Acquired from the artist’s studio in 1985, this large canvas epitomizes Chu Teh-chun’s mature period, when his depictions of nature reveal their most beautiful flights of color.
Chu Teh-chun (1920-2014) Irisation saturation 1, 1984, oil on canvas signed, dated and titled, 103 x 84 cm/40.55 x 33 in. Estimate: €80,000/120,000
The tumultuous beauty of nature imposes itself on our eyes. We find ourselves immersed in cloud curls, morning mists, buffeted by wind. Atmospheric elements animate Chu Teh-chun‘s paintings. Already during his formative years, mentored by such great artists as Pan Tianshou, Zhang Guang and Li Kuchan at the Hangzhou Fine Arts School, he understood the need to “liberate the transcendent nature within you”. His interior landscapes are focused on capturing light and retranscribing the primordial rhythm of life. With this in mind, colors and lines work together. Irisation Saturation is a perfectly masterful example. Painted in 1984, the painting was acquired the following year from the painter’s studio and has remained in the same collection ever since. After an early career marked by dark canvases influenced by Nicolas de Staël, in the 1970s the painter developed a lyrical expression in works in which orange tones came to the fore. But it was the following decade that marked the apogee of his style, with a notable increase in the width of his paintings and the appearance of dominant green and blue hues, in landscapes where the light comes from behind the composition and pierces the material. This quest for depth is reinforced by contrasts between warm and cold tones, transparency effects and superimpositions. An impression of floating emanates from the canvas, while the light, by piercing the material, pushes color saturation to its maximum and recreates atmospheric iridescence, like a swirling rainbow.
Painted in 1984, the painting was acquired the following year from the painter’s studio and has remained in the same collection ever since.
To achieve this degree of mastery and pictorial effect, Chu Teh-chun perfected a technique based on the application of broad strokes of diluted paint, using a brush up to 25 cm/ nearly 10 inches wide. Once dry, these brushstrokes create subtle gradations, evoking air humidity and steam. His art is thus a skilful balance between gestural abstraction and a rhythmic structure served by a thoughtful method. Chu Teh-chun is thus in the direct line of traditional Chinese painters. In fact, it was following a new rapprochement with his country that his style evolved. A reunion with his former teacher Lin Fengmian in Paris in 1979 rekindled ties, and in 1983 he set off on a trip to Beijing. He rediscovered the landscapes that nourished his imagination and the masters who had always moved him, with their philosophy of emptiness and fullness, their representation of nature through rhythms and flows. Long before Western abstraction, in fact, the ancestral technique of xieyi (“writing the idea”) is made up of expressive, spontaneous brushstrokes, with intention taking precedence over form. This aesthetic is imbued with poetry, painting and Taoist philosophy, arts intimately linked and practiced by Wang Wei (701-761), whose landscapes and colors, as well as his unique treatment of clouds and their multiple variations, have always inspired Chu Teh-chun. The 8th-century scholar-painter invited contemplation with these words: “Walk to the place where the spring dries up and wait, seated, for the clouds to rise.”
Tableaux contemporains : fonds d’atelier Simon de Cardaillac
LOS ANGELES, June 11, 2025 /PRNewswire/ — BILLINGS is pleased to announce its upcoming Summer Modern Art + Design and Contemporary Design auctions, taking place on June 28 and 29, 2025. With over 500 lots offered across both events, this two-day series presents a dynamic blend of 20th-century modernism and contemporary innovation, curated for both seasoned collectors and design enthusiasts alike.
BILLINGS Modern Art + Design Auction – Saturday, June 28th, 10AM PT
Saturday, June 28 at 10AM (Pacific) In-person, online, absentee, and phone bidding available
This marquee sale features over 400 highly curated lots of 20th-century furniture, lighting, art, and decorative objects from across Italy, France, Scandinavia, and the United States.
Notable highlights include:
A rare biomorphic coffee table (1952) by T.H. Robsjohn-Gibbings, complete with original lime green-shaded glass.
An iconic “Elipsis” mosaic by California mid-century master Evelyn Ackerman.
A delicate and significant Weed Pot by Los Angeles-based ceramicist Doyle Lane, a pivotal figure of the Black Arts movement.
A debut collection of acrylic sculptures by Jackie Greber, a Light and Space artist whose work was described by Artforum as a “magically sustaining delight.”
Also featured is a selection of exceptional craft furniture and studio pottery, including works by:
The following day, BILLINGS presents 100+ lots of contemporary furniture, lighting, and art from the world’s most forward-thinking studios and designers. The sale includes statement pieces from heritage brands like B&B Italia, Minotti, Flos, Ligne Roset, and Louis Poulsen.
The sale also includes collectible objects and rare decor, including pieces by renowned pop artist KAWS.
AUCTION PREVIEW
Saturday, June 21 / 9AM–2PM Monday–Thursday, June 23–26 / 9AM–4PM Friday, June 27 / 9AM–9PM
PREVIEW PARTY Friday, June 27 / 6PM–9PM
About BILLINGS
Founded in 2015 to address an absence of curated channels in Los Angeles’ design market, BILLINGS offers a platform for the sale of quality modern design, furniture, art, and decorative objects. BILLINGS’ quarterly auctions feature 300–400+ lots spanning from the pedigreed to anonymous, classic to unusual, and rare to noteworthy. Heavily weighted in mid-century modern selections from the 1960s to the early 2000s, BILLINGS’ catalogs represent a wide range of American and international art and design. BILLINGS’ in-house live auctions are accessible online, with options to bid in-person, online, as an absentee or by phone. Registration and pre-bidding begin three weeks before each sale. For more information and press inquiries, contact Rich Carmichael at [email protected] or by phone at 213-584-2240.
