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Upcoming Lots Related to [royal national institute preservation life]

(50 lots returned of approx. 6,477 available)

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With at least one of the words: royal national institute preservation life

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Royal Doulton figure Griselda HN1993

by Potteries Auctions

February 27, 2016, 10:00 AM GMT

Newcastle Under Lyme, United Kingdom

Estimated Price: £50 - £100

Description: Royal Doulton figure Griselda HN1993

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Live Auction: 13 days 10 hours

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Royal Doulton figure Eugene HN1520

by Potteries Auctions

February 27, 2016, 10:00 AM GMT

Newcastle Under Lyme, United Kingdom

Estimated Price: £150 - £300

Description: Royal Doulton figure Eugene HN1520

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Live Auction: 13 days 10 hours

Starting bid: £150 (0 bids)

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Royal Doulton figure Pecksmith HN1891

by Potteries Auctions

February 27, 2016, 10:00 AM GMT

Newcastle Under Lyme, United Kingdom

Estimated Price: £50 - £100

Description: Royal Doulton figure Pecksmith HN1891

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1981 ROYAL WEDDING CROWN

by Figlio Designs LLC

February 16, 2016, 5:30 PM EST

GUILFORD, CT, USA

Estimated Price: $15 - $130

Description: 1981 ROYAL WEDDING CROWN

Condition Report: UNC CONDITION

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Live Auction: 2 days 22 hours

Current bid: $1 (1 bid)

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Isaac Asimov FOUNDATION 1951 First Printing Vintage Science Fiction Interplanetary Novel Phsycohistorians Encyclopedists David Kyle Dust Jacket Gnome Press

by National Book Auctions

February 21, 2016, 12:00 PM EST

Ithaca, NY, USA

Estimated Price: $750 - $1,000

Description: Title: FoundationAuthor: Isaac Asimov - Isaac Asimov (born Isaak Yudovich Ozimov) was an American author and professor of biochemistry at Boston University, best known for his works of science fiction and for his popular science books. Asimov was one of the most prolific writers of all time, having written or edited more than 500 books and an estimated 90,000 letters and postcards. His books have been published in nine out of ten major categories of the Dewey Decimal Classification.Asimov is widely considered a master of hard science fiction and, along with Robert A. Heinlein and Arthur C. Clarke, he was considered one of the "Big Three" science fiction writers during his lifetime. Asimov's most famous work is the Foundation Series; his other major series are the Galactic Empire series and the Robot series. The Galactic Empire novels are explicitly set in earlier history of the same fictional universe as the Foundation Series. Later, beginning with Foundation's Edge, he linked this distant future to the Robot and Spacer stories, creating a unified "future history" for his stories much like those pioneered by Robert A. Heinlein and previously produced by Cordwainer Smith and Poul Anderson. He wrote hundreds of short stories, including the social science fiction "Nightfall", which in 1964 was voted by the Science Fiction Writers of America the best short science fiction story of all time. Asimov wrote the Lucky Starr series of juvenile science-fiction novels using the pen name Paul French.The prolific Asimov also wrote mysteries and fantasy, as well as much nonfiction. Most of his popular science books explain scientific concepts in a historical way, going as far back as possible to a time when the science in question was at its simplest stage. He often provides nationalities, birth dates, and death dates for the scientists he mentions, as well as etymologies and pronunciation guides for technical terms. Examples include Guide to Science, the three volume set Understanding Physics, Asimov's Chronology of Science and Discovery, as well as works on astronomy, mathematics, the Bible, William Shakespeare's writing and chemistry.Asimov was a long-time member and vice president of Mensa International, albeit reluctantly; he described some members of that organization as "brain-proud and aggressive about their IQs". He took more joy in being president of the American Humanist Association. The asteroid 5020 Asimov, a crater on the planet Mars, a Brooklyn, New York elementary school, and a literary award are named in his honor.Publisher: Gnome Press, PublishersCity: New YorkYear: 1951Printing Information: First PrintingBinding Style: HardcoverPagination: 255 pagesWidth: 5.5" Height: 8.5"Book Details: "Foundation" is the first novel in Isaac Asimov's "Foundation Trilogy" (later expanded into "The Foundation Series"). "Foundation" is a cycle of five interrelated short stories, first published as a single book by Gnome Press in 1951. Collectively they tell the story of the Foundation, an institute to preserve the best of galactic civilization after the collapse of the Galactic Empire.Four of the five stories had been earlier published in Astounding Magazine (with different titles) between 1942 and 1944, and a fifth story (positioned first in the book) was added when they first appeared in book form. The original four stories also appeared in 1955 as part of Ace Double's novel series as D-110 under the title "The 1,000-Year Plan."Two further books, each consisting of two novellas, were published shortly after. Decades later, Asimov wrote two further sequel novels and two prequels. Later writers have added authorized tales to the series. The Foundation Series is often regarded as one of Isaac Asimov's best works, along with his Robot series. (Information courtesy of Wikipedia)Condition / Notes: This volume is bound in dark blue cloth, with red lettering to the spine. The covers are in excellent condition. The binding is firm. The age-toned pages are clean and without markings. The illustrated dust jacket, with price of $2.75 on the front flap, displays light shelfwear. The jacket design is by David Kyle. It should be noted that this is not a first-issue jacket.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50

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Live Auction: 7 days 17 hours

Current bid: $80 (3 bids)

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COIN SETS OF ALL NATIONS VOLUME I

by Auction Kings

February 19, 2016, 6:30 PM EST

Tampa, FL, USA

Description: COIN SETS OF ALL NATIONS VOLUME I

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Live Auction: 5 days 23 hours

Current bid: $10 (1 bid)

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COIN SETS OF ALL NATIONS VOLUME III

by Auction Kings

February 19, 2016, 6:30 PM EST

Tampa, FL, USA

Description: COIN SETS OF ALL NATIONS VOLUME III

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Live Auction: 5 days 23 hours

Starting bid: $10 (0 bids)

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Candian National Ore Car 6-61269

by T & S Trinkets

February 19, 2016, 6:00 PM MST

Rio Rancho, NM, USA

Description: Candian National Ore Car 6-61269

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Live Auction: 6 days 1 hour

Starting bid: $10 (0 bids)

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COIN SETS OF ALL NATIONS VOLUME II

by Auction Kings

February 19, 2016, 6:30 PM EST

Tampa, FL, USA

Description: COIN SETS OF ALL NATIONS VOLUME II

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Live Auction: 5 days 23 hours

Current bid: $31 (3 bids)

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united nations civilian police badge in holder

by Hamiltons Antique & Estate Auctions Inc.

February 23, 2016, 6:30 PM PST

Tacoma , WA, USA

Description: united nations civilian police badge in holder

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Live Auction: 10 days 2 hours

Starting bid: $5 (0 bids)

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Sloane (William Milligan) - Life of Napoleon Bonaparte,

by Dreweatts & Bloomsbury

February 18, 2016, 1:00 PM GMT

London, United Kingdom

Estimated Price: £2,000 - £3,000

Description: 8 vol., colour frontispieces, plates including colour, extra-illustrated with c.500 plates added by Bayntun of Bath from various sources , including over 150 hand-coloured (some portraits hand-coloured by Stanley Hardy of Bayntun), numerous folding or double-page, mostly with tissue guards, damp-wrinkling and occasional light damp-staining affecting contents of vol.III to minor degree, handsomely bound in full red morocco, gilt, by Bayntun of Bath , with central arms of Napoleon within roll borders and floriate corner-pieces to covers and Napoleonic motifs in gilt compartments within raised bands to spines, neatly rebacked in red morocco preserving original backstrips, minor rubbing to extremities but overall an attractive set, g.e., 4to, New York, 1896. A fine deluxe issue of this extensive life of Napoleon, luxuriously bound in full red morocco by Bayntun and extra-illustrated with numerous engravings, etchings and aquatints representing Napoleon's life, travels and campaigns. Sources include Bradford's large hand-coloured Spanish views, Heath's hand-coloured views of Egypt, further hand-coloured plates on costume and battles, folding engraved plates of European views and more.

