A few examples of appraisal values for
NEW DAY BREAKING

• Mark Morgan ''New Day Same
  Mark Morgan ''New Day Same Choices'' Dated 2009 B&W Photograph Framed 23''x19''
• Maxfield Parrish Print ''A New
  Maxfield Parrish Print ''A New Day'' 1950 8 1/2'' x 11'' a beauty!
• F H Jefferis, American 20th c, o/c,
  F H Jefferis, American 20th c, o/c, "Day Break", 24" x 36" Estimate $200-300
• STANLEY MAXWELL BRICE (B. 1936),
  STANLEY MAXWELL BRICE (B. 1936), "DAY BREAK," OIL ON CANVAS, 9" H X 12" WStanley Maxwell Brice, (b. 1936) "Day Break", Oil on canvas Signed lower right: Stanley Maxwell Brice ©; titled in pen on the stretcher Oil on canvas Dimensions: 9" H x 12" W
• ORNULF OPDAHL "BREAK OF DAWN" 2002,
  ORNULF OPDAHL "BREAK OF DAWN" 2002, MODERN OIL Ornulf Opdahl (Norwegian, b. 1944), "Break of Dawn", 2002, oil on canvas abstract in gray tones, signed, titled, and dated en verso, Purdy Hicks Gallery label to back of frame, framed. Approx. canvas h. 19.625", w. 19.625". Frame h. 20.25", w. 20.25".
• Maxfield Parrish Print ''Daybreak''
  Maxfield Parrish Print ''Daybreak'' image area 30'' x 17'' all original.
• Maxfield Parrish print ''Daybreak''
  Maxfield Parrish print ''Daybreak'' published by House of Art ss: 17 1/2'' h. x 29 1/2'' w.
• MAXFIELD FREDERICK PARRISH
  MAXFIELD FREDERICK PARRISH (AMERICAN, 1870 - 1966), "DAYBREAK", POLYCHROME LITHOGRAPH, SIGNED IN BLOCK AT CENTER, "THE HOUSE OF ART,...Maxfield Frederick Parrish (American, 1870 - 1966), "Daybreak", polychrome lithograph, signed in block at center, "The House of Art, NY" at lower left, framed, not examined out of frame, wear consistent with age including toning and foxing, etc., small damages to frame, ss: 17 1/2" h. x 29 3/4" w.
• Jane Wilson (American b. 1924)
  Jane Wilson (American b. 1924) New Day oil on canvas signed Jane Wilson (lower center) 81 x 70 1/2 inches.
• Franklin Boggs (American 1914-2009)
  Franklin Boggs (American 1914-2009) "Daybreak". Acrylic and collage on canvas signed and inscribed verso dated 1968 framed overall 17-1/2" x 10-7/8".
• Maxfield Parrish Print ''Daybreak''
  Maxfield Parrish Print ''Daybreak'' 6'' x 10'' all original.
• MAXFIELD PARRISH "DAYBREAK"
  MAXFIELD PARRISH "DAYBREAK" LITHOGRAPHMaxfield Parrish "Daybreak" lithograph, signed in the plate lower right with "House of Art NY" lower left. Slight chip to lower left corner of frame. Sight size: 17 1/2" x 29 1/2". Frame size: 21 1/2" x 33 1/2".
• Robert Blair (American, b. 1937)
  Robert Blair (American, b. 1937) Waitin' for Day Break oil on board signed Robert Blair (lower right) 11 x 14 inches The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont
• JOANNE MILLER RAFFERTY, AMERICAN
  JOANNE MILLER RAFFERTY, AMERICAN 20TH CENTURY, DAYBREAK #2, MIXED MEDIA ON PAPER, FRAMED, 34 X 43-3/4 INCHESJoanne Miller Rafferty, American 20th Century, Daybreak #2, Mixed Media on Paper, Framed, 34 x 43-3/4 inches
• AFTER MAXFIELD PARRISH, DAYBREAK,
  AFTER MAXFIELD PARRISH, DAYBREAK, CHROMOLITHOGRAPH, FRAME: 21 3/4 X 33 3/4 IN. (55.2 X 85.7 CM.)After Maxfield Parrish, Daybreak, Chromolithograph,, Dimensions: Frame: 21 3/4 x 33 3/4 in. (55.2 x 85.7 cm.)
• FRANK DUFFIELD (BRITISH,
  FRANK DUFFIELD (BRITISH, 1901-1982), THE SUN BREAKS THROUGH Oil on board, signed and dated 1968 at lower right, attractively framed.
• RUSSIAN SCHOOL (20TH CENTURY), AN
  RUSSIAN SCHOOL (20TH CENTURY), AN IMPRESSIONIST LANDSCAPE AT DAYBREAK Oil on board, unsigned, presented under glass floating against a white linen lining and gilt frame.