Marklin boats, fine German autos, a Father Christmas car, and a circa-1904 Marklin Ferris Wheel that sold for $156K topped the luxe array of European and American toys and trains, many book examples
DENVER, Pa. – The extraordinary rarity, quality and condition reflected throughout the late Tom Sage Sr’s personal collection of antique toys and trains worked in concert to achieve remarkable prices at Morphy’s high-profile May 29 auction. The 295-lot lot session, which closed at $2.6 million, represented Part I of a premier assemblage of European and American toys amassed over a 50-year period by Sage (1939-2024), an acknowledged pioneer of the antique toy trade. The Allentown, Pennsylvania, native was widely known for his prowess at networking internationally and, if necessary, paying above-market prices to obtain the finest examples. His foresight was amply validated on auction day, as one fabulous toy after another sailed past its high estimate and moved on to its next chapter of stewardship.
As predicted, the day’s top lot was the auction catalog’s cover piece, a magnificent 1904 Ferris Wheel made by the revered German firm Marklin. One of only three or four of its type known to exist, it was likely the nicest of that elite handful of survivors, retaining its six original gondolas, attractive stained glass, and original figures. It had passed down through the family of a gentleman who had worked for a Brooklyn department store and received the toy when the business closed down sometime before World War I. Sage purchased the Ferris Wheel at Sotheby’s in 1994 and, according to his son, toy authority Tommy Sage Jr, he thought so highly of it, he displayed it in his bedroom. Its unusually complete provenance conveyed with the toy in the form of paperwork, copies of circa-1910 photos of its then-owner (a relative of the original owner) holding the Ferris Wheel; and Sage’s 1994 Sotheby’s tag and receipt. It ended its bidding run at a buoyant $156,000.
Sage loved his Marklin boats and owned many extremely fine productions. Several carried the prestige of appearing in the 1995 book Pressland’s Great Book of Tin Toys, a now-classic reference written by London-based toy expert David Pressland. One such boat was a circa 1902-1904 Marklin clockwork paddle wheel boat Boston, which presented in excellent condition with a few minor exceptions: a replaced mast, incorrect flag and a few burn spots to the hull that were incurred at some point when the clockwork mechanism’s mounts were resoldered. The 19-inch tin vessel sold at Morphy’s for $79,950 against an estimate of $30,000-$40,000.
A sizable 29-inch Marklin clockwork oceanliner Amerika, Catalog Ref 5050, was a first-series production that came with its original stand, mast and lifeboats. In excellent condition and accompanied by its original wooden box, it sailed to $60,000 against an estimate of $30,000-$50,000. Other notable Marklin clockwork boats included a Ref 5044 Milwaukee, $52,800 (est. $30,000-$40,000); a Ref 5103 Columbia gun boat, $48,000 (est. $15,000-$25,000); and a circa 1904-1908 Ref 1089 H.M.S. Edward VII cruiser ship which sold above its high estimate for $21,600.
Sage’s enviable fleet of automotive toys was led by a circa-1912 Fischer Father Christmas car with a green-coated Santa figure at the wheel. Its colorful design incorporated a lithographed-tin cargo of toys, teddy bears, fruit, candy and other treats the holiday gift-giver might leave in children’s Christmas stockings. In mint condition and surely one of the finest of few surviving examples of its type, it raced to $84,000 against an estimate of $15,000-$25,000.
Several cars were also actual book examples seen in the aforementioned David Pressland reference. The first of three such vehicles detailed in this report, a green circa-1909 Marklin Ref 5214/1 hand-painted clockwork-powered limousine, included an original Marklin chauffeur as well as original tires and lamps. Measuring 11 inches in length and graded excellent to near-mint, it made a stylish impression, selling for $72,000 against an estimate of $40,000-$60,000.
The next Pressland book example from the automotive category, a hand-painted Bing taxi with its original taxi meter intact was not only in dead-mint condition, it also retained its original store box from the celebrated Paris store Le Bon Marche (founded in 1838 and now owned by luxury goods conglomerate LVMH). Its rich, highly unusual maroon color made the 13-inch-long cab even more desirable to collectors and no doubt contributed to its $50,400 selling price. The pre-sale estimate had been set at $25,000-$35,000.
A third vehicle seen in the Pressland book a German hand-painted tin horseless carriage was a primitive production made around the 1890s, possibly by the German firm Gunthermann. It included its original full-figure driver and a female passenger figure, which was seated behind him. One of the earliest cars in the Sage Collection and possibly the only extant example of its type, it outperformed its $6,000-$9,000 estimate, applying the brakes at $36,000.
From the rail toys in Sage’s collection, an especially exciting Marklin entry (also depicted in the Pressland book) was a circa-1900 clockwork tramway trolley with original green with red and cream paint. Near-mint with six original figures and four original catenary poles, it came equipped with 27 inches of track. Against an estimate of $20,000-$30,000, it was bid to $48,000.
Tom Sage reveled in displaying each of his antique automotive toys alongside a Marklin streetlamp from approximately the same period of manufacture. His wonderful selection of “lighting” included single, double, and especially-rare triple-globe lamps. One of his best “triples” retained all three of its original globes, with original robin’s-egg-blue paint still intact on its metal lamp post. Standing an imposing 16½ inches tall and in excellent to near-mint condition, it easily surpassed its $8,000-$12,000 estimate to score a winning bid of $24,000.
After hammering the last lot of the day, Morphy Auctions’ founder and principal auctioneer Dan Morphy expressed his pleasure with the session’s outstanding results. “From the day we first announced we would be selling Tom Sage’s collection, the phones started ringing. We knew the sale would draw strong interest from both sides of the Atlantic and beyond because Tom was so knowledgeable about toys and selective about what he bought,” Morphy said. “He always offered high-quality toys to his customers but also had a wish list of toys for his own personal collection and filled those slots one by one over the course of several decades. Many collectors didn’t know what was in his private collection, which made the auction even more exciting for them. We’re thrilled that we were chosen by Tom’s estate to handle his collection and look forward to auctioning part two on October 30th at our Pennsylvania gallery.”