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Live Auction: 4 days 13 hours

Starting bid: £1,000 (0 bids)

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CONSTANCE STUART, (BRITISH/SOUTH AFRICAN, 1814-2000): 'MAN HAVING A BREAK',

by Stephan Welz & Co

March 1, 2016, 10:00 AM CAT

Alphen Drive, South Africa

Estimated Price: R20,000 - R30,000

Description: CONSTANCE STUART, (BRITISH/SOUTH AFRICAN, 1814-2000): 'MAN HAVING A BREAK', NAGMAAL SERIES, 1947, SILVER GELATIN VINTAGE PRINT, SIGNED AND INSCRIBED WITH THE SERIES NAME ON THE REVERSE, DATED FEB 19 1947, ORIGINAL BLACK STAR STAMP, LATER COPYRIGHT STAMP unframed the plate 23cm by 19cm The following three lots form part of Constance Stuart's 'Nagmaal' series (Holy Communion), which was held at the Dutch Reformed Church in Bronkhorstspruit, Transvaal in 1947. Original vintage prints, they are a historical document of the dress, the importance of the Dutch Reformed Church and way of life at that time. Her subjects seem unaware of her presence, thus allowing her to unobtrusively capture many an intimate moment. Not much is known of the series, but it is in the permanent collection of both the 'Smithsonian Institute', Washington, D.C. and the 'Yale Center for British Art'.

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Live Auction: 16 days 8 hours

Starting bid: R20,000 (0 bids)

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Pair of Coca Cola Postcards with Santa #50168v2

by 21st Century Auctions

February 16, 2016, 9:30 AM PST

Saugus, CA, USA

Estimated Price: $60 - $80

Description: Pair of Coca Cola Postcards with Santa **|**|** Vintage 6" tall full color postcards produced by Coca Cola in 1991 to honor some of their famous illustrations. The one of Santa with a train and set was a famous Haddon Sundblom painting that was released in Life magazine in 1962. The other was ad that appeared in National Geographic in 1950. The details are on the back of the postcards. These are licensed items produced under the authorization of Coca-Cola. Excellent unused condition. #50168v2

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Live Auction: 2 days 17 hours

Starting bid: $20 (0 bids)

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Charles Muench (1966 - ) Oil - Parker Lake California, Listed

by Artelisted

March 3, 2016, 5:00 PM EST

Boca Raton, FL, USA

Estimated Price: $3,000 - $4,500

Description: This beautiful view of Parker Lake in California is by the well listed american artist Charles Muench (1966 - ). The medium is oil on canvas. Dimensions are 20" x 16". The wooden frame is 5" wide. Charles Muench is an artist living in between the Sierra range and the high plains desert of Nevada. He received a Bachelor of Fine Arts-with great distinction degree from San Jose State University. He studied primarily under Maynard D. Stewart, a student of Frank Vincent DuMond's and the son of Utah landscape painter, LeConte Stewart. After receiving his degree, Muench attended classes at the Art Students League with David Leffel, Michael Burban, Jack Faragasso, and others. In 1992, Muench moved to Madrid, Spain, where he painted the city and countryside, studied Velasquez, copied master works in the Prado, and attended classes at the Circulo Bellas Artes.He received the First Place Award at the 2008 Heritage Art Exhibition presented by Joan Irvine Smith as well as the Collector's Choice Award at the 2008 and 2005 Maynard Dixon Country Invitational. He received the first place award and "Best Painting of the Cove" Award at the 2007 Crystal Cove Alliance Invitational as well as the Crystal Cove Award in 2005 in Laguna Beach, CA. He also received the Best of Show/Artists Choice award at he 2006 Telluride Plein Air Exhibit. Charles Muench is featured in the June 2007 issue of Southwest Art Magazine as well as the May 2005 issue of Plein Air Magazine. He has also been featured in the June 2003 issue of Southwest Art Magazine as well as in issue 32 of International Artist in their section on "Master Painters of the World-United States Showcase." He received the Gold Medal Award at the San Luis Obispo Plein Air Event in October 2002. He has had his work included in the Arts for the Parks Top 100 Exhibit and was invited to participate in the Laguna Plein Air painting competition. He also received the "Poster Artist" award at the La Quinta Arts Foundation Desert Plein Air Event in 2002. His work has been accepted in the California Art Club's Annual Gold Medal Exhibit and the Gilcrease Museum's American Art in Miniature 2002 Exhibition. Charles Muench has won numerous awards, including the Award of Excellence from the Oil Painters of America. He is a Signature Member of that organization as well as an Artists Member of the California Art Club."Painting is eminently fascinating. I derive inspiration from Velasquez, Sargent, Sorolla, Zorn, Payne, and many others. The basic concepts of painting are relatively simple to comprehend. The subtle variations, which have enticed and challenged great minds throughout history, are what fuel my fire. Brushstrokes are the footprints of the artist's emotions. In putting pigment on canvas, I strive for the same honesty and trueness of a Johnny Cash song."RESUMEBORN 1966EDUCATIONCirculo Bellas Artes, Madrid, SpainArt Students League of New York, New York City.Instructors: David Leffel, Jack Faragasso, Michael BurbanNational Adacemy of Design, New York City.Instructors: James Childs, Leo Neufeld.Private Instruction with Michael Aviano, New York City.Sheffield Polytechnical University, Sheffield England.Instructor: Martin Pritchard R.A.San Jose State University, San Jose, CA.Bachelor of Fine Arts- with great distinction, Painting.Instructor: Maynard D. Stewart.AFFILIATIONSCalifornia Art Club, Artist Member.Oil Painter of America, Signature Member.ARTICLESSouthwest Art Magazine, My World, June 2007Plein Air Magazine, Endlessley Inspired by His Environment, May 2005Art of the West, "Painting the Canyon" November/December 2003Art-Talk, "Artists Painting Canyon De Chelly" November 2003Southwest Art, "A Man for All Seasons," June 2003International Artist, "Master Painters of the World- United States Showcase." Issue Number 32Southwest Art, "The Feminine Form," November 2001.Southwest Art, "Artists to Watch," November, 2000.EXHIBITIONS AND AWARDS2009-2007 One Man Show, Galerie Gabrie, Pasadena, CA.2008 First Place Award, Heritage Exhibition, San Juan Capistrano, CA.2009-1998 Maynard Dixon Country Annual Exhibit.Collector's Choice Award 2008 and 2005Maynard Dixon Estate, Mt. Carmel, UT.2009-2002 American Art in Miniature,Gilcrease Museum, Tulsa OK.2007 Best of Show/Best Painting of the Cove Award Crystal Cove Invitational.2006 Best of Show/Artists Choice Telluride Plein Air.2004-2007 Annual Telluride Plein Air Festival, Telluride, CO.2003 Canyon De Chelly Show,2003 C.M. Russell Auction of Western Art, Great Falls, MT.2003 Settlers West American Miniatures Show, Settlers West, Tucson, AZ.2002 San Luis Obispo Plein Air Event,San Luis Obispo, CA. Gold Medal Award.2002 CAC San Juan Capistrano Plein Air Event, CA.2002 A California Year- One Man Exhibit.The Vault Gallery, Sonora, CA.2002 92nd Annual Gold Medal Exhibition.Pasadena Museum of Art, Pasadena, CA.2002 Desert Plein Air Exhibit.La Quinta, CA. Poster Artist Award for 2003 Event.2001 American Art in Miniature.Gilcrease Museum, Tulsa, OK.2002-1999 Maynard Dixon Country Annual Exhibit.Maynard Dixon Estate, Mt. Carmel, UT.2001-1999 Oil Painter of America National ExhibitVarious Locations. 1999 Award of Excellence.2001 Laguna Artists Plein Air Invitational.Laguna Museum of Art, Laguna Beach, CA.2001 Best and the Brightest ExhibitScottsdale Artists School, Scottsdale, AZ.2000 10th Annual Northwest Invitational Miniature Exhibit.Howard/Mandville Gallery, Kirkland, WA.2000-1998 The Artist's Magazine Annual Art Competition.Finalist, Portrait Category and Still Life Category.2002-2000 Arts for the Parks Top 200 Exhibit.Jackson, WY.1999 Arts for the Parks Top 100 Exhibit.Jackson, WY.1999 American Artist's Professional League 71st National Exhibition.Salmagundi Club, New York City. Award.1999 Salmagundi Club 22nd Annual Non-Members Exhibition.Salmagundi Club, New York City. Ridgewood Art Institute Award.1998 Art in the Embassies Program.Work Exhibited in the American Embassy, Kuwait.1998 Salmagundi Club 21st Annual Non-Members Exhibition.Salmagundi Club, New York City. American Artists Professional League Award.1996 American Contemporaries.Wally Findlay Galleries, Chicago, IL.1994 One Man Show- Recent Paintings.Bingham Gallery, San Jose, CA.1992 One Man Show- Paintings of Madrid.Galleria Concha Sedeno, Madrid, Spain.1989 Art Students League Concourse Exhibition.New York City, Merit Award.

Condition Report: Excellent condition.

