Part II of renowned Wayne & Lori Edens collection of antique & vintage fishing lures reels in $863K at Morphy’s May 17 auction

Top lot: One of very few known brown-spotted Wilcox Wigglers, graded Near-Excellent with clear solid-glass eyes and beautiful hardware, sold with its equally rare Wiggler Mfg. Co. box for $39,600

Rare Brown Spotted Wilcox Wiggler In The Box
Rare Brown Spotted Wilcox Wiggler In The Box

DENVER, Pa. – There wasn’t a fishing pole in sight, but it was clear that guests who gathered at Morphy Auctions’ gallery on May 17, 2025 were there to land the catch of the day. It was time for Part II of Wayne and Lori Edens’ acclaimed collection of antique baits to cross the auction block, and no serious collector of fishing paraphernalia was going to miss it. Five months after Morphy’s debut sale of selections from the Florida couple’s extraordinary assemblage of lures (12/9/2024, total $900,000), interest was just as high for the follow-up offering, which rang the register at $863,000. 

The top lot of the day was also one of the rarest combos in the Edens collection – a brown-spotted Wilcox Wiggler graded Near-Excellent with clear solid-glass eyes. One of few of its type ever found, it came with an equally rare VG-condition paper label box from The Wiggler Mfg. Co., Elmwood, Indiana, with its extremely rare paper insert still intact inside the lid. Its hardware was noteworthy, as it appeared that it probably had never seen water. The lure claimed a winning bid of $39,600 against a pre-sale estimate of $10,000-$20,000.

Another popular entry was a brown and gold Enterprise Mfg. Co. (Pflueger), Akron, Ohio, Trory Minnow. A very early model dating to 1900 or 1901, at the latest, its details included large, blemish-free glass eyes, a crudely-formed wooden tail, gold perch bars on a natural brown body with dark back, and a silver belly with fine hand-painted gill marks on either side. This lure had been discovered in a tackle box in the Canton, Ohio area and presented in Excellent Minus condition. Against an estimate of $6,000-$12,000, it proved its merit with a $23,400 selling price.

A Heddon Introductory Model 155 all-brass Dowagiac Minnow, graded Excellent with solid yellow paint and black gill marks, featured perfect white iris glass eyes and three belly weights, each completely sealed. All five non-nickel-plated hooks appeared original. It came with a box that was of the correct era for the lure, a type II with thicker panels and a thumbnail notch on lid, bearing the phrase NOTICE HOW THE HOOKS ARE HUNG! Morphy’s specialist who wrote the catalog description for this lure noted that “very few Heddon Minnows combine this magnitude of rarity with such beautiful condition.” It sold above its high estimate for $20,900.

An especially historic entry was and example of the first American wooden minnow characterizing the link between the rotary and cedar plugs of the late 1890s and the first commercially offered minnows from just after the turn of the century. The auction example was the exact bait famously found in Twin Lakes, Ohio, resident Hiram C. Rice’s tackle box. The hand-shaped bait displayed natural wood grain, a dark back, slightly curving gill marks, striking copper-colored ‘perch’ stripes, and a golden belly. Its “File Maker” spade-shaped props were original and identical to those on a similar bait shown in an Arlan Carter reference book. In strong VG Plus condition, it changed hands for $14,100. 

An extraordinary 1905 Heddon Hi-Forehead 150 Minnow Combo bait, complete and correct with immaculate glass eyes and solid yellow paint with hand-painted sweeping red gills, was paired with its correct wooden box having end panels correctly stamped YELLOW No 155. Additionally, it still had its correct paper insert advertising a bait known as the “Killer.” Surely one of the highest-grade examples known of a rare bait, it sold for $23,400 against an estimate of $10,000-$20,000.

Rare and attractive, a circa-1903 Rhodes Musky Minnow bait was designed with an aluminum base, green back, and multiple red bill decorations on each side. Retaining all side hooks and pre-patent bowtie tube props, and with small glass bead eyes, the 6½-inch bait was noticeably larger than its 4-inch cousins. It was bid to just below its high estimate, settling at $11,700.