To discuss consigning antique or vintage toys, trains, banks or other quality collectibles to a future auction at Morphy’s, please call Dan Morphy tollfree at 877-968-8880 or email [email protected]. All enquiries are kept strictly confidential and there is never an obligation to consign. Visit Morphy’s online at https://www.morphyauctions.com.
Up for bid: sterling silver flatware services and single objects; dazzling jewelry pieces; Herend and Swarovski figures; vintage pens; vintage toys; decorative accessories; and Black Americana.
BROOKLYN, N.Y. – A sterling silver set of three monkeys from around 1960 by the famous Italian silversmith Mario Buccellati, a Tiffany & Company 111-piece sterling silver flatware set in the “English King” pattern, and a Gucci signed 18k yellow gold bamboo link station necklace are a few of the expected top lots in SJ Auctioneers’ online-only Black Americana, Collectibles, Décor and Silverware auction scheduled for Tuesday, June 17th , beginning at 6pm Eastern time. The set of three monkeys from around 1960 by Mario Buccellati (“See No Evil, Hear No Evil, Speak No Evil) are made from 925 sterling silver, each one having a weight of 450 grams. They measure 8cm long, 13 cm high and 10cm wide and the set has an estimate of $15,000-$20,000. Individual sterling silver items will be led by Buccellati, whose 925 sterling silver oysters double plate is decorated with seafood and crabs and weighs 2.6 kilograms. Estimate: 9,000-$10,000. The Tiffany & Co. 111-piece sterling flatware dinner and luncheon service in the “English King” pattern is complete – no pieces missing. There’s no monogram, and it’s housed in a vintage, 3- tier Reed and Barton silverware chest in rich forest green velvet. Estimate: $13,000-$16,000. The Gucci signed 18k yellow gold bamboo link station necklace, nearly 28 inches long, consists of a cable chain with grooved oval-shaped bamboo motif stations in varying sizes. It’s stamped 750 with Italian assay marks for 18k gold and dates to the 2000s. Estimate: $7,000-$9,000. The catalog is packed with 232 lots of sterling silver flatware services and other sterling objects; dazzling jewelry pieces; colorful Herend and Swarovski figures, vintage pens, vintage toys, decorative accessories, Black Americana and other items, many of them ideal for gift-giving. Bidding is available online now, and closes on auction day, June 17th . Pre-bidding is also available, meaning for those who are unable to attend the online auction, they can still leave their bids now. A link to the catalog is here: www.liveauctioneers.com/catalog/374472_black-americana-collectibles-decor- silverware/?page=1 & sort=lot Number In addition to the Tiffany & Co. flatware service described above, there are many other wonderful sterling silver flatware sets in the auction. A few of them are as follows:
An 88-piece Tiffany & Co. Faneuil sterling silver flatware service for 12, no monogram. Estimate: $6,900-$7,200. A 76-piece Georg Jensen (Danish, 1866-1935) sterling silver flatware set in the “Acanthus” pattern, having a total approximate silver weight of 84 troy ounces, including one troy ounce per knife. Hallmarks are shown. Estimate: $6,500-$7,000. A very rare 59-piece Durgin / Gorham Dauphin sterling silver flatware set, including the silver chest (which has some scratches). Estimate: $6,000-$6,500. A vintage 103-piece Frontenac sterling flatware set with no monogram or monogram removal. In crisp original condition. All pieces have the original PAT mark. Estimate: $4,500-$6,500. A magnificent gilt sterling silver candelabra by Nardi, the Venetian silversmith and jeweler, is 21 inches tall on a base measuring 8 ¾ inches, and weighs 130.8 troy ounces. At its center is a blackamoor (or “Moretti” figure), often found on Nardi’s brochures. Estimate: $7,500-$8,000. A rare, 20 th century Georg Jensen sterling silver bowl in pattern #271C, beautifully hand- hammered, has stylized natural motifs adorning the rim and center of the bowl. It weighs 33 ounces and bears hallmarks, and is divided into three sections. Estimate: $3,500-$4,200. Decorative accessories will be plentiful and will feature an original Tiffany & Co. deep blue glass vase with the top decorated in 925 sterling silver, weighing 2250 grams (estimate: $900- $1,500); and a signed Edward Hald Orrefors Studio art glass 5-inch hexagonal fish bowl vase designed around 1950 and vivid green in color using the Graal technique (estimate: $750-$900). A Daum Nancy crystal rose candle holder with the original box, measuring about 7 inches tall, with no chips or cracks, has an estimate of $500-$700; while a rare Victorian figural cranberry glass duck liquor novelty decanter in mint condition, made in Czechoslovakia, 7 inches tall, should bring $450-$650. The head of the duck opens and closes nicely and is fully functional. Herend figural porcelain pieces, made in Hungary, are popular with collectors because they’re so beautiful to look at. The auction has a variety on offer, to include a large drinking lioness with 24k gold accents, sleek and handpainted in black fishnet (estimate: $750-$900); a hand-painted ape (or orangutan) figure in New Mint condition, 4 inches tall (estimate: $600-$800); and a rust fishnet baboon monkey, about 3 ½ inches tall (estimate: $300-$350). All are signed Herend. Swarovski crystal figures are equally popular with collectors, being wildly colorful and pleasing to the eye. Ones in the auction are for Marvel’s The Incredible Hulk, green, with box, 4 ¾ inches tall (estimate: $600-$850); a DC Comics Iron Man, red, with box, 5 ½ inches tall (estimate; $600-$850); a DC Comics Thor figure, featuring 523 facets and a mix of metal accents (estimate: $600-$850); and a signed Idyllia Royal Flycatcher bird, new in the box (estimate: $450-$750). Vintage pens make a thoughtful gift. Two Montblanc Meisterstuck fountain pens are certain to attract keen bidder interest. One is white with rose gold, in great condition, never used, in the original box, with papers, plus eight ink cartridges and a glass ink bottle (estimate: $650-$850). The other is a 146 Legrand fountain pen, gold nib 585 14k with ink bottle (estimate: $600-$750).