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Charles Muench (1966 - ) Oil - Lake Tahoe California, Listed

by Artelisted

March 3, 2016, 5:00 PM EST

Boca Raton, FL, USA

Estimated Price: $3,000 - $4,000

Description: This beautiful view of Lake Tahoe in California is by the well listed american artist Charles Muench (1966 - ). The medium is oil on canvas. Dimensions are 20" x 16". The wooden frame is 4" wide. Charles Muench is an artist living in between the Sierra range and the high plains desert of Nevada. He received a Bachelor of Fine Arts-with great distinction degree from San Jose State University. He studied primarily under Maynard D. Stewart, a student of Frank Vincent DuMond's and the son of Utah landscape painter, LeConte Stewart. After receiving his degree, Muench attended classes at the Art Students League with David Leffel, Michael Burban, Jack Faragasso, and others. In 1992, Muench moved to Madrid, Spain, where he painted the city and countryside, studied Velasquez, copied master works in the Prado, and attended classes at the Circulo Bellas Artes.He received the First Place Award at the 2008 Heritage Art Exhibition presented by Joan Irvine Smith as well as the Collector's Choice Award at the 2008 and 2005 Maynard Dixon Country Invitational. He received the first place award and "Best Painting of the Cove" Award at the 2007 Crystal Cove Alliance Invitational as well as the Crystal Cove Award in 2005 in Laguna Beach, CA. He also received the Best of Show/Artists Choice award at he 2006 Telluride Plein Air Exhibit. Charles Muench is featured in the June 2007 issue of Southwest Art Magazine as well as the May 2005 issue of Plein Air Magazine. He has also been featured in the June 2003 issue of Southwest Art Magazine as well as in issue 32 of International Artist in their section on "Master Painters of the World-United States Showcase." He received the Gold Medal Award at the San Luis Obispo Plein Air Event in October 2002. He has had his work included in the Arts for the Parks Top 100 Exhibit and was invited to participate in the Laguna Plein Air painting competition. He also received the "Poster Artist" award at the La Quinta Arts Foundation Desert Plein Air Event in 2002. His work has been accepted in the California Art Club's Annual Gold Medal Exhibit and the Gilcrease Museum's American Art in Miniature 2002 Exhibition. Charles Muench has won numerous awards, including the Award of Excellence from the Oil Painters of America. He is a Signature Member of that organization as well as an Artists Member of the California Art Club."Painting is eminently fascinating. I derive inspiration from Velasquez, Sargent, Sorolla, Zorn, Payne, and many others. The basic concepts of painting are relatively simple to comprehend. The subtle variations, which have enticed and challenged great minds throughout history, are what fuel my fire. Brushstrokes are the footprints of the artist's emotions. In putting pigment on canvas, I strive for the same honesty and trueness of a Johnny Cash song."RESUMEBORN 1966EDUCATIONCirculo Bellas Artes, Madrid, SpainArt Students League of New York, New York City.Instructors: David Leffel, Jack Faragasso, Michael BurbanNational Adacemy of Design, New York City.Instructors: James Childs, Leo Neufeld.Private Instruction with Michael Aviano, New York City.Sheffield Polytechnical University, Sheffield England.Instructor: Martin Pritchard R.A.San Jose State University, San Jose, CA.Bachelor of Fine Arts- with great distinction, Painting.Instructor: Maynard D. Stewart.AFFILIATIONSCalifornia Art Club, Artist Member.Oil Painter of America, Signature Member.ARTICLESSouthwest Art Magazine, My World, June 2007Plein Air Magazine, Endlessley Inspired by His Environment, May 2005Art of the West, "Painting the Canyon" November/December 2003Art-Talk, "Artists Painting Canyon De Chelly" November 2003Southwest Art, "A Man for All Seasons," June 2003International Artist, "Master Painters of the World- United States Showcase." Issue Number 32Southwest Art, "The Feminine Form," November 2001.Southwest Art, "Artists to Watch," November, 2000.EXHIBITIONS AND AWARDS2009-2007 One Man Show, Galerie Gabrie, Pasadena, CA.2008 First Place Award, Heritage Exhibition, San Juan Capistrano, CA.2009-1998 Maynard Dixon Country Annual Exhibit.Collector's Choice Award 2008 and 2005Maynard Dixon Estate, Mt. Carmel, UT.2009-2002 American Art in Miniature,Gilcrease Museum, Tulsa OK.2007 Best of Show/Best Painting of the Cove Award Crystal Cove Invitational.2006 Best of Show/Artists Choice Telluride Plein Air.2004-2007 Annual Telluride Plein Air Festival, Telluride, CO.2003 Canyon De Chelly Show,2003 C.M. Russell Auction of Western Art, Great Falls, MT.2003 Settlers West American Miniatures Show, Settlers West, Tucson, AZ.2002 San Luis Obispo Plein Air Event,San Luis Obispo, CA. Gold Medal Award.2002 CAC San Juan Capistrano Plein Air Event, CA.2002 A California Year- One Man Exhibit.The Vault Gallery, Sonora, CA.2002 92nd Annual Gold Medal Exhibition.Pasadena Museum of Art, Pasadena, CA.2002 Desert Plein Air Exhibit.La Quinta, CA. Poster Artist Award for 2003 Event.2001 American Art in Miniature.Gilcrease Museum, Tulsa, OK.2002-1999 Maynard Dixon Country Annual Exhibit.Maynard Dixon Estate, Mt. Carmel, UT.2001-1999 Oil Painter of America National ExhibitVarious Locations. 1999 Award of Excellence.2001 Laguna Artists Plein Air Invitational.Laguna Museum of Art, Laguna Beach, CA.2001 Best and the Brightest ExhibitScottsdale Artists School, Scottsdale, AZ.2000 10th Annual Northwest Invitational Miniature Exhibit.Howard/Mandville Gallery, Kirkland, WA.2000-1998 The Artist's Magazine Annual Art Competition.Finalist, Portrait Category and Still Life Category.2002-2000 Arts for the Parks Top 200 Exhibit.Jackson, WY.1999 Arts for the Parks Top 100 Exhibit.Jackson, WY.1999 American Artist's Professional League 71st National Exhibition.Salmagundi Club, New York City. Award.1999 Salmagundi Club 22nd Annual Non-Members Exhibition.Salmagundi Club, New York City. Ridgewood Art Institute Award.1998 Art in the Embassies Program.Work Exhibited in the American Embassy, Kuwait.1998 Salmagundi Club 21st Annual Non-Members Exhibition.Salmagundi Club, New York City. American Artists Professional League Award.1996 American Contemporaries.Wally Findlay Galleries, Chicago, IL.1994 One Man Show- Recent Paintings.Bingham Gallery, San Jose, CA.1992 One Man Show- Paintings of Madrid.Galleria Concha Sedeno, Madrid, Spain.1989 Art Students League Concourse Exhibition.New York City, Merit Award.

Condition Report: Very good condition.

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John Sexton LISTEN TO THE TREES 1994 Limited Edition Author Signed Nature Photography Plates Udall Introduction Baker Essay Decorative Clamshell Case