Heddon 1902 Dowagiac Underwater Casting Bait, Type III version, gold-washed nose, brass eyes, tail caps, side cups, and nickel-plated, winged prop. One of very few examples known to exist. Graded Very Good Plus with a box of the correct era marked for a similar Underwater in aluminum. Sold for $11,700 against an estimate of $2,000-$4,000

The earliest iteration of a Heddon 1300 Musky Sucker bait, dating to 1913, showed off its original “Sucker” finish, heavy-duty hardware, perfect glass eyes, a marked front prop, and four belly weights. Its correct factory box bore a label depicting the company’s iconic “Downleaping Bass.” The 5¾-inch bait ending its bidding run at $11,000 against an estimate of $5,000-$10,000.

To discuss consigning vintage fishing lures, sports memorabilia, or any high-quality antique, artwork or collectible 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.

Morphy’s June 11-12 Fine & Decorative Arts Auction is crowned by luxury watches, Tiffany lamps, American art, rare Amphora pottery

Featured: Ulysse Nardin Royal Blue Mystery Tourbillon limited edition platinum, diamond and sapphire wristwatch; Monumental carved Black Forest clock with five bears; Chiparus bronze, James Bard painting

Ulysse Nardin Royal Blue Mystery Tourbillon LE #199 Platinum Diamond Watch WB&P.
Ulysse Nardin Royal Blue Mystery Tourbillon L/E #1/99 Platinum Diamond Watch W/B&P.

DENVER, Pa. – Those entering the preview area at Morphy’s flagship gallery in Pennsylvania can almost hear the roars coming from one of the June 11-12 Fine & Decorative Arts Auction’s most eye-catching attractions. Standing 79 inches tall and capturing its well-deserved share of attention is a monumental two-panel Black Forest clock whose case is meticulously carved with the images of five bears. Composed of linden wood, a soft wood from Germany’s natural forests that is ideally suited to carving, the clock might very well be described as a masterpiece of its genre.

The motif is a visual delight, with four differently-modeled fully-dimensional bears climbing a pine tree as a fifth bear who has reached the tree’s pinnacle gazes down at them. Throughout, the artist’s attention to detail is obvious, with the trunk and branches fastidiously “grained,” the leaves minutely detailed, and the bears themselves realistically represented with furry coats, painted red tongues and white teeth. In excellent condition, the clock comes to auction with a $10,000-$20,000 estimate.

The Clocks & Watches category shifts from Bavaria to picturesque Switzerland with a boutique selection of coveted Swiss-made timepieces. Leading the group is an exceptionally rare and important Ulysse Nardin Royal Blue Mystery Tourbillon limited edition platinum, diamond and sapphire wristwatch, Ref. No. 7990093. Only 99 watches of its type were made, and the auction example is identified as No. 1 of those 99. 

“Ulysse Nardin has been producing timepieces since 1846. Their watches are fit for kings and known to be favored by many high-profile entrepreneurs, athletes and celebrities,” said Dan Morphy, founder and president of Morphy Auctions. “Ulysse Nardin is part of the exclusive circle of Swiss watchmakers called the Fondation Haute Horlogerie. Their watches are unique in that they combine cutting-edge technology with a unique heritage of marine chronometry. Collectors of luxury watches know the cachet that comes with the Ulysse Nardin name, and we’re thrilled to be able to offer them the firm’s very first Royal Blue Mystery Tourbillon from its limited edition.” Auction estimate: $150,000-$200,000

Another fine Swiss production is a circa-1967 men’s Rolex Oyster Perpetual 200m/660ft Submariner 40mm watch in stainless steel with a black dial and bezel insert. Its Ref. No. is 5512 and its Serial No. is 1585764. It has an Oyster bracelet with a 10-hole clasp marked 9315 on its last link, 6521H on its clasp blade, and the date-code 1/68 on the opposite clasp blade, with 380 ends. In VG-Excellent condition, it carries a $14,000-$20,000 estimate.