Other pens include an S.T. Dupont ballpoint pen, gold-plated with seven diamonds and box (estimate: $450-$600); an S.T. Dupont rollerball pen, laque de chine, with pink and white diamonds (estimate: $450-$600); and a Rolex ballpoint pen, metal green lacquer twist, with the original box (estimate: $300-$400). The toys category will feature a Japanese-made Yonezawa tin toy model of a Japan Airlines JAL Boeing 747 Jumbo Jet with the original box, in excellent working and cosmetic condition, 32cm long and 32cm wide, requiring two 1.5-volt batteries. As the plane moves, it rises and falls, making it interactive. A light on the plane’s top front lights and flashes (estimate: $500-$1,000). Also up for bid is a circa 1880s trading card advertising the Trick Pony bank manufactured by Selchow & Righter, with lithography by Currier (estimate: $350-$450); a boxed group of eight Tootsie Toy Midgets (planes and trucks), from the 1930s, with original box (estimate: $300- $500); and 15 mostly Japanese-made vintage tin toy buses (each one estimated at $200-$500). SJ Auctioneers is always seeking quality items for future auctions. To inquire about consigning an item, an estate or a whole collection, you may call 646-450-7553; or, you can send an email to [email protected]. To learn more about SJ Auctioneers and the online-only Black Americana, Collectibles, Décor and Silverware auction scheduled for Tuesday, June 17 th , beginning at 6pm Eastern time, please visit www.sjauctioneers.com. Updates are posted frequently.
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Suggested photo captions: Buccellati monkeys: Set of three circa 1960 monkeys by Mario Buccellati (“See No Evil, Hear No Evil, Speak No Evil”), made from 925 sterling silver, each one weighing 450 grams. Estimate: $15,000-$20,000 Tiffany flatware set: Tiffany & Co. 111-piece sterling flatware dinner and luncheon service in the “English King” pattern, housed in a vintage, 3-tier Reed and Barton silverware chest. Estimate: $13,000-$16,000 Gucci necklace: Gucci signed 18k yellow gold bamboo link station necklace, nearly 28 inches long, a cable chain with grooved oval-shaped bamboo motif stations, stamped 750. Estimate: $7,000-$9,000 Buccellati oysters plate: Individual sterling silver items will be led by Buccellati, whose 925 sterling silver oysters double plate is decorated with seafood and crabs and weighs 2.6 kilograms. Estimate: 9,000-$10,000. Gorham tea service: 5-piece Gorham Chantilly sterling silver tea service made by Gorham for the Montgomery Brothers, circa 1903-1917, 925 silver, weighing 3700 grams. Estimate: $5,500-$6,000 Buccellati jewelry box:
Mario Buccellati sterling silver jewelry treasure box with a large malachite stone on the top, 925 sterling silver, Florentine style period, produced circa 1970. Estimate: $2,400-$2,800 Jensen flatware set: 76-piece Georg Jensen (Danish, 1866-1935) sterling silver flatware set in the “Acanthus” pattern, having a total approximate silver weight of 84 troy ounces. Estimate: $6,500-$7,000 Nardi candelabra: Magnificent gilt sterling silver candelabra by Nardi, the Venetian silversmith and jeweler, 21 inches tall on an 8 ¾ inch base, and weighing 130.8 troy ounces. Estimate: $7,500-$8,000 Tiffany glass vase: Original Tiffany & Co. deep blue glass vase with the top decorated in 925 sterling silver, weighing 2250 grams. Estimate: $900-$1,500 Swarovski Iron Man: Swarovski crystal superhero figures will include this DC Comics Iron Man, red, with box, 5 ½ inches tall. Estimate: $600-$850 Montblanc pen: Montblanc Meisterstuck fountain pen, white with rose gold, in great condition, never used, in the original box, with papers, plus eight ink cartridges and a glass ink bottle. Estimate: $650-$850 Yonezawa airplane: Vintage Japanese-made Yonezawa tin toy model of a Japan Airlines JAL Boeing 747 Jumbo Jet with the original box, in excellent working and cosmetic condition. Estimate: $500-$1,000.
It is a truly dazzling sight. On entering the Gipsoteca Antonio Canova in Possagno (Treviso), visitors are immersed in an ocean of light. The 1836 building with its austere façade was the work of Venetian architect Francesco Lazzari. The interior, in the style of an ancient Roman basilica, is an authentic neoclassical sanctuary: a temple celebrating this Italian sculpture master, the bicentennial of whose death took place in 2022. Everything contributes to the atmosphere of contemplation and reverence: the hushed silence, the immaculate walls and the soft northern Italian light that streams in through three large skylights in the big coffered barrel-vaulted ceiling. It seems to caress the plaster, giving it a warm and gentle glow that accentuates its chaste sensuality. It also illuminates the voluptuous marble sculptures revisiting the great myths of antiquity and commissions for powerful patrons. These works are marked by a “contemplative and adolescent erotic indolence,” to quote the art critic Mario Praz, the man behind the rehabilitation of Canova (1757-1822). For the posterity of the artist dubbed “the latter-day Phidias” during his lifetime suffered for many years from the hostile attitude of certain Italian art historians, who refused to consider the man hailed as one of the most original interpreters of neoclassicism—according to Johann Joachim Winckelmann’s theory—as the greatest sculptor of his time. Canova, who expressed in marble the ideal of “noble simplicity and quiet grandeur” developed by the German theorist, was no longer to their liking. Roberto Longhi, for example, considered Canova “a stillborn artist, whose heart is in the Church of the Frari in Venice, whose hand is in the Academy, and the rest I don’t know where.” Traces of his genius are incontestably found in the plaster cast gallery in Possagno, his hometown. Almost all of his output has been assembled there, including over 200 plaster casts he used as models for his marble statues and busts. To meet the demands of an ever-growing clientele, Canova used the hollow casting technique. After sketching his idea on paper, he worked the design as a small clay model, then as a life-size model. This was covered with a thin coat of reddish plaster, to which a thick layer of white plaster was applied, which formed a mold as it hardened. The mold was filled with plaster to create a new model, which Canova then studded with small iron nails. These markers were used by his assistants to transfer the measurements to the marble block the maestro would then bring to life. Finally, wax and polishing water were applied to give the stone the shade and velvety texture of skin: a patina that has left very few traces today. On the other hand, it is light that brings the casts in the plaster gallery to life, whose marble versions are now in the Victoria and Albert Museum in London, the Hermitage in St. Petersburg, and the Louvre in Paris. They seem to move in space and quiver around the visitor. Hercules taking his revenge on Lichas is terrifying; Theseus seems to be catching his breath after his victory over the Minotaur, while Venus clings lasciviously to Mars in a charmingly humorous scene.