by National Book Auctions

February 21, 2016, 12:00 PM EST

Ithaca, NY, USA

Estimated Price: $100 - $250

Description: Title: Listen to the TreesAuthor: James Baker, John Sexton - From the author's official website:John Sexton was born in 1953, and has lived on the Monterey Peninsula in California for more than thirty years. Respected as a photographer, master printmaker, author, and workshop instructor, he is best known for his luminous, quiet, black and white photographs of the natural environment.John's most recent book is Recollections: Three Decades of Photographs, an award-winning retrospective volume, published in late 2006 by Ventana Editions. John's previous award-winning books include Quiet Light, a monograph representing fifteen years of his work, and Listen to the Trees, which were published by Bulfinch Press/Little, Brown and Company, along with Places of Power: The Aesthetics of Technology published by Ventana Editions.He is Director of the John Sexton Photography Workshops program, and teaches numerous photography workshops each year for other programs in the United States and abroad, emphasizing printing technique and mastery of the Zone System. Some of these other programs include: Anderson Ranch Arts Center, The Ansel Adams Gallery, Maine Photographic Workshops, and The Palm Beach Workshops.His informed and entertaining lectures for photographic and professional organizations, colleges and universities, and museums discuss the aesthetic and technical aspects of fine black and white photography. He has presented lectures for, among others, George Eastman House, Center for Creative Photography at the University of Arizona,Boston University, Los Angeles County Museum of Art, Museum of Photographic Arts, and the Seattle Art Museum.A recipient of the 2005 North American Nature Photography Association Lifetime Achievement Award, John is a consultant to Eastman Kodak Company and other photographic manufacturers. He worked as both Technical and Photographic Assistant, and then Technical Consultant, to Ansel Adams from 1979 to 1984. Following Mr. Adams' death Sexton served as Photographic Special Projects Consultant to The Ansel Adams Publishing Rights Trust. From 1985 to 1993 he was a member of the Board of Trustees of The Friends of Photography.John's photographs are included in permanent collections, exhibitions, and publications throughout the world. His work has been featured on the CBS Sunday Morning show, and on the MacNeil Lehrer News Hour. Bank of America, General Motors, and Eastman Kodak Company have used his photographs in national advertising campaigns. Sexton's photographs have been featured in numerous periodicals including: Time, Life, American Photo, Backpacker, Photo Techniques, Darkroom Photography, LensWork Quarterly, View Camera, Black and White, Zoom, Outdoor Photographer, Outside, TWA Ambassador, Southern Accents, and Popular Photography.Education• Bachelor of Arts, cum laude, departmental honors, Art – Photography, Chapman University, Orange, California• Associate of Arts, with honors, Photography, Cypress College, Cypress, CaliforniaSELECTED HONORS AND AWARDS• North American Nature Photography Association, Lifetime Achievement Award, 2005• Kodak Professional Icon, 2004• Kodak Professional Legends Online, 2000• Cypress College, Thirtieth Anniversary Outstanding Alumnus. 1997• Photographic Book of the Year Awards, First Place Monograph: Listen to the Trees, 1994• Brooks Institute of Photography, Honorary Master of Science degree, 1990• Imogen Cunningham Award, 1981Selected One-Person ExhibitionsJohn Sexton: A Photographer's Journey, traveling retrospective, Center for Photographic Art, Carmel, CA; John Sexton: Twenty Years of Photographs, retrospective, Monterey Peninsula Museum of Art, Monterey, CA; Quiet Light, traveling exhibition organized by the United States Information Agency, toured fifteen Europeancountries, 1994 to 1996; Evolutions: The Photographs of John Sexton, International Center of Photography, New York, NY; Rencontres Internationales de la Photographic, Arles, France; Oregon State University, Corvallis, OR: Clarence Kennedy Gallery, Polaroid Corporation Cambridge, MA; The Weston Gallery, Carmel, CA; Photo GalleryInternational, Tokyo, Japan; Focus Gallery, San Francisco, CA; The Afterimage Gallery, Dallas, TX; Photokina, Cologne, Germany; Folio Gallery, Calgary, Canada; The Ansel Adams Gallery, Yosemite National Park, CA; Susan Spiritus Gallery, Newport Beach, CA; The Friends of Photography, Carmel, CA., Stewart L. UdallPublisher: Little, Brown and CompanyCity: Boston / New York / Toronto / LondonYear: 1994Printing Information: Limited EditionBinding Style: HardcoverPagination: 94 pagesWidth: 12.5" Height: 11.5"Book Details: Condition / Notes: This collectible nature photography volume is a limited first edition, numbered 105 out of 500 at the end of the volume and signed by John Sexton on the half-title page. The book is bound in black cloth covers with stamped silver lettering and ornamentation on the spine and front cover. This work is in pristine condition. The binding is solid.The text block is adorned in dark gray endpapers. The pages are clean and bright. This work includes an introduction by Stewart L. Udall and an essay by James Baker. The work includes a total of fifty-three photographic plates of trees and nature, including a frontispiece.This volume is encased in a decorative clamshell portfolio of gray cloth, with stamped gilt lettering on the spine and front cover. The clamshell is in excellent condition.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $8.50

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Antique Oil - Hudson River School Amazing and Fine lake View

by Artelisted

March 3, 2016, 5:00 PM EST

Boca Raton, FL, USA

Estimated Price: $500 - $1,000

Description: For sale this Superb oil on canvas from the Hudson River School. Dimensions are 10" x 20" for the canvas. The original frame is 1.5" w. The Hudson River School was Americas first true artistic fraternity. Its name was coined to identify a group of New York City-based landscape painters that emerged about 1850 under the influence of the English _migr_ Thomas Cole (1801_1848) and flourished until about the time of the Centennial. Because of the inspiration exerted by his work, Cole is usually regarded as the _fatherî or _founderî of the school, though he himself played no special organizational or fostering role except that he was the teacher of Frederic Edwin Church (1826_1900). Along with Albert Bierstadt (1830_1902), Church was the most successful painter of the school until its decline. After Coles death in 1848, his older contemporary Asher B. Durand (1796_1886) became the acknowledged leader of the New York landscape painters; in 1845, he rose to the presidency of the National Academy of Design, the reigning art institution of the period, and, in 1855_56, published a series of _Letters on Landscape Paintingî which codified the standard of idealized naturalism that marked the schools production. The New York landscape painters were not only stylistically but socially coherent. Most belonged to the National Academy, were members of the same clubs, especially the Century, and, by 1858, many of them even worked at the same address, the Studio Building on West Tenth Street, the first purpose-built artist workspace in the city. Eventually, several of the artists built homes on the Hudson River. Though the earliest references to the term _Hudson River Schoolî in the 1870s were disparagingly aimed, the label has never been supplanted and fairly characterizes the artistic body, its New York headquarters, its landscape subject matter, and often literally its subject. If Cole is rightly designated the founder of the school, then its beginnings appear with his arrival in New York City in 1825. He determined to become a landscape painter after a period of itinerant portrait painting in Ohio and western Pennsylvania, and a stint in Philadelphia during which he admired and imitated the landscapes of early American specialists such as Thomas Doughty. As significantly, in 1824, a tourist hotel was opened in the Catskill Mountains one hundred miles upriver from New York. Once in New York in late 1825, Cole sailed for the Catskills, making sketches there and elsewhere along the banks of the Hudson. He produced a series of paintings that, when spotted in a bookstore window by three influential artists, gained him widespread commissions and almost instant fame. He was welcomed into the larger cultural life of the city, and was befriended especially by William Cullen Bryant, the poet and newspaper editor, who wrote a sonnet to Cole when he departed on a Grand Tour of Europe in 1829. From the start, Coles style was marked by dramatic forms and vigorous technique, reflecting the British aesthetic theory of the Sublime, or fearsome, in nature. In the representation of American landscape, really in its infancy in the early nineteenth century, the application of the Sublime was virtually unprecedented, and moreover accorded with a growing appreciation of the wildness of native scenery that had not been seriously addressed by Coles predecessors. However, the wilderness theme had earlier gained currency in American literature, especially in the _Leatherstockingî novels of James Fenimore Cooper, which were set in the upstate New York locales that became Coles earliest subjects, including several pictures illustrating scenes from the novels. Fired by the initial reception to his work, as well as by engravings of historical landscapes by J. M. W. Turner and John Martin, Coles ambitions swelled during his European tour. After Cole returned to America, he continued to interpret the Italian landscape in the form of monumental allegories comprising several pictures, such as The Course of Empire (1834_36; New-York Historical Society) and, following his second European trip in 1839_40, The Voyage of Life (1840; Munson-Williams-Proctor Arts Institute, Ithaca, N.Y.). Cole continued to produce scenic American subjects, but even in those his aims were aggrandized by the historical and religious preoccupations of his mature career. He died rather suddenly in Catskill, New York, where he had moved in 1836, starting a tradition followed by many Hudson River School artists. The engraver, portrait, and genre painter Asher Durand was one of the three discoverers of Thomas Cole in 1825 and, in the following decade, was gradually moved to take up landscape painting himself. However, by the time Durand wrote _Letters on Landscape Paintingî in the 1850s, he had seen the plein-air work of John Constable, Turners colleague and rival, in England, and held Constables naturalism up as the standard for young landscape paintersÜin the process, gently relegating Coles histrionic subjects and style to the past. With the example of Durand in both word and practice, outdoor sketching in oils as the foundation of and model for studio landscapes became common, and both plein-airism and the loosening authority of Sublime aesthetics led to a less inflected idiom whose most conspicuous features often were the light influencing terrestrial forms and the air bathing them. This trend coincided with the proliferation of tourist resorts both inland and on the coast during the Civil War period, along with the refinement of the vacation experienceÜincreasingly pursued to relieve the pressures of urban workaday life. Painters who both reflected the new aesthetic standards and accommodated the vacationing class of patrons were John F. Kensett (1816_1872), Martin Johnson Heade (1819_1904), Worthington Whittredge (1820_1910), Sanford Robinson Gifford (1823_1880), Jasper Francis Cropsey (1823_1900), and Jervis McEntee (1828_1891). Somewhat exceptional were Frederic Church and Albert Bierstadt, who in a measure extended the heroic landscape ambitions of Cole after his death. Church enjoyed the privilege and distinction of being Coles student (1844_46), but supplanted his teachers literary and historical conceits with scientific and expeditionary ones. Establishing his reputation with outsize depictions of North American scenic wonders such as Niagara Falls, Church was stirred by the travel accounts and scientific tracts of the German naturalist Alexander von Humboldt to journey twice to South America in the 1850s and paint large-scale landscapes of the equatorial Andean regions that encompassed torrid to frigid habitats in a single pictureÜthe Earth in microcosm. The Museums ten-foot-wide Heart of the Andes (09.95) is the most ambitious and acclaimed of these works. It was promoted as a single-picture attractionÜi.e., set in a dark, windowlike frame draped with curtains and starkly illuminated in an otherwise darkened roomÜthat drew thousands of paying spectators in New York, London, and eight other American cities. Later Church exhibited _full-scaleî paintings of the Arctic regions and the Holy Land. In the Civil War years, Churchs only serious rival was Albert Bierstadt, an _migr_ who returned to his native Germany to study art at the Dªsseldorf Academy. After a stint in Switzerland and Italy, he returned to the U.S. to seizeÜjust as Church had the southern hemisphereÜthe American West as his artistic frontier. The Museums six-by-ten-foot Rocky Mountains, Landers Peak (07.123) was the chief product of Bierstadts first journey to the Rockies of Wyoming with the government survey expedition of Colonel Frederick W. Lander. The great painting was placed as a deliberate complement and competitor opposite The Heart of the Andes in the art gallery of the Metropolitan Fair in New York in 1864. In another gallery of the fair, the artist mounted a tableau vivant of real Indians recalling those in the foreground of his picture. In 1866, Bierstadt was among the earliest white visitors to Yosemite, and produced many large paintings of that region. He toured many times in the West, as well as in Canada, Alaska, Europe, and the Bahamas, and cultivated a large international clientele. His numerous sales enabled him to build a baronial mansion on the Hudson River at Irvington in 1866, even as Church was beginning his great home overlooking the river at Hudson, New York. By the time Church and Bierstadt died, respectively in 1900 and 1902, the Hudson River School had been virtually forgotten. Its fall from grace began about the time of the Centennial. After the Civil War, the aesthetic orientation of the United States shifted from Great Britain, the mother culture, to the Continent, especially France. The appeal of figure painting grew somewhat at the expense of landscape, but the face of landscape painting itself altered with the influence of the softer, more intimate French Barbizon style first adapted to American scenery by George Inness (1825_1894). At first spurned or ignored by critics, Inness gained admiration through the Civil War and Reconstruction periods. By the 1880s, he had become the most highly regarded landscape painter in America and was attracting many followers. The Hudson River School, on the other hand, was increasingly assailed for its scenic and monumental aesthetics, prompting the derogatory label it has worn through its revival in the mid- and later twentieth century. Kevin J. Avery The American Wing, The Metropolitan Museum of Art October 2004