The Fine Jewelry section is topped by a gorgeous platinum multicolor sapphire and diamond necklace with 100 genuine unheated mixed brilliant-cut sapphires having a total weight of 124.19cts. The largest of the colored gems measures approximately 12mm x 10mm. Adding to the glamour aspect are 216 natural round brilliant-cut diamonds with a total weight of 3.06cts. The elegant 18-inch-long (clasped) necklace has a gross weight of 84.9 grams and is marked Oscar Friedman PT950 SA124.19ct D3.06ct. It will convey to its new owner with the original GIA Sapphire Report and AIGL Appraisal Report showing an estimated retail replacement value of $432,500. Auction estimate: $60,000-$90,000

Some think of Morphy’s as “The House of Tiffany” because of its long tradition of offering rare and especially fine Tiffany Studios leaded-glass lamps. A glorious example in the June 11-12 sale is a table lamp with an 18-inch-diameter shade in the Oriental Poppy floral pattern. The motif displays multicolored reds, ranging from deep ruby red to coral and highly complex tones of mixed reds, with blues and purples interspersed. In excellent condition, the shade is signed Tiffany Studios New York 2598 and rests on a patinated-bronze Tiffany Studios Tyler-style base whose underside is signed Tiffany Studios New York 368. Estimate: $125,000-$175,000

A classic expression of mid-19th-century Americana, a James Bard (American, 1815-1897) nautical oil-on-canvas was created around 1853 and is titled U.S. Mail Paddle Steamer George Law. It is signed at its lower right Picture drawn & painted by James Bard, N.Y. The jaunty depiction of a patriotically-themed vessel crossing a lake measures 31¼ inches by 51¼ inches (sight) and is the very example illustrated in the book J. & J. Bard: Picture Painters by A.J. Peluso Jr. A receipt attached to the back of the painting indicates it was purchased for $75,000 from Northeast Auctions in 2001. It comes to auction at Morphy’s with a $40,000-$80,000 estimate.

The American art selection continues with a wonderful circa-1880s Samuel Robb full-size cigar store Indian wearing a V-shape headdress (a Robb characteristic) and holding packages of cigars and tobacco. Masterfully sculpted and painted in a subtle color palette, this all-original 78-inch-tall figure is fresh to the market and likely to settle in the $20,000-$50,000 range.

Although it does not bear an advertising slogan or message, a Villeroy & Boch (Germany) terracotta Santa figure might elicit crossover interest from antique advertising fans in addition to those who collect Christmas antiques. The 52-inch-tall figure is pictured in the manufacturer’s 1900 catalog and is believed to have been made for a department store to display in its front window. It has scrupulously detailed facial features and is finished in tasteful colors. The Christmas gift-giver holds a fir tree in one of his hands and stands on a custom-made wood base. The small hooks affixed to its side may have been included in the design for the purpose of hanging ornaments or candy. In excellent condition and one of few known examples, this fresh-to-the-market treasure is estimated at $20,000-$30,000.

Many elusive Amphora ceramics have passed through the doors of Morphy’s gallery, and that tradition will continue on June 11 when 34 pieces of the desirable Czech pottery crosses the auction block. Among the top highlights is a possible “unicorn,” an extremely rare Amphora vase decorated with the scene of a double-headed water serpent fighting a mythological prehistoric fish. The vessel stands 16½ inches tall, has a nicely-aged iridized glaze to its body, and bears all of the requisite Amphora markings. This is not a piece that would not be easy to forget, yet there is no record of its ever having appeared at auction before, and further, it is not illustrated in any Amphora reference book. In mint condition, it will make its auction debut with a $12,000-$18,000 estimate.