• AFTER MAXFIELD PARRISH, DAYBREAK,
  AFTER MAXFIELD PARRISH, DAYBREAK, HOUSE OF ART, NEW YORK, OFFSET COLOR PRINT, FRAME: 22 X 33 1/2 IN. (55.88 X 85.09 CM.)After Maxfield Parrish, Daybreak, House of Art, New York, Offset Color Print,, Dimensions: Frame: 22 x 33 1/2 in. (55.88 x 85.09 cm.)
• MAXFIELD PARRISH COLOR PRINT
  MAXFIELD PARRISH COLOR PRINT ''Daybreak.'' Image measures 18'' x 30'' c. 1925 after the painting executed in 1922. In a period gilt wood.
• W. H. DAY (BRITISH 19TH-20TH
  W. H. DAY (BRITISH 19TH-20TH CENTURY), INLET SCENE, MORNING AND EVENING: PAIR OF OILS ON CANVAS, FRAME: 16 X 25 INW. H. Day (British 19th-20th Century), Inlet Scene, Morning and Evening: A Pair of Works, Each Signed, Each Oil on Canvas, 12 x 20 in.,
• LAURA THOMSON "DAYBREAK"
  LAURA THOMSON "DAYBREAK" WATERCOLORLaura Thomson is a Cotuit resident and a member of The New England Watercolor Society. Laura has studied for many years at the renowned Art Student’s League of New York. The artist has generously offered 100% of proceeds as a donation to the Cahoon Museum. Dimensions: Framed 11" x 13" Unframed 8" x 10"
• MICHAEL STOYANOV. "BEAUTIFUL
  MICHAEL STOYANOV. "BEAUTIFUL DAY," ACRYLIC (Bulgarian/American, b. 1949). Acrylic on canvas, initialed "SM"lr, 2003, 84 x 54 1/4 in., framed.
• MAXFIELD PARRISH "DAYBREAK"
  MAXFIELD PARRISH "DAYBREAK" LITHOGRAPH CIRCA 1930 18" X 29.75" SIGHT. FRAMED 22.75" X 35".MAXFIELD PARRISH "DAYBREAK" LITHOGRAPH, Circa 1930, Printed by "The House of Art, N.Y.". Housed in a period frame. Dimensions: 18" x 29.75" sight. Framed 22.75" x 35".
• Meyer Straus (American/California
  Meyer Straus (American/California 1831-1905 active New Orleans 1869-75) "The Break of Dawn on the Bayou" oil on board signed and dated "'73" lower right with a pencil sketch of foliage en verso 14 1/4 in. x 11 3/8 in. in an elaborate giltwood frame. Provenance: Estate of Virginia McKnight Binger and James Henry Binger Chairman and Chief Executive Officer Minneapolis-Honeywell Minnesota. Note: Meyer Straus worked as a theatrical scenic artist and set designer for the Academy of Music in New Orleans and in San Francisco.His paintings of the Louisiana swamp convey an inherent dramatic flair accentuated by his use of natural light. This charming work presents a tranquil lush bayou at the break of day. Interestingly the artist chose to sign his work on the trunk of a fallen pine tree.
• Dang Anh Tuan (Vienamese,
  Dang Anh Tuan (Vienamese, 20th/2st Century) New Day oil on canvas 45 1/4 x 45 1/4 inches
• DANIEL SHERRIN (BRITISH, 1868 -
  DANIEL SHERRIN (BRITISH, 1868 - 1940) 19 ?'' x 29 ½'' ''A Dawn of a New Day.'' Oil on canvas, depicting two figures in rural landscape with buildings and a pond, facing horizon with a raising sun reflection, signed in the lower right corner; framed in carved gilt wood frame, overall 26 ¼'' x 36 ¼''.
• MAXFIELD PARRISH, NEW HAMPSHIRE,
  MAXFIELD PARRISH, NEW HAMPSHIRE, PENNSYLVANIA (1870-1966), DAYBREAK, , CHROMOLITHOGRAPH, 17 1/2"H X 29 1/2"W, 19 1/2" HX 31 1/4"W (FRAME)Maxfield Parrish, New Hampshire, Pennsylvania, (1870-1966) Daybreak, chromolithograph Biography from Cornish Colony Museum: Maxfield Parrish (1870-1966) is considered the most reproduced artist in the entire history of art. His painting Daybreak (1922) which was sold May 1996 by Sotheby's in New York for a price of $4.3 million established a record as the highest price ever paid for the work of an American illustrator. Parrish was born in Philadelphia, studied at Haverford College and the Pennsylvania Academy of Fine Arts. Parrish worked as an illustrator in Philadelphia until 1898, when he settled in Plainfield, New Hampshire. He called his home "The Oaks". He was commissioned to paint his first magazine cover in 1895 at the age of twenty-five. About twenty artists were asked to compete. Parrish's entry won. 1905 proved to be a turning point in the artist life. The woman that was to become his muse and long time lover, Sue Lewin, posed for him for the first time for a major work titled Land of Make-Believe the year she joined the household as an au pair for his children and studio assistant for Parrish. Subsequently, she modeled in most of his major paintings including both male and female figures in the Florentine Fete, a series of murals executed for the Curtis Publishing Company. Parrish was inundated with commissions from publishers and advertisers. It is estimated that his art delivered over one billion advertisement messages. He also illustrated many books for such major American authors as Nathaniel