Condition Report: Very good condition.

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No Image Available

by Wallis & Wallis

February 15, 2016, 10:30 AM GMT

Lewes, United Kingdom

Estimated Price: £100 - £150

Description: 40 Corgi Toys. 18 Routemaster buses, liveries include 5x Omnibus, 2x Silver Jubilee, 5x London Transport. Plus B.T., B.E.A. London Country, plus 2 open top, Disneyland and Old Holborn. 8x Bedford OB coach – West Yorkshire. 5 Southern National and 2 Howard’s Tours. 5 Ford Escort vans of which 2 are Royal Mail, one a B.T. one an R.A.C. and one N.E.C. Plus a Mecedes-Bonna Ambulance, a Bedford O series Pantechnicon ‘John Julian’. Plus a Mercedes-Benz 300SL. A Jaguar XK120, Morris Minor Saloon, Chieftain Tank, Saladin Armoured Car, 2x PzKpfw V1 Tiger-King Tiger, Mk1 and Mk2. All boxed, minor wear. Contents Mint.

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National Geographic Magazine January 1903

by Main Street Mining Company

February 16, 2016, 9:00 AM CST

Fort Worth, TX, USA

Estimated Price: $200 - $300

Description: Est. $ 200 - 300 National Geographic Magazine January 1903. Original National Geographic Vol XIV No 1. Wear to binding.

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National Geographic Magazine March 1903

by Main Street Mining Company

February 16, 2016, 9:00 AM CST

Fort Worth, TX, USA

Estimated Price: $200 - $300

Description: Est. $ 200 - 300 National Geographic Magazine March 1903. Original National Geographic Vol XIV No 3. Wear to binding. Embossed stamp on cover.

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National Geographic Magazine November 1903

by Main Street Mining Company

February 16, 2016, 9:00 AM CST

Fort Worth, TX, USA

Estimated Price: $200 - $300

Description: Est. $ 200 - 300 National Geographic Magazine November 1903. Original National Geographic Vol XIV No 11. Cover is not intact. Includes panorama.

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2003 National Wildlife Refuge System - Elk (Proof) #13446v2

by 21st Century Auctions

February 15, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $85 - $100

Description: 2003 National Wildlife Refuge System - Elk (Proof) **|**|** 2003 National Wildlife Refuge System - Elk (Proof) #13446v2

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2003 National Wildlife Refuge System - Salmon (Proof) #13448v2

by 21st Century Auctions

February 15, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $85 - $100

Description: 2003 National Wildlife Refuge System - Salmon (Proof) **|**|** 2003 National Wildlife Refuge System - Salmon (Proof) #13448v2

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Amazing Antique Oil Barbizon School  oil- Unsigned ?