Another prized European artwork is a cold-painted patinated bronze figure by Demetre Chiparus (Romanian/French, 1886-1947) titled Les Amis Toujours (Friends Forever). Executed circa 1925, the tableau depicts a lady with two hounds on an onyx base. It is signed Chiparus on the base and the skirt is stamped 204 / BRONZE and MADE IN FRANCE with the foundry seal L.N. / PARIS / J.L. Its size (inclusive of base) is 25¼ by 6¾ by 25 inches, it is in mint condition and is similar to examples pictured in three respected reference books. Estimate: $20,000-$30,000

Other noteworthy lots from the widely varied auction lineup include an incredible 9lb 7oz Mexican Laguna Agate mineral specimen showing predominant shades of pink and purple in a natural fantasy design, $5,000-$10,000; and an 1893-S PCGS CAC VF30 Morgan Silver Dollar, estimate: $5,000-$8,000

Morphy’s Wednesday/Thursday June 11-12, 2025 Fine & Decorative Arts Auction will be held live at Morphy’s gallery, 2000 N. Reading Rd., Denver, PA 17517, starting at 9 a.m. Eastern Time. Jewelry/watches preview by appointment only. All forms of bidding will be available, including absentee, by phone and live via the Internet through Morphy Live. Enquiries: call 877-968-8880, email [email protected]. Visit Morphy’s online at www.morphyauctions.com.

2025 Art History Festival at the Château de Fontainebleau: Spotlight on the Genuine and the Fake

The concept of authenticity will be the focus of debates, talks and round tables staged by the INHA. A genuinely appealing program!

William Michael Harnett (1848-1892), Still Life—Violin and Music, 1888, oil on canvas, 40 x 30 cm/15.7 x 11.8 in. © Catharine Lorillard Wolfe Collection, Wolfe Fund, 1963
William Michael Harnett (1848-1892), Still Life—Violin and Music, 1888, oil on canvas, 40 x 30 cm/15.7 x 11.8 in.
© Catharine Lorillard Wolfe Collection, Wolfe Fund, 1963

Stories of forgeries and forgers fascinate people far beyond the circle of those in the know. The latest case brought to light the hoax of the fake Marie-Antoinette chairs bought by the Château de Versailles, with the verdict due on June 11. For professionals who are duped, the stakes are very different. It calls into question their knowledge and profession regarding the rule established since the Renaissance: one original work, one name, one signature. For art is judged on its authenticity. As the theme of or this 14th edition, the scientific committee chose this complex idea and its natural counterpart, the fake. “The festival’s focus reflects the concerns of curators, art historians and, of course, art market players. Illustrating this interest, the INHA received no fewer than 140 proposals in response to a widely publicized call for submissions, compared with the usual 60 or so,” says Sophie Goetzmann, the festival’s scientific program director. The selection, expanded to include different art forms, media and cultures, provides a good overview of current research. Some cases that sparked heated debate will be reexamined, like the fake Van Goghs sold in the 1920s by the German dealer Otto Wacker. Others will be discussed, like the fake Fragonard drawings and forgeries in Islamic art.

Cornelis Norbertus Gijsbrechts (c. 1610 – after 1675), Back of a Framed Painting, c. 1670, oil on canvas, 66.4 x 87 cm/26 x 34.2 in. The artist, a trompe-l'œil specialist, even painted a fake back to a painting. © Statens Museum for Kunst, Copenhagen
Cornelis Norbertus Gijsbrechts (c. 1610 – after 1675), Back of a Framed Painting, c. 1670, oil on canvas, 66.4 x 87 cm/26 x 34.2 in. The artist, a trompe-l’œil specialist, even painted a fake back to a painting.
© Statens Museum for Kunst, Copenhagen