Hawthorne, L. Frank Baum, Kenneth Grahame, Eugene Fields, Louise Saunders and the redoubtable Edith Wharton. His success and renown grew by leaps and bounds. Commissions for advertisers like Edison Mazda (the precursor of GE) made Parrish's name a household word in the 20's. This led to his success in the print market. The House of Art published many of his well known prints, including Daybreak which was to become the most reproduced image in the history of art. In the latter years of his life, from the age of sixty to ninety, Parrish almost exclusively dedicated himself to painting landscapes. They were published almost exclusively by Brown and Bigelow in St. Paul, Minnesota, as calendars and executive prints. Parrish painted until the age of ninety-one and achieved the distinction of being one of the best remunerated artists of his day. He died at his home, "The Oaks" in Plainfield, New Hampshire, having lived to see his paintings hanging in the permanent collection of museums. Parrish has strongly influenced American art. Many of the major luminaries in the art world such as Andrew Wyeth, Norman Rockwell, and Andy Warhol have collected and been influenced by his work. Today, Parrish oils are found in the Metropolitan Museum of Art, the Detroit Art Institute, and the De Young Museum to name a few of the major art institutions that house his work. In his quiet and non-assuming way, Parrish proved beyond the shadow of a doubt the old adage that illustration is at the heart of American Art in the 20th century. His place in history is secure. Alma Gilbert-Smith chromolithograph Dimensions: 17 1/2"H x 29 1/2"W, 19 1/2" Hx 31 1/4"W (frame) Provenance: American artist Maxfield Parrish was a twentieth century painter and illustrator. Born in Philadelphia in 1870, Parrish's early art education came from his father Stephen, also an artist, and was formalized at the Pennsylvania College of Arts. While the advent of mass-production, color printing meant steady work for many artists, Maxfield Parrishbecame a virtual household name in the 1920s. His illustrations and oil paintings flooded their way onto children's books, magazines, calendars, and greeting cards.Maxfield Parrish paintings wereknown for their rich colors and ethereal quality, characteristics that carried over to the landscapes he focused on later in his career. Thanks to the volume of work he produced, Maxfield Parrish prints valuescan make them an affordable alternative to the rare original paintings. Collectorsof vintage landscape and seascape prints can find a variety of artists online at Invaluable.
• FRANK HANDLEN (MAINE/NEW JERSEY,
  FRANK HANDLEN (MAINE/NEW JERSEY, 1916-), “A NEW DAY”., OIL ON BOARD, 12” X 16”. FRAMED 19” X 22.75”.FRANK HANDLEN, Maine/New Jersey, 1916-, "A New Day". Signed lower right "Handlen". Titled verso. Dimensions: Oil on board, 12" x 16". Framed 19" x 22.75".
• PARRISH Maxfield (American
  PARRISH Maxfield (American 1870-1966): ''Daybreak'' House of Art Print 18'' x 30'' original frame with minor wear 22'' x 33 1/2''.CONDITION: Some fading scattered foxing.
• DAY, Stephen, (American, 1954):
  DAY, Stephen, (American, 1954): ''Glowing Sky'', Oil/Canvas Board, 30'' x 40'', signed lower left, signed titled and dated 1995 verso, framed 40'' x 50''.
• MAXFIELD PARRISH LITHOGRAPHMAXFIELD
  MAXFIELD PARRISH LITHOGRAPHMAXFIELD PARRISH (USA, 1870-1966) lithograph, "Daybreak," circa 1925. Printed name lower right, published by The House of Art, N.Y., 18" x 30" (image), in a period wood frame, 21.5" x 33.5" (frame).
• School of Thomas Moran N.A.
  School of Thomas Moran N.A. (American, 1837-1926) \"Daybreak on Venice\", oil on panel, 18\" x 15\". Presented in a giltwood frame.
• Maxfield Parrish ''When Day is
  Maxfield Parrish ''When Day is Dawning'' complete 1954 calendar mint.
• DAVID ALLEN (BRITISH, BORN 1945),
  DAVID ALLEN (BRITISH, BORN 1945), MORNING SUN, CAMPO MARIA NOVA, VENICE Pastel on tinted paper, completed en plein air May 22, 2013, signed lower right, retains Clark Art Gallery, NC label to verso, matted and framed behind UV glass.
• CLEM BEDWELL, "THE FALL OF
  CLEM BEDWELL, "THE FALL OF DAYLIGHT" A/C ABSTRACT Clem Bedwell (American / Georgia 20th/21st century), "The Fall of Daylight", 2009, abstract colors of cream white, and brown, acrylic on canvas, signed lower right, signed, dated, and tilted en verso, unframed. Provenance: From the Private Collection of Ruth West, Atlanta, Georgia. Approx. h. 24", w. 24" (canvas).
• JOHN FREE "SPRING DAYS"
  JOHN FREE "SPRING DAYS" (BRONZE)Condition Very good condition.