by Artelisted

March 3, 2016, 5:00 PM EST

Boca Raton, FL, USA

Estimated Price: $500 - $1,000

Description: Amazing oil on cardboard probably signed on the back by an artist from the Barbizon School in France. The dimensions of the painting are 14" w x 7.5" h. The original frame is 1.5" wide. In early nineteenth-century France, landscape painting was narrowly circumscribed by an aesthetic code upheld by the conservative French Academy. Painters and sculptors were rigorously trained in the Neoclassical tradition to emulate artists of the Renaissance and classical antiquity. In the hierarchy of historical subjects recognized by the Academy, pure landscape painting was not a privilege. At best, artists could hope to paint an idealized nature inspired by ancient poetry. The grand classicizing subjects of the seventeenth-century painters Nicolas Poussin and Claude Lorrain presented other acceptable models. Following in the path of Poussin and Claude, those eager to paint from nature went to Italy. There, among ancient monuments drenched in Mediterranean sunlight, they gathered to paint and draw directly in the landscape. Even if their open-air sketches retained the formal linearity of the Neoclassical aesthetic, those exercises, often made in the countryside surrounding Rome, freed artists to leave the studio-to fully experience nature, to look rather than copy, to feel rather than analyze (2009.400.29). In 1816, the French Academy introduced a Prix de Rome in paysage historique, historical landscape painting. The prize, awarded every four years, enabled its laureate to live and work at the Villa Medici in Rome, an opportunity conferred on promising French painters schooled in the academic canon. Intended to restore history painting to its seventeenth-century glory, the new Prix de Rome actually prompted a frenzy of excitement over landscape painting. At the time, young artists were flocking to the Louvre to study seventeenth-century Dutch and Flemish landscapes, a naturalist tradition long practiced in the Netherlands. The exhibition of John Constables pictures at the Paris Salon of 1824 further set the stage for this new genre in France. In warm weather, artists now ventured outside Paris to work from nature, traveling to the royal parks of Saint-Cloud and Versailles and to more far-flung areas of the country. No destination was more popular than the Forest of Fontainebleau. Once the unmapped preserve of kings and their royal hunting parties (given the proximity of the hunting lodge turned Ch_teau de Fontainebleau), the Forest of Fontainebleau became a sanctuary for the growing leisure classes, for whom a train ride from Paris was an easy jaunt. Called _the branch-office of Italy” by one popular nineteenth-century writer, the Forest of Fontainebleau spread across 42,000 acres of dense woods undercut with meadows, marshes, gorges, and sandy clearings. Bitterly cold winters and warm summers, coupled with heavy rainfall, encouraged the growth of a wide variety of tree specimens, a great attraction for incipient landscape painters, especially Th_odore Rousseau (11.45.5). Quiet hamlets ringed the forest, refuges for woodchoppers and modest farm laborers. It was to one of those villages, Barbizon, that artists journeyed beginning in the 1820s, with a promise of room and board at the newly established inn Auberge Ganne. The Auberge provided lodging for painters who typically forayed into the nearby forest in warm weather and retreated to Parisian studios in winter. After daylong excursions in nature, artists convened at the Auberge Ganne to share ideas, discuss technical practices, and revel in one anothers company. Years later, already eclipsed by Impressionism, these pioneering painters of nature came to be called the Barbizon School. Despite differing in age, technique, training, and lifestyle, the artists of the Barbizon School collectively embraced their native landscape, particularly the rich terrain of the Forest of Fontainebleau. They shared a recognition of landscape as an independent subject, a determination to exhibit such paintings at the conservative Salon, and a mutually reinforcing pleasure in nature. Alfred Sensier, close friend and biographer of Barbizon painters Th_odore Rousseau and Jean-Franois Millet, wrote of the romantic attraction of the Forest of Fontainebleau: _They had reached such a pitch of over-excitement that they were quite unable to workó the proud majesty of the old trees, the virgin state of rocks and heathó all these intoxicated them with their beauty and their smell. They were, in truth, possessed.” Th_odore Rousseau was indeed possessed by the forest. A powerful voice for painting outdoors, he spent more time there than any of his fellow artists, often guiding them to his favorite haunts. He worked in the forest in all climates, even in the freeze of winter (11.4), and only returned to Paris to advance sales. Rousseau deplored the encroachment of industry and tourism at Fontainebleau. He appealed to Napoleon III to halt the wholesale destruction of the forests trees, and in 1853 the emperor established a preserve to protect the artists cherished giant oaks. Among the painters who followed Rousseau into the forest, Narcisse Diaz de la Pe_a was his most loyal disciple. Together, they often packed a picnic to last the day, as they ventured into the woods in search of imagery. Diaz was not of a temperament to paint the meticulous detail so familiar in Rousseaus landscapes, yet his heavily impastoed canvases nonetheless won much praise at the Paris Salon. Millet moved his growing family to Fontainebleau to escape an epidemic of cholera that followed the Revolution of 1848. He and his wife raised nine children in a spare peasant cottage bordering the forest. Penurious circumstances never dampened Millets spirit, nor did they compromise his productive career. All his life, he painted farm laborers with blunt realism and quiet dignity (60.71.12). Camille Corot, perhaps the most influential of all French landscape painters of the nineteenth century, never settled in Fontainebleau, although its rocky outcroppings and majestic trees informed some of his prized early paintings. Fontainebleau: Oak Trees at Bas-Br_au (1979.404) is one of the most vigorous and precise. Its sharply focused topography stands in contrast to his much later paintings, Ville-dAvray (87.15.141), for example, in which nature dissolves in a silvery mist of tonal lyricism. Corot always returned to the studio to process his visual experience and never admitted conflict in reconciling academic values with the newfound freedom afforded by direct observation. Of the artists who joined Corot in the French countryside in the summer months, Charles-Franois Daubigny was among the most accomplished. Whether painting storks hovering over a marsh or an apple orchard swaying in the wind, he brought his canvases to a radical degree of completion outdoors. Daubigny worked in the Forest of Fontainebleau in his early years, but his preference for water soon led him to other regions of France. From his floating studio, a refitted ferry called Le Bottin (The Little Box), Daubigny ambled along the River Oise painting transient skies and limpid waters. His simple scenes of reflected light†A River Landscape with Storks (14.40.818), for example†resonate with the immediacy of that direct experience outdoors. Daubigny supported many Impressionists in their early years and urged their inclusion in Salon exhibitions. Barbizon was more than just a place; it was an encompassing motif. Like other great motifs, it transcended geography. Inspirational and nurturing, even despite daily trials of frostbitten fingers at winters dawn or sunburned hands at summers midday, Barbizon answered the quest for landscapes metaphoric power. The artists of the Barbizon School showed us the rapidly disappearing rural path to painterly _truth” well before the Impressionists trod the same forest and fields, carrying with them their factory-made satchels with metallic tubes of new pigments and their modern ways of seeing. Landscape painting was no longer subservient to history painting. It was history in the making. Dita Amory Robert Lehman Collection, The Metropolitan Museum of Art

Condition Report: Very good condition. Provenance from estate sale in France to private collector in Palm Beach.

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Vintage very old gouache  Modernism Judaica, Marc Chagall?

