. 7-9 for a reference to this painting, noting it is one of the last paintings signed by John and James Bard, and John Bard's demise., The Wilson G. Hunt was built at New York in 1849 for the excursion trade to Coney Island, but on March 2, 1850, shortly after her completion, she was sent around the Horn to San Francisco, arriving there in early 1850. She was immediately placed in the Sacramento River trade and became a "bonanza steamer," carrying gold speculators to the gold fields. She proceeded to make a fortune for her owners, clearing over $1 million in her first year. The steamer was sent to Victoria, British Columbia in August 1858, and ran for a short time on the New Westminster route. In October 1858 she was withdrawn, and then in the following year she replaced the steamer Constitution on Puget Sound. Early in the 1860s she was bought by the Oregon Steam Navigation Company and taken to the Columbia River, where she operated on the Cascade Route under command of Captain John Wolf. She ran on the Columbia until 1869, carrying from 250 to 300 passengers, 100 head of stock and a substantial amount of freight on a single trip. The Wilson G. Hunt was rebuilt in 1865, and in 1869 she returned to Puget Sound. She continued to be used on various runs until 1890, when she was broken up and sold for iron scrap to Cohn & Company of San Francisco. Her hull was burned shortly thereafter. Twin brothers John and James Bard were self-taught ship portraitists who specialized in steamships. The painting of the Wilson G. Hunt was one of the last two paintings signed jointly by the Bard brothers, and it has been speculated that John Bard went off in search of gold shortly after the completion of this work. By March of 1850 James Bard was the only signer of these works. After November 1855, John reappears and is known to have become a "destitute painter" in and out of New York almshouses until his death October 18, 1856. James lived a long and artistically productive life. He died 41 years after his brother, on March 26, 1897. Dimensions: Oil on canvas, relined, 28.75" x 49.5". Framed 39.25" x 59.25".
• NEWELL CONVERS (NC) WYETH, AMERICAN
  NEWELL CONVERS (NC) WYETH, AMERICAN (1882-1945), N.C. WYETH AND HIS GRANDSON, EXHIBITION POSTER, 23 1/2"H X 19 1/4"W, 25 1/4"H X 21 1/4"W (FRAME)Newell Convers (NC) Wyeth, American, (1882-1945) N.C. Wyeth and His Grandson, exhibition poster Signed lower right by Jamie Wyeth. A Legacy, Terra Museum of American Art, Chicago. Biography from the Archives of askART: The following is from The New York Times online edition, 1/25/2001: N.C. Wyeth (1882-1945), America's greatest illustrator as well as an accomplished easel painter, dedicated his career to depicting American subjects in a fresh, energetic manner uninfluenced by European art - "true, solid American subjects - nothing foreign about them," as he put it in 1903. Reflecting times in which unconditional loyalty to country was taken for granted and the American flag was a sacred symbol of freedom, N.C. executed works that encapsulated those very American qualities. As television anchorman Tom Brokaw points out in his catalogue essay, the patriarch of the Wyeth clan "was a man of the first half of the century, roughly from Theodore Roosevelt to Franklin Delano Roosevelt, when Americans seemed to be framed in red, white and blue bunting and the background music was "Yankee Doodle Dandy" or Kate Smith singing "God Bless America". N.C.'s lifelong veneration for America's historical traditions, growing out of his New England heritage and strengthened by his Chadds Ford residency in the history-rich Brandywine Valley, manifested itself in idealized, heroic images of such larger-than-life personalities as Paul Revere, George Washington, Nathan Hale, Thomas Jefferson, John Paul Jones and Abraham Lincoln. He painted stalwart views of Stonewall Jackson and Ulysses S. Grant and action-packed renditions of Civil War combat, suggesting valor and patriotism on both sides. Commissioned by the government during World War I to create recruiting and propaganda posters, Wyeth had an output that ranged from images of brave doughboys helping their wounded mates, in "WWI Poster" (1918), to dramatic paintings of terrified Huns surrendering to gun-toting American infantrymen in Kamerad! (1919). Along with other Americans, N.C. was horrified by stories of atrocities committed by the German Army. He responded with vivid, impassioned images, such as "The Abdication of Attila" (1917), done for Life magazine, that suggested that Kaiser