Antonio Canova, Dancer with Arms Akimbo, or Erato, Muse of Dance.
All this is watched mockingly by Napoleon‘s mother, while the monumental statue of her son, portrayed as Mars the peacemaker, eyes the public up and down. They all hold sway in the 19th century wing of the plaster gallery, the largest in Europe, which has undergone seven months of restoration work. This has included modernizing the lighting system and earthquake safety standards, as well as a vast digitization project covering the entire complex. The museum was created by Canova’s half-brother, Bishop Giovanni Battista Sartori. After the sculptor’s death, he had the works from Canova’s Roman studio transported by sea to protect them from thieves, forgers and the ravages of time. But in 1917 they were the victims of war, which almost deprived art lovers of an extraordinary heritage. Possagno lay not far from a front line broken through by the Austro-Hungarian and German troops after their victory at Caporetto. The retreating Italian army was unable to protect the plaster gallery, which was hit by a shell. Several casts were reduced to dust, and others seriously damaged. Once peace was secured, the curators Stefano and Sirio Serafin set about restoring them, and the gallery was reopened to the public in 1922. In 1957, Venetian architect Carlo Scarpa was commissioned to enlarge the building for the bicentennial of Canova’s birth. The light still highlighted the dialogue between the works there, but the syntax involved was completely different. The once diffuse and enveloping light in the 19th century wing was now broken and refracted, making intense play with shadow and chiaroscuro. The languid Pauline Borghese lends herself delightfully to this effect, but Cupid and Psyche are far too busy with each other. The original marble sculpture of their embrace is now in the Louvre, while copies can be found in the Hermitage and in Villa Carlotta on Lake Como. They can have a disconcerting effect on viewers: “I looked at nothing else in the gallery,” wrote an entranced Gustave Flaubert. “I returned several times, and on my last visit, I kissed the swooning woman’s armpit as she stretched out both her long marble arms toward Cupid—and her foot! Her head! Her profile! I should be forgiven: it has been my only sensual kiss in a long time. But there was more to it than that. I was kissing beauty itself. It was to genius that my ardor was devoted.” The Scarpa wing will be undergoing extensive restoration work this year. It also contains the terracotta sketches that art historian Cesare Brandi liked even more than the finished works in marble, because he found in them all the fire of Canova’s original ideas. “Possagno is the place to go not only to learn about his work and creative process, but also to gain a better understanding of the man and the public figure he was,” says Moira Mascotto, director of the plaster cast gallery. She reminds us that Canova also played a diplomatic role: the Pope assigned him to negotiate with Dominique Vivant Denon for France’s restitution of the artworks seized by Napoleon’s armies in Italy. In addition to the plaster gallery, visitors can tour the artist’s birthplace, which houses paintings, drawings, engravings and his personal effects. “His talent was not limited to sculpture alone,” says Moira Mascotto. “He was also a fine painter. In addition to all the plaster casts and almost all of his clay models, we have the largest art gallery dedicated to him, with some 50 oil paintings and over 30 watercolors.” Canova often said, “What I am most impatient to see is the effect my work will have on the souls of the public.” Whatever the medium—paper, clay, plaster or marble—, it never leaves anyone indifferent.
Worth seeing Antonio Canova Museo-Gipsoteca, Possagno (Treviso). museocanova.it
Three major, long-term collections of petroliana and advertising collectibles will lead Check the Oil’s Annual Premier Auction this year. Over 550 lots will cross the auction block on June 21, 2025. Live bidding will be held onsite in Columbus, OH with online bidding options available through LiveAuctioneers.
Rare items collected by the late George Chrin, the late David Derrick, and Thornton and Pam Beroth will be highlighted in this event. Mr. Chrin was a dedicated collector who sought out key pieces over the last 30+ years, specializing in roadside lighthouse signs and unique, unrestored gas pumps. Mr. Derrick was a beloved member of the collecting community who was known for his outgoing and friendly personality. His soda collection focused on high-grade graphic signs. The Beroths are also legacy collectors, known for their well-established museum collection in Pilot Mountain, NC. As the Beroths owned and operated several Amoco stations, their collection especially highlights rare Amoco and affiliated branded pieces. Items from each of these collections will be up for bid this June, offering collectors an opportunity to browse exceptional rarities.
Iconic Sun-Rae Gasoline and Motor Oil Porcelain SSP Sign
Leading this sale is a six-color porcelain sign for Sun-Rae gasoline and motor oil (lot #0079; estimate: USD 500 – $10,000). This piece comes to auction in good condition after being professionally color-matched. It features vivid colors and a landscape scene at the center, a rare variation. Graded 8.5, the sign measures 42 inches long and 30.5 inches high. Other notable gasoline and motor oil signs in the catalog include a Johnson Motor Oil and Gasoline porcelain sign (lot #0082; estimate: $500 – $10,000), a graphic Buffalo Gasoline milk glass gas pump globe (lot #0117; estimate: $500 – $10,000), and an Amoco American porcelain sign (lot #0246; estimate: $500 – $10,000).