by Artelisted

March 3, 2016, 5:00 PM EST

Boca Raton, FL, USA

Estimated Price: $1,000 - $2,000

Description: For your consideration this amazing gouache on paper in the manner of Marc Chagall. The painting is very old. We estimate a 1940's creation. It is coming with the original frame with provenance from New York. The painting measures 9.5" x 8". The original frame is 11.5" x 13". It is unsigned. Marc Chagall was a man of keen intelligence, a shrewd observer of the contemporary scene, with a great sympathy for human suffering. He was born on July 7, 1887 in Vitebsk, Russia; his original name was Moishe Shagal (Segal), but when he became a foremost member of the Ecole de Paris, he adopted French citizenship and the French spelling of his name. Vitebsk was a good-sized Russian town of over 60,000, not a shtetl. His father supported a wife and eight children as a worker in a herring-pickling plant. Sheltered by the Jewish commandment against graven images, the young Chagall never saw so much as a drawing until, one day, he watched a schoolmate copying a magazine illustration. He was ridiculed for his astonishment, but he began copying and improvising from magazines. Both Chagall's parents reluctantly agreed to let him study with Yehuda Pen, a Jewish artist in Vitebsk. Later, in 1906, they allowed their son to study in St. Petersburg, where he was exposed to Russian Iconography and folk art. At that time, Jews could leave the Pale only for business and employment and were required to carry a permit. Chagall, who was in St. Petersburg without a permit, was imprisoned briefly. His first wife, Bella Rosenfeld, was a product of a rich cultivated and intellectual group of Jews in Vitebsk. Chagall was made commissar for the arts for the area, charged with directing its cultural life and establishing an art school. Russian folklore, peasant life and landscapes persisted in his work all his life. In 1910 a rich patron, a lawyer named Vinaver, staked him to a crucial trip to Paris, where young artists were revolutionizing art. He also sent him a handsome allowance of 125 francs (in those days about $24) each month. Chagall rejected cubism, fauvism and futurism, but remained in Paris. He found a studio near Montparnasse in a famous twelve-sided wooden structure divided into wedge-shaped rooms. Chaim Soutine, a fellow Russian Jew, and Modigliani lived on the same floor. To Chagall's astonishment, he found himself heralded as one of the fathers of surrealism. In 1923, a delegation of Max Ernst, Paul Eluard and Gala (later Salvador Dali's wife) actually knelt before Chagall, begging him to join their ranks. He refused. To understand Chagall's work, it is necessary to know that he was born a Hasidic Jew, heir to mysticism and a world of the spirit, steeped in Jewish lore and reared in the Yiddish language. The Hasidim had a special feeling for animals, which they tried not to overburden. In the mysterious world of Kabbala and fantastic ancient legends of Chagall's youth, the imaginary was as important as the real. His extraordinary use of color also grew out of his dream world; he did not use color realistically, but for emotional effect and to serve the needs of his design. Most of his favorite themes, though superficially light and trivial, mask dark and somber thoughts. The circus he views as a mirror of life; the crucifixion as a tragic theme, used as a parallel to the historic Jewish condition, but he is perhaps best known for the rapturous lovers he painted all his life. His love of music is a theme that runs through his paintings. After a brief period in Berlin, Chagall, Bella and their young daughter, Ida, moved to Paris and in 1937 they assumed French citizenship. When France fell, Chagall accepted an invitation from the Museum of Modern Art to immigrate to the United States. He was arrested and imprisoned in Marseilles for a short time, but was still able to immigrate with his family. The Nazi onslaught caught Chagall in Vichy, France, preoccupied with his work. He was loath to leave; his friend Varian Fry rescued him from a police roundup of Jews in Marseille, and packed him, his family and 3500 lbs. of his art works on board a transatlantic ship. The day before he arrived in New York City, June 23, 1941, the Nazis attacked Russia. The United States provided a wartime haven and a climate of liberty for Chagall. In America he spent the war years designing large backdrops for the Ballet. Bella died suddenly in the United States of a viral infection in September 1944 while summering in upstate New York. He rushed her to a hospital in the Adirondacks, where, hampered by his fragmentary English, they were turned away with the excuse that the hour was too late. The next day she died. He waited for three years after the war before returning to France. With him went a slender married English girl, Virginia Haggard MacNeil; Chagall fell in love with her and they had a son, David. After seven years she ran off with an indigent photographer. It was an immense blow to Chagall's ego, but soon after, he met Valentine Brodsky, a Russian divorcee designing millinery in London (he called her Fava). She cared for him during the days of his immense fame and glory. They returned to France, to a home and studio in rustic Vence. Chagall loved the country and every day walked through the orchards, terraces, etc. before he went to work. Chagall died on March 28, 1985 in the south of France. His heirs negotiated an arrangement with the French state allowing them to pay most of their inheritance taxes in works of art. The heirs owed about $30 million to the French government; roughly $23 million of that amount was deemed payable in artworks. Chagall's daughter, Ida and his widow approved the arrangement. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources: Hannah Grad Goodman in Homage to Chagall in Hadassah Magazine, June 1985 Jack Kroll in Newsweek, April 8, 1985 Andrea Jolles in National Jewish Monthly Magazine, May 1985 Michael Gibson in ARTnews, September 1988 Time Magazine, July 30, 1965 Biography from GallArt.com Born in Belarus in 1887, Marc Chagall was a French painter, printmaker and designer associated with several major artistic styles, synthesizing elements of Cubism, Symbolism and Fauvism. One work in particular, I and the Village (1911), pre-dated Surrealism as an artistic expression of psychic reality. An early modernist, Chagall created works in nearly every artistic medium, including sets for plays and ballets, biblical etchings, and stained-glass windows. Chagall died in France in 1985. Today, he is widely regarded as one of the most successful artists of the 20th century. EARLY YEARS Marc Chagall was born on July 7, 1887, in Vitebsk, Belarus (in the Russian Empire), and was raised in a devoutly Jewish environment with eight other siblings. His father worked in a fish warehouse, and his mother ran a shop where she sold fish and sundry baking supplies. As a child, Chagall attended heder (Jewish elementary school) and later went to public school, where lessons were taught in Russian. After learning the elements of drawing at school, from 1907 to 1910, Chagall studied painting in St. Petersburg at the Imperial Society for the Protection of the Arts, eventually under stage designer L_on Bakst. A characteristic work from this early period is "The Dead Man" (1908), a painting that depicts a violinist (a recurring image for the artist) amid a nightmarish rooftop scene. Chagall moved to Paris in 1910, and then moved into a studio on the edge of town in a Bohemian area known as La Ruche ("the Beehive"). There, he met several writers and artists, including Guillaume Apollinaire, Robert Delaunay and Albert Gleizes. In such artistic company, experimentation was encouraged, and Chagall quickly began developing the poetic and innovative tendencies that had begun to emerge in Russia at the timeÜtendencies that may not have previously been encouraged. At the same time, he came under the influence of the Impressionist, Post-Impressionist and Fauvist pictures he saw in Paris museums, and was introduced to Fauvism and Cubism. Before long, he was participating in the Salon des Ind_pendants and the Salon d'Automne (1912), annual French exhibits, staging his first solo show in 1914 in Berlin to great adulation. This periodÜduring which he created several images of his childhood and hometown of VitebskÜis considered Chagall's strongest, artistically, and the style he developed would remain with him for the rest of his life. His works during this time include "Hommage Apollinaire" (1911-12), The Fiddler (1912) and Paris Through the Window (1913). WORLD WAR I After the Berlin exhibition, Chagall returned to Vitebsk, Belarus, where he intended to stay long enough to marry his fianc_e, Bella. A few weeks later, though, he was stranded by the outbreak of World War I, as the Russian borders were closed indefinitely. Instead of despairing, Chagall embraced local scenes in his art, working at the time in an unusually realistic style. Paintings such as "The Praying Jew" (or The Rabbi of Vitebsk; 1914) and "Jew in Green" (1914) emerged during this period. Chagall married Bella in 1915, and the flying lovers of Birthday (1915-23) and the playful, acrobatic Double Portrait with a Glass of Wine (1917) serve as testaments to the joyousness of the artist's spirit during the early years of his marriage. At first, Chagall was enthusiastic about the Russian Revolution of October 1917, and he decided to settle in Vitebsk. In 1918, he was appointed commissar for art, and then founded and directed the Vitebsk Popular Art School. Disagreements with the Suprematists (a group of artists primarily concerned with geometric shapes) resulted in Chagall's resignation from the school in 1920, after which he moved to Moscow, there undertaking his first stage designs for the State Jewish Chamber Theater. Chagall then left Russia for good. After a stop-over in Berlin in 1922, the artist returned to Paris in 1923 with his wife and daughter; his first retrospective took place there the following year, at the Galerie Barbazanges-Hodebert. Chagall had learned engraving while in Berlin, and he received his first engraving commission in 1923, from Paris art dealer and publisher Ambroise Vollard, for creating etchings to illustrate a special edition of Nikolay Gogol's novel Dead Souls. Over the next three years, Chagall completed 107 plates for the Gogol book, 100 gouaches for poet Jean de La Fontaine's Fables, and a series of etchings illustrating the Bible; his career as a printmaker was in full swing. During the 1930s, besides painting and engraving, Chagall traveled extensively: to the Netherlands, Spain, Poland, Italy and Palestine, where he stayed for two months, visiting the Holy Land to inspire his Bible etchings. In Palestine in 1931, Chagall immersed himself in Jewish life and history, and by the time he returned to France, he had completed 32 of biblical plates (he would create 105 in total). WORLD WAR II With Hitler rising to power, a full-blown war was waged in Germany against artists, and, subsequently, anything deemed modern or difficult to interpret being confiscated and burned (with some of Chagall's works being singled out). The once-impressed German press now turned on Chagall, and in response, Chagall's paintings struck a different tone, with terror and persecution taking on foreground roles. In Solitude (1933), Chagall's anxiety over the fate of humanity is represented by an atmosphere of despondency and in the figure of the huddled, pious Jew; in White Crucifixion (1938), Jewish and Christian symbols are mixed in a depiction of a Nazi crowd terrorizing Jews. The artist would be dealt another blow in 1939, when Ambroise Vollard died and Chagall's various etching projects were put on hiatus. (Another publisher later picked up where Vollard had left off, issuing Dead Souls in 1948, La Fontaine's Fables in 1952 and the Bible in 1956.) With the outbreak of World War II, Chagall moved farther and farther south in France, as the Nazi threat became increasingly real for European Jews. A group of Americans ran a rescue operation trafficking artists and intellectuals out of Europe to the United States via forged visas, and Marc Chagall was one of more than 2,000 who escaped this way. He arrived in New York with Bella on June 23, 1941Üthe day after Germany invaded the Soviet UnionÜand spent most of the next few years in the New York area. In New York, Chagall continued to develop his signature themes, but in 1942, a new commission came his way: to design the sets and costumes for a new ballet, Aleko, by L_onide Massine, which would stage Pushkin's The Gypsies and be accompanied by the music of Tchaikovsky. When AlekoÜChagall's first balletÜpremiered on September 8, 1942, it was a great success. Also during this period, Chagall designed the backdrops and costumes for Stravinsky's ballet The Firebird (1945), another success. The course of Chagall's life and art was changed yet again in 1944, when his wife, Bella, passed away. Thereafter, depictions of memories of his wife recurred in Chagall's work; she appears in several formsÜa haunted weeping wife, an angel and a phantom brideÜin Around Her (1945), and as a bride in The Wedding Candles (1945) and Nocturne (1947). Before moving back to France for good in 1948, Chagall was honored with retrospective exhibitions at both the Museum of Modern Art in New York and the Art Institute of Chicago. LATER YEARS In 1948, Chagall settled again in France, on the French Riviera at Vence. During the 1950s, he forayed into painting and modeling ceramics, stone sculptures and mosaics. In 1958, Chagall designed the scenery and costumes for the ballet Daphnis and Chloe for the Paris Opera, from whom, five years later, he received a commission to paint a new ceiling for its theater. The choice of artist, however, stirred controversy, as some objected to having a French national monument redesigned by a Russian Jew, while others disliked the idea of a modernist working on such a historic building. Nonetheless, the project went forward with Chagall at the helm, and when it was unveiled, it was a huge hit with all factions, surprising many and vindicating others, Chagall included. Over Chagall's decades-long career, his use of color captured the attention of viewers, and his varying projects in his later years were no different: In 1960, he began creating stained-glass windows for the synagogue of Hebrew University's Hadassah Medical Center in JerusalemÜa project that became a spiritual journey for Chagall, once again linking him to his Jewish heritage. Chagall later took on more stained-glass projects, including at the United Nations building (1964); the Fraumªnster Cathedral in Zurich (1967); St. Stephen's Church in Mainz, Germany (1978); and the All Saints' Church in the United Kingdom (1978). Marc Chagall died in Saint-Paul de Vence, France, on March 28, 1985, leaving behind a vast collection of work in several branches of the arts, as well as a rich legacy as a major Jewish artist and a pioneer of modernism. Pablo Picasso famously once said of the artist, "When Matisse dies, Chagall will be the only painter left who understands what color really is." (Courtesy of Biography.com)

Condition Report: It is in original condition as we found it.