Wilhelm had outstripped the infamous Attila the Hun as the epitome of "supreme evil" and the "arch-tyrant" of history. Pondering an offer from the War Department to become an official artist at the Western Front, Wyeth remarked, "I wouldn't mind a crack at a Boche or two, and would be tickled to death if I could disembowel their divine leader...." Responding with equal patriotic fervor to the challenge of World War II, Wyeth underscored the determination of Uncle Sam and our citizen army in Amateurs at War: The American Soldier in Action (1943) and the heroism of GIs in the Pacific in Marines Landing on the Beach (1944). He recognized the contributions of farmers to the Allied effort in Soldiers of the Soil (1942), an illustration for a Brown and Bigelow calendar, and in another calendar work, Our Emblem (1944), reflected the symbolism of the American eagle protecting a tranquil New England hamlet. Wyeth's colorful Buy War Bonds (1942), featuring an assertive Uncle Sam clutching Old Glory and urging on planes overhead and infantrymen on the ground, helped the Treasury Department sell a lot of bonds to back the war effort. One poster sold $200,000 worth of bonds, while another took in $1 million, according to Wyeth biographer David Michaelis. In a tempera-on-panel, The War Letter (1941) he depicted his parents on the bucolic grounds of their home in Needham, Mass. As his mother reads a letter from the morning mail and a newspaper describing overseas developments lies next to her, his father looks on. It is a poignant vignette reflecting keen home front concern about unfolding wartime events. To N.C. Wyeth, the choice between good and evil, freedom and tyranny in both World Wars was clear. His characteristically bold, forceful images, imbued with old-fashioned patriotism, helped spur an embattled America on to victory in both conflicts. exhibition poster Dimensions: 23 1/2"H x 19 1/4"W, 25 1/4"H x 21 1/4"W (frame)
• GERMAN CARVED WALNUT WALL
  GERMAN CARVED WALNUT WALL CLOCKGerman carved walnut wall clock. Marked on back of clock face - "Non-Plus-Ultra 1 Million 124693 48". An ornate walnut carved case clock with key wind and coil chime movement. Minor loss to finish on left column, rooster has slight repair. 43" H x 17 3/4" W x 7 3/4" D.
• COLIN POWELL. MY AMERICAN
  COLIN POWELL. MY AMERICAN JOURNEY. SPECIAL LEATHER BOUND COPY PRESENTED TO GEN. POWELL BY THE AUXILIARY OF EVANSTON NORTHWESTERN HEALTHCARECOLIN POWELL. MY AMERICAN JOURNEY. SPECIAL LEATHER BOUND COPY PRESENTED TO GEN. POWELL BY THE AUXILIARY OF EVANSTON NORTHWESTERN HEALTHCARE, bound in maroon leather in matching leather box with marbled edges, with bookplate affixed to front paste down 'Presented to General Colin Powell/by/The Auxiliary of Evanston Northwestern Healthcare/and/db Firenze Su Misura/In Honor of/"The Star Spangled Banner"/June 17, 2000/Culminating a 2 year $1 million fund-raising goal/To create/"Connections"/a model teen-in-crisis center' the book 'Designed by db Firenze Su Misura/Distinctive Bookbinding and Stationary' (2) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
• BARBER DIME COLLECTION (TWO FOLDERS
  BARBER DIME COLLECTION (TWO FOLDERS & LOOSE) Better Folder (57) - 1892-F, 1892-O G, 1893-O G, 1894 AG, 95-S AG, 97 G, 97-S G, 98 G, 98-O AG, 99 G+, 99-S AG, 1900 G, 00-S G, 01 G, 01-O G, 02 G, 02-O G, 03 G. 03-O G/VG, 04 G, 04-S G/AG, 05 G, 05-O F-12, 05-S G, 06 F/VF, 06-O G, 06-S G, 06-D AG, 07 G, 07-O G, 07-S G+, 07-D G, 08 AG, 08-S G Cleaned, 08-D G Cleaned, 09 G Cleaned, 09-O G/VG Cleaned, 09-S G/AG , 09-D VG+, 10 G+, 10-S G AG, 10-DVG+, 11 G, 11-S VF, 11-D G, 12 G, 12-S G, 12-D VG, 1`3 G, 13-S G, 14 G, 14-S VG, 14-D G, 15 F Cleaned, 15-S AG, 16 G, 16-S VG/F Album 2 - 50 coins with a few better dates like 1894 G, 13-S AG, and others at 1 Million mintage Loose - 66 Barber Dimes (In a Roll) Average Circulated, About 2/3 G and 1/3 AG
• ENGLISH OAK TALL CASE CLOCK THE
  ENGLISH OAK TALL CASE CLOCK THE WORKS BY MATHIAS BAUERLE the brass clock face signed ''E. Martin London'' and surmounted with an etched medallion of the Grim Reapon the back plate of the movement stamped on the back ''Embee made in Germany 1 Million 189718 p. 116'' (by German designer Mathias Bauerle who worked in the Black Forest region of Germany from 1924-1935) - h:85 w:18 d:9.25 in.
• Very Rare Australosomos Fossil, in
  Very Rare Australosomos Fossil, in its nodule, early Triassic Period, 199 to 251 million years old, the oval nodule opening to reveal the imprint of the fossil fish, exhibiting fine details of head and scales, l. 3".