Unrestored Wayne Model 492 Roman Column Visible Gas Pump
Another key lot is #0091, an unrestored Wayne model 492 Roman column visible gas pump (estimate: $500 – $10,000). Coming to the market in its original condition, this pump has numerous intact and historical features, such as its original glass cylinder and an intact one-piece cast milk glass Gulf Oil Co. globe. It was produced in the 1920s to beautify the gas pumping experience in wealthy neighborhoods. Evoking Greek and Roman columns, model 492 visible gas pumps are now rare and important collectibles.
Dr. Pepper “Drink A Bite To Eat” 10-2-4 Embossed SST Thermometer
Soda advertising items make a strong showing in this sale. Collectors will find an embossed thermometer advertising Dr. Pepper (lot #0049; estimate: $500 – $10,000), a Coca-Cola bar and tavern button flange sign from the 1950s (lot #0100; estimate: $500 – $10,000), and a graphic die-cut Berghoff beer flange sign (lot #0176; estimate: $500 – $10,000).
Other key lots in this sale include:
A small Chevrolet Ok Used Cars double-sided porcelain neon dealership sign (lot #0151; estimate: $500 – $10,000)
A rare five-foot Chevrolet Super Service milk glass and neon dealership sign (lot #150; estimate: $500 – $10,000)
An Erie model 603 clockface gas pump with Atlantic “fried egg” pump plates (lot #0098; estimate: $500 – $10,000)
A Skunk Motor Oil one-quart metal can (lot #0106; estimate: $500 – $10,000)
Based in Massillon, OH, Check the Oil is an industry-leading auction house and magazine run by and for collectors. Since 1983, the company has specialized in petroliana, antique signs, and vintage memorabilia, including gas pumps, globes, signs, and oil cans. Check the Oil offers over a dozen online auctions each year, featuring advertising, automobile collectibles, and more. Check the Oil’s Annual Premier Auction will begin on June 21, 2025 at 9:30am ET. To browse the complete catalog and register to bid, visit LiveAuctioneers.
Mai-Thu was able to renew the still-life genre thanks to his technique and style, inherited from Vietnamese culture. These Chrysanthemums, from the collection of Nguyen Dê, Emperor Bao Dai’s Chief of Staff, are a testament to this.
Mai-Thu never left anything to chance. Technique and style combine to give his paintings the most finished look possible. He even made his own frames, as in the case of this Yellow Vase with Chrysanthemums, with its wood patinated in gold and silver leaf, and its carved decoration of scrolls and stylized flowers inspired by the interior decorations of the imperial palace of Hué. The frame is an integral part of the work, its colors matching those of the painting and its refined style matching that of the still-life composition. A yellow vase is placed on a table, the background is uncluttered, the leaves invade the surface while the four chrysanthemums illuminate the interior with their white color. In Asia, this flower has a strong symbolic value. It represents autumn, and blooms at a time when many plants wither under the onslaught of wind and snow. It is thus associated with longevity, with many legends extolling its powers. Drinking chrysanthemum wine on the ninth day of the ninth lunar month is said to prolong life! Mai-Thu renews the traditional Western still-life genre with his perfect mastery of line and drawing, and his references to Vietnamese culture. This synthesis is also reflected in Mai-Thu’s highly distinctive technique of watercolor or gouache applied to a silk surface, usually produced in Vietnam in rolls, but stiffened by the addition of glue, rice flour or starch and alum, to become flat paintings. Another major advantage of this work is its provenance. It originates by way of descendance from the collection of Nguyen Dê, Emperor Bao Dai’s Chief of Staff. Grandson of the Viceroy of Tonkin, Nguyen Dê, who studied in France and was close to Westerners, enjoyed a successful career in administration before being approached by Emperor Bao Dai in 1932. He was appointed Chief of Staff. As the emperor’s modernization plans clashed with the colonial administration, Nguyen Dê resigned, but was recalled to his post in 1949 by a Bao Dai who was now Vietnam’s head of state. In 1952, he was appointed Minister of State and Imperial Delegate for the ‘Mountain Peoples’ of the North and South. After the signing of the Geneva Accords, he went into exile in France, settling with his precious collection in a private mansion in the 16th arrondissement.
Three legacy collections of automobile and gasoline advertising memorabilia are simultaneously hitting the market this June. Check the Oil will offer its Annual Premier Auction on June 21, 2025. The offerings this year include over 550 lots of porcelain signs, gas pumps, countertop displays, and other collectibles. Many of these items were carefully collected over decades, making this sale a rare opportunity to browse hidden gems and unusual rarities.
Auction Daily examines some of the hot lots in this sale.
Iconic Sun-Rae gasoline and motor oil porcelain SSP sign. Image courtesy of Check the Oil.
Sun-Rae Gasoline and Motor Oil Sign
An extremely rare porcelain sign for Sun-Rae gasoline and motor oil is leading this auction catalog (lot #0079; estimate: USD 500 – $10,000). The six-color sign features an uncommon landscape scene in the center, encircled by the company’s name and location (Rochester, NY). A brand of F. B. Rae Oil Co., Sun-Rae produced many visually striking signs that are prized collectibles today. A sunburst appears behind the words “Sun-Rae,” drawing the viewer’s eye to the sign’s center. The available example comes to auction with good color and gloss, according to Check the Oil. Some areas have been professionally color-matched.
Unrestored Wayne model 492 Roman column visible gas pump. Image courtesy of Check the Oil.