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CAMPAIGN GROUPS AND PAIRS

by Dix Noonan Webb

February 24, 2016, 11:00 AM GMT

London, United Kingdom

Estimated Price: £40 - £60

Description: Pair: Corporal (Airwoman) D. E. Nunn, Royal Canadian Air ForceWar Medal 1939-45, in silver; Canadian Voluntary Service Medal 1939-45, together with identity discs (2) to ‘CAN W306205 Airwoman D. E. Nunn, R.C.A.F.’, and discharge and R.C.A.F. Reserve lapel badges, extremely fine (6)

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GROUPS AND SINGLE DECORATIONS FOR GALLANTRY

by Dix Noonan Webb

February 24, 2016, 11:00 AM GMT

London, United Kingdom

Estimated Price: £3,500 - £4,000

Description: The important and unique K.C.B. group of ten awarded to Colonel Sir Henry Hozier, Assistant Military Secretary to Lord Napier of Magdala, Times War Correspondent, Secretary to Lloyd's of London and the father of Lady Clementine ChurchillThe Most Honourable Order of the Bath, K.C.B. (Civil) Knight Commander’s set of insignia, comprising neck badge, silver-gilt, hallmarks for London 1902, and breast star, silver, silver-gilt and enamel, in its Garrard & Co. case of issue; China 1857-60, 2 clasps, Taku Forts 1860, Pekin 1860 (Lieut. H. M. Hozier, 4th Bde. Rl. Arty.), correction to surname; Abyssinia 1867 (Lieut. H. M. Hozier, 2nd Life Gds. Asst. Mily. Secy.); Volunteer Decoration, V.R., hallmarks for London 1894, complete with top bar; Prussia, Iron Cross 1870, with 25 year oak leaf cluster; Prussia, Cross for the Campaign against Denmark 1866; Prussia, Medal for the Franco-Prussian War 1870-71, 5 clasps, Metz, Loigny-Poupry, Le Mans, Orleans, Paris; Prussia, Wilhelm Centenary Medal 1797-1897, mounted as worn where applicable, some contact marks and edge knocks to the earlier medals, otherwise generally very fine (10)

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W/C Two Women, José Jesús Francisco Zúñiga Cha

by Louis J. Dianni, LLC

February 15, 2016, 11:00 AM EST

West Palm Beach, FL, USA

Estimated Price: $1,500 - $2,500

Description: Watercolor on paper painting by José Jesús Francisco Zúñiga Chavarrí. (This name uses Spanish naming customs: the first or paternal family name is Zúñiga and the second or maternal family name is Chavarría). Image of two women with Native American features. in traditional markets, feeling the women represent maternity and familial responsibility.

Condition Report: Upon inspection no damage or restoration observed.

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STORY OF MY LIFE METAL SIGN #25186v2

by 21st Century Auctions

February 18, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $45 - $60

Description: STORY OF MY LIFE METAL SIGN **|**|** STORY OF MY LIFE METAL SIGN #25186v2

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TREE OF LIFE ART GLASS DECORATION #24713v2

by 21st Century Auctions

February 18, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $270 - $360

Description: TREE OF LIFE ART GLASS DECORATION **|**|** TREE OF LIFE ART GLASS DECORATION #24713v2

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MILLER HIGH LIFE METAL SIGN #24609v2

by 21st Century Auctions

February 19, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $75 - $100

Description: MILLER HIGH LIFE METAL SIGN **|**|** MILLER HIGH LIFE METAL SIGN #24609v2

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Sea Life Earrings Pink Ice #90849v2

by 21st Century Auctions

February 19, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $230 - $450

Description: Sea Life Earrings Pink Ice **|**|** Sea Life Earrings Pink Ice #S7970PK #90849v2

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LEGENDS LIFE NEEDS METAL SIGN #26906v2

by 21st Century Auctions

February 19, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $60 - $80

Description: LEGENDS LIFE NEEDS METAL SIGN **|**|** LEGENDS LIFE NEEDS METAL SIGN - SHIPPING CHARGE $12.00 #26906v2

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Life After Death METAL SIGN #26728v2

by 21st Century Auctions

February 18, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $60 - $80

Description: Life After Death METAL SIGN **|**|** Life After Death METAL SIGN - SHIPPING CHARGE $12.00 #26728v2

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Tree of Life/Pentagram Ouija Board #48538v2

by 21st Century Auctions

February 22, 2016, 4:30 AM ACDT

Saugus, CA, USA

Estimated Price: $300 - $400

Description: Tree of Life/Pentagram Ouija Board **|**|** Tree of Life/Pentagram Ouija Board #48538v2

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Celtic Tree of Life Goblet #71181v2

by 21st Century Auctions

February 16, 2016, 4:30 AM PST

Saugus, CA, USA

Estimated Price: $60 - $80

Description: Celtic Tree of Life Goblet **|**|** Celtic Tree of Life Goblet #71181v2

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Hesston set of 4 National Finals Rodeo Pewter Ashtrays

by Harley Jackson Auctioneer

March 5, 2016, 10:00 AM EST

Kenton, OH, USA

Description: 1978,79,80,81

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Hesston NFR 1983 25th Anniversary National Rodeo

by Harley Jackson Auctioneer

March 5, 2016, 10:00 AM EST

Kenton, OH, USA

Description: nobox

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Eyewitness To The Civil War, National Geographic

by The Red Barn Auction Company

February 19, 2016, 8:00 PM EST

Nashville, NC, USA

Description: Coffee Table Book

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The Secrets Corners of the World, National Geographic

by The Red Barn Auction Company

February 19, 2016, 8:00 PM EST

Nashville, NC, USA

Description: Hardback

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The Marvels of Animal Behavior, National Geographic

by The Red Barn Auction Company

February 19, 2016, 8:00 PM EST

Nashville, NC, USA

Description: Hardback

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Metal Miniature Souvenir Cannon

by The Red Barn Auction Company

February 19, 2016, 8:00 PM EST

Nashville, NC, USA

Description: Pittsburgh National Battlefield Park

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2 1929 $10 PA National Currency Notes North Wales

by Cordier Auctions & Appraisals

February 20, 2016, 10:00 AM EST

Harrisburg, PA, USA

Estimated Price: $100 - $200

Description: DESCRIPTION: Two 1929 Pennsylvania national currency notes. Includes: 1) National Bank of Germantown and Trust Company, Philadelphia. 2) The North Wales National Bank, North Wales. CONDITION: Extremely Fine.

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VINTAGE

by Bridge City Auctions

February 17, 2016, 6:00 PM PST

Lake Oswego, OR, USA

Description: none

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The Best of Life

by The Red Barn Auction Company

February 19, 2016, 8:00 PM EST

Nashville, NC, USA

Description: Coffee Table Book

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Medals

by Copake Auction Inc.

February 13, 2016, 3:00 PM EST

Copake, NY, USA

Estimated Price: $25 - $35

Description: Lot (2) medals including "24th National Encampment Boston August 1890" and "19th National Convention/1937 New York".

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Whitman Classic National Park Quarters Folder 2010-2021 (NEW Folder)

by Amp Auctions

February 13, 2016, 2:30 PM EST

Anderson, IN, USA

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Description: Whitman Classic National Park Quarters Folder 2010-2021 (NEW Folder)

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39) Antique framed photo of National Sheriff's Association, Seattle 1909

by Hamiltons Antique & Estate Auctions Inc.

February 23, 2016, 6:30 PM PST

Tacoma , WA, USA

Description: 39) Antique framed photo of National Sheriff's Association, Seattle 1909

View additional info » Live Auction

Live Auction: 10 days 2 hours

Starting bid: $5 (0 bids)

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by Grand southern auctions

February 21, 2016, 3:30 PM EST

Douglasville , GA, USA

Estimated Price: $5 - $10

Description: 2016 S Deep Cameo Proof National Parks Fort Moultrie Quarter

View additional info » Platinum House Live Auction

Live Auction: 7 days 20 hours

Starting bid: $1 (0 bids)

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No Image Available

by Grand southern auctions

February 21, 2016, 3:30 PM EST

Douglasville , GA, USA

Estimated Price: $5 - $10

Description: 2016 S Deep Cameo Proof National Parks Fort Moultrie Quarter

View additional info » Platinum House Live Auction

Live Auction: 7 days 20 hours

Starting bid: $1 (0 bids)

Leave Bid
  Register to bid
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