Fakes Are Among Us

Forgers need to be highly skilled artists with an in-depth knowledge of art and its history to think up works with no point of reference. As Sophie Goetzmann points out, deciphering them is also a way of “deconstructing the myth of the forger as someone brilliant, a kind of outsider who takes delight in duping the authorities and swindling rich people. In fact, forgers often come from the same milieu: they are experts and artists. So, do they become geniuses when they put their talents to use in counterfeiting?” It means that detecting fakes requires the arsenal of tools deployed by the C2RMF (Museums of France Research and Restoration Center). One speaker, restorer Marc-André Paulin, will discuss the various ways of assessing the authenticity of a piece of furniture. The perspective of physicist Antoine Zink, a specialist in thermoluminescence applied to terracotta, will illustrate how technology contributes to dating, with one proviso: the authenticity of an object ultimately depends on the judgment of art historians. This high-profile expertise, which is based on visual and written sources, has its own history. For example, the criteria for assessing paintings in Rome in around 1600—the subject of a discussion—were very different from those used today. This will be confirmed by Pierre Rosenberg, honorary president of the Louvre Museum and former president of the festival’s scientific committee, who will talk about his work: attributing and re-attributing works by Poussin. In the 14th and 15th centuries, paintings were often collective creations. During the Renaissance, apprenticeship and training involved copying and imitating the masters. Though in theory there was no fraudulent intent, the line between this and faking was sometimes very tenuous. Ilaria Andreoli, art historian and scientific coordinator at INHA, is researching this aspect in a corpus of nearly 1000 listed copies of Albrecht Dürer’s works, where a significant number feature his monogram. In a completely different sphere of forgery, visual arts researcher André Gunthert will draw on his expertise in photographs generated by artificial intelligence. As potential tools for disinformation, they reflect no fidelity to reality from a technical point of view. In a highly anticipated lecture, expert Éric Turquin will look back over the mistakes he has made, with examples. Far from seeing forgers as romantic and heroic, he thinks that fakes, which sometimes involve considerable financial stakes, are a disease of the art market. A round table discussion will be an opportunity to address the role of this market in the circulation of fake antiques in the 19th century. As an indicator of authenticity and attribution, signatures—which were frequently forged—became less reliable in around 1800, as art historian Charlotte Guichard will explain.

The keep of the “medieval” castle of Kiyosu on the island of Honshu in Japan, completely rebuilt in 1989. © Photo: Delphine Vomscheid, 2023
The keep of the “medieval” castle of Kiyosu on the island of Honshu in Japan, completely rebuilt in 1989.
© Photo: Delphine Vomscheid, 2023

Authenticity: A Moral Value?

The existence of forgeries in public collections is no longer disputed. But have museums become more transparent on this issue? “That’s my feeling,” says Sophie Goetzmann. “And indeed, many curators will be attending, more than in previous years.” Federica Mancini, in charge of collections at the Louvre, will talk about fake drawings in the museum’s possession. There will also be a round table led by heritage curator Catherine Chevillot, who will talk about forged sculptures in French museums and the questions this raises: what should be done with these fakes? Should they be shown to the public, and if so, how? What lessons can be learned regarding the history of art, the history of collections, and the history of taste? While remaining the cornerstone of art history and the art market, the concept of authenticity does not apply to all situations. Between the modeling and casting of a sculpture, which is the authentic piece? Can we talk about “authentic multiples” with prints? What status should be given to period copies and pastiches and other works declared inauthentic? How should we approach the authenticity of works undermined by the very practice of their creators, particularly street art, an anonymous and illegal form of counterculture? The most pressing questions concern ethnic art, a market that grew considerably in Europe at the end of the 19th century. Are objects specifically made in Africa and Oceania to meet this demand authentic? Is authenticity becoming a moral value? A round table organized by Yaëlle Biro, an art historian and scientific coordinator at INHA, will take stock of copies made in Africa in the 20th century to replace objects that had often been looted. Over time, these works have acquired a historical and symbolic importance that goes beyond their status as mere copies: a subject that has spawned a new research program at INHA. The very idea of authenticity is now not always written in stone, and the usual categories of genuine and fake are also being questioned in Asia, where some countries are faithfully reconstructing their destroyed architectural heritage. These practices are championed by experts and citizens alike, as Delphine Vomscheid of the French Institute for Research on Japan will point out. “Penny bazaar chromos” also played on the illusion of authenticity, as art historian Emmanuel Pernoud will recall. These pieces, which were very popular in the late 19th century, reproduced paintings in minute detail using oleography. Art critics were quick to condemn this tastelessness. But isn’t there also a certain pleasure in being taken in by the effect of illusion? Aurélie Gavoille and Sylvie Carlier will explore the meaning of the exhibition “Trompe-l’œil, from 1520 to the present day,” which they staged at the Musée Marmottan Monet. Meanwhile, Maximilien Theinhardt from the Musée National d’Art Moderne will tell us about the improbable “Boronali affair” in 1910, involving the fictional creator of a real painting produced with a donkey’s tail!