Unrestored Wayne Visible Gas Pump
Another key lot in this gasoline advertising sale is an unrestored Wayne model 492 Roman column visible gas pump (lot #0091; estimate: $500 – $10,000). Still in its original glory, this pump contains several rare elements: an original one-piece milk glass globe, a glass cylinder with no visible damage, and a white cloth hose.
This ten-gallon capacity pump belonged to Wayne’s 490s series of visible pumps. Designed to resemble elegant Roman and Greek columns, these pumps were marketed to upscale neighborhoods with modern amenities in the 1920s. Few of these visible pumps survive today, making them highly sought on the secondary market.
Graphic Buffalo Gasoline milk glass gas pump globe. Image courtesy of Check the Oil.
Buffalo Gasoline Milk Glass Globe
Another key lot in the upcoming sale is a Buffalo Gasoline milk glass gas pump globe measuring 13.5 inches round (lot #0117; estimate: $500 – $10,000). This complete, original globe comes to auction in good condition with clean lines and vivid colors. In the center of the globe is the image of a charging buffalo rendered in red and black. Buffalo Gasoline was distributed by Westland Oil Company out of Montana. The charging bison on the company’s signs was nicknamed “Billy Buffalo.” He appeared on many of the brand’s marketing materials through the 1910s and 20s.
Rare Drink Ice Cold Coca-Cola bar and tavern button flange sign. Image courtesy of Check the Oil.
Coca-Cola Tavern Sign
Beyond gasoline advertising, bidders will find other vintage items in this sale. Coca-Cola collectors can consider several delights in this catalog, including a double-sided flange sign for a bar and tavern (lot #0100; estimate: $500 – $10,000). Shaped like a rounded button, this sign bears the iconic “Drink Coca-Cola” slogan in white lettering against a cherry red background. This sign would have been mounted on a building’s exterior, drawing in customers with the Coca-Cola name. The style and structure of the sign suggest it dates back to the 1950s.
Known for its innovative advertising campaigns and adaptability, Coca-Cola has maintained its dominance in both soda sales and popular culture for over a century. By the 1950s, the company had been in business for over 60 years and sold millions of bottles each day. It was starting to adopt the classic red-and-white color scheme that it would use for decades to come.
Other key lots in Check the Oil’s Annual Premier Auction include a small Chevrolet Ok Used Cars double-sided porcelain neon dealership sign (lot #0151; estimate: $500 – $10,000), a 1920s Chevrolet owl countertop display (lot #0227; estimate: $500 – $10,000), and a Mercury Outboard Motors advertising clock (lot #0393; estimate: $500 – $10,000). To browse the complete catalog and place an online bid, visit LiveAuctioneers.
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Boutique event was highest-grossing coin sale in Morphy’s history, topped by Kellogg & Humbert Assayers 48.70oz gold bar, $160K; and 1900 NGC $20 PF Ultra Cameo gold coin, $104K
Kellog & Humbert Assayers 48.70 Oz Gold Bar
DENVER, Pa. – At Morphy’s May 19 Premier Coins Auction, all that glittered was not gold, but it was a dazzling gold bar from California’s Gold Rush days that rose to the top of prices realized and capped a highly successful $3.2 million event for the Pennsylvania company. “We were ecstatic with the results. It was the highest-grossing coin sale in our history,” said Dan Morphy, who founded the eponymous auction house in 2003 and serves as its president and principal auctioneer.
The boutique sale of 187 lots exclusively featured a single-consignor collection that was the source of not only the gold bar but also a unique grouping of high-grade Morgan Silver Dollars and the largest offering of rare Mormon gold coins ever to come to public auction. “Nothing in the sale had a reserve,” Morphy said. “We were very confident that collectors would recognize the rarity and exceptional quality of everything in the collection and that they would bid accordingly.”
The 48.70oz gold bar that led the boutique array of rare coins and currency was issued by Kellogg & Humbert Assayers, a highly-regarded San Francisco firm that operated from 1855 until around 1860. Embossed with the firm’s name as well as the stamped markings No. 491, 871 FINE and the price $876.85, the bar combined intrinsic mineral value with historical importance from California Gold Rush era, making it irresistible to many collectors. It prompted numerous enquiries prior to the sale and on auction day was chased to a final price of $160,000, the exact high estimate that had been assigned to it.
The auction’s highest-priced coin was a 1900 $20 gold coin described as PF64 Ultra Cameo. The term “Cameo” refers to the contrast between the design – whether raised or recessed – and the background field, which renders a frosted appearance with a polished, mirror-like background. An Ultra Cameo, like the $20 coin in the auction, exhibits a superior level of cameo contrast as compared to a standard Cameo proof. Estimated at $50,000-$70,000, the prized coin commanded a premium price of $104,500. Also in the Cameo realm, an 1895 Morgan Silver Dollar PCGS-graded PR63+CAM (Proof Cameo), CAC-certified and estimated at $40,000-$60,000, was bid to $79,200.
An 1893-CC Morgan Silver Dollar PCGS-graded MS65 came from the legendary frontier mint in Carson City, Nevada, and was struck in the mint’s final year of operation following the closure of the tapped-out Comstock Lode silver mine. It sold above its high estimate for $92,250.
Another Silver Dollar that made the top 10 was an 1889-CC Morgan Silver Dollar PCGS-graded MS64 Gold River, an industry reference to the ore’s source, e.g., a river, or area adjacent to a river where gold was once mined. Also from the aforementioned frontier mint in Carson City, Nevada, it exceeded its high estimate with a selling price of $62,400. An even earlier coin, an 1893-S Morgan Silver Dollar struck at the San Francisco Mint, AU55+ PCGS, changed hands for $54,000 against an estimate of $35,000-$45,000.
The very special grouping of 15 Mormon gold coins added great interest and cachet to the auction lineup. Only 4,000 Mormon coins, more or less, were privately issued by The Church of Jesus Christ of Latter-day Saints between 1848 and 1860. All were minted in Salt Lake City in $2.50, $5, $10 and $20 denominations and initially composed of gold found at Mormon Island, California. During the last year of production, the gold used in Mormon coins came from a Colorado source. Some of the coins are decorative, with iconography such as a lion, a beehive or stars, and are inscribed in the Deseret alphabet with a phrase that translates to “Holiness to the Lord.”
An extremely rare and desirable 1860 Mormon $5 gold coin, PCGS-graded AU53, was embossed on its obverse side with its date and an appealing image of a recumbent lion encircled by an inscription in the Deseret alphabet. On the reverse, it showed a spread-winged eagle perched on a bundle of arrows known as “fasces,” encircled with the phrase DESERET ASSAY OFFICE / PURE GOLD / 5D’ and with a superimposed beehive to represent the valued Mormon virtue of industry. It surpassed its $40,000-$60,000 estimate to achieve $80,400.
Equally attractive, an elusive 1850 Mormon $5 gold coin, NGC-graded AU55+, was designed on its obverse side with the image of clasped hands in a handshake encircled with G.S.L.C.P.G. (Great Salt Lake City Pure Gold) and the denomination FIVE DOLLARS. On verso, it was adorned with stars and other iconography, and encircled with Holiness To The Lord. Estimated at $30,000-$40,000, the coin defied expectations, selling for $60,000.
To discuss consigning coins, currency, ingots, other monetary instruments or precious metals to a future auction at Morphy’s, whether a single item or an entire collection, please call Dan Morphy at 877-968-8880 or email [email protected]. Visit Morphy’s online at www.morphyauctions.com.
This June, collectors flocked to an exciting sale from Doyle that highlighted the personal collection of groundbreaking television icon Mary Tyler Moore. The 300-lot catalog, which included items personally owned by Moore in her Greenwich, Connecticut home, delivered strong results. Many lots soared above their high estimates as bidders competed for a piece of Moore’s legacy. Here are some of the key results.
The iconic screen-used wall-mounted “M” from The Mary Tyler Moore Show. Image courtesy of Doyle.
The Mary Tyler Moore Show Memorabilia
Mary Tyler Moore’s career memorabilia took center stage in this sale from Doyle, especially items from The Mary Tyler Moore Show. Leading this section of the catalog was a screen-used wall-mounted letter “M” that appeared throughout the show’s seven-season run. With a pre-sale estimate of USD 5,000 to $8,000, this piece exceeded expectations to sell for $35,200. It was painted in gold and included Moore’s signature on the back.
The Mary Tyler Moore Show aired on CBS from 1970 to 1977. It remained a popular and critical success throughout its run, earning 29 Emmy Awards and yielding three spin-off series. The show also influenced popular culture, offering a groundbreaking depiction of a single, working woman in Minneapolis who prioritized her career. Moore pitched the show to CBS after a starring role in The Dick Van Dyke Show and used her platform to both redefine the classic television sitcom and explore emerging social issues.
Other key lots from The Mary Tyler Moore Show sold well. A sheet signed by cast members and producers of the show achieved $1,088 against an $800 high estimate, and a set of scripts for various television appearances sold for $2,048.
Peter Max, Portrait of Mary Tyler Moore (Versions 1, 2, 5, 6), 2001. Image courtesy of Doyle.
Mary Tyler Moore Portraits
Mary Tyler Moore’s personal collection included numerous portraits made by the actress’s friends and admirers. Doyle sold a set of Mary Tyler Moore portraits by Peter Max for $15,360, slightly exceeding a high pre-sale estimate of $15,000. Executed in 2001, these colorful portraits echo the repetition of Andy Warhol’s Pop Art silkscreens. Each image shows Moore resting her chin on one hand, giving a half-smile to the viewer.
Many artists found a muse in Mary Tyler Moore. Portraits offered in this sale ranged from Peter Max’s exuberant screenprints to a delicate, muted painting by Richard McKenzie (sold for $4,800) and original caricatures by Al Hirschfeld (sold for $6,080 – $7,680 each). These portraits captured Moore as a cultural icon, part of the 1970s zeitgeist.
Fine jewelry items owned and worn by Mary Tyler Moore also performed well in the recent Doyle sale. Leading this category was an 18-karat yellow gold cuff bracelet from Tiffany & Co. and Paloma Picasso. Sold for $10,240 against a high estimate of $8,000, this bracelet is dated 1969. Picasso was at the start of her career in the late 1960s, when she was experimenting with jewelry design and starting a partnership with Yves Saint Laurent. Her collaboration with Tiffany & Co. evolved and was formalized in the late 1970s; she would be associated with the brand and the cutting edge of fashion for years to come.
Other notable Mary Tyler Moore jewelry lots in this sale included a tricolor gold ‘Trinity’ bangle bracelet from Cartier (sold for $8,320), a Cartier stainless steel and gold ‘Santos’ wristwatch (sold for $4,480), and an oversized white gold, cubic zirconia, and cabochon emerald dragonfly brooch (sold for $3,840).
Four awards presented to Mary Tyler Moore. Image courtesy of Doyle.
Mary Tyler Moore Personal Items
Mary Tyler Moore’s personal items attracted bids and attention this month. Collectors found treasures from Moore’s home, as well as items celebrating her career successes. Among the notable lots was a collection of four awards presented to Moore in the early 2000s. These standing awards recognized Moore’s roles in The Mary Tyler Moore Show and The Dick Van Dyke Show, as well as her later film work. They sold together for $4,800 against a high estimate of $600.
Moore’s stylish taste in home furnishings was on display as well. A Victorian sterling silver centerpiece bowl made a splash, selling for $12,160 against a $5,000 high estimate, and a pair of Potter-Spitzmiller painted porcelain table lamps soared past their $900 high estimate to achieve $7,040.
To browse the complete auction results from the June 4, 2025 Mary Tyler Moore auction, visit Doyle.