Worth Knowing
“Le vrai, le faux” (“The Genuine and the Fake”)
14th Festival of Art History
Château de Fontainebleau (Seine et Marne)
June 6-8, 2025
festivaldelhistoiredelart.fr

Everard’s June 17-18 auction presents rich array of fine & decorative art, antiques, furniture and silver from prominent Southern estates and collections

Featured: Charles Schulz-signed & dated original 4-panel art from 1954 Peanuts daily comic strip, $30,000-$50,000;1760 Chippendale Boston chest, Picasso pottery, fine jewelry, cameras

Early Charles Schulz Peanuts Daily Comic Strip, 1954
Early Charles Schulz Peanuts Daily Comic Strip, 1954

SAVANNAH, Ga. – Collectors can jump-start their summertime fun with a dip into Everard’s June 17-18 auction of fine and decorative art from prime Southern estates and private holdings. Highlight categories include American antique furniture, contemporary sculpture, Tiffany silver, exquisite jewels, World War I posters, and a noted photographer’s lifetime collection of prized cameras and other photographic equipment. 

Charles Schulz’s (American, 1922-2000) original art for a Peanuts daily comic strip leads the auction with an estimate of $30,000-$50,000. The four-panel daily strip is an early production, from 1954, and depicts an amusing scene with Charlie Brown and Franklin observing Snoopy as he zooms back and forth with no apparent destination. Charlie Brown comments, “It must be frustrating to be able to run that fast and have no place to go…” 

The art is ink-signed by Schulz and dated 10-13 (1954) on the last panel. The additional penciled notes “364” and “1 7/8” appear in the margin, and the syndicator’s copyright label is correctly applied inside the edge of the first panel. A United Features Syndicate stamp on verso includes the time-stamp SEP 17 1954 3 54 PM. The overall dimensions are 28¾ inches by 6½ inches. This pop-culture treasure’s unbroken line of provenance starts with its creator, Charles Schulz, who gifted it to fellow artist Frede Vidar (Danish/American, 1911-1967), followed by direct descent to Vidar’s daughter. A unique original artwork, it is estimated at $30,000-$50,000.

The Schulz strip was discovered while sorting through Vidar’s portfolio of World War II sketches and paintings which, themselves, will be offered on Day 2 of the auction. Vidar was a well-respected and accomplished painter, muralist, and art instructor. He was a significant figure in the Northern California art scene during the 1930s, when he was selected by the Public Works of Art Project as one of 26 artists to paint murals in San Francisco’s Coit Tower. During World War II, Vidar served as a combat artist, reached the rank of captain, and was awarded a Silver Star. After the War, Vidar continued his career as a fine artist while also working as a documentary and commercial artist for Abbott Laboratories and Life magazine. 

A striking four-sheet lithograph by Salvador Dali titled Royal Insect/Metamorphosis is entered with a $2,000-$3,000 estimate. This large, flamboyant work is accompanied by several other Dali lithographs from a Port Orange, Florida (formerly Las Vegas) estate. Another highlight from that estate is a monumental five-panel screen, after Edgar Brandt, estimated at $8,000-$12,000. The original version of the artwork, titled The Oasis, an Iron and Brass Five Panel Screen, was exhibited at the 1925 Paris Exposition and sold at Christie’s on June 8, 2006 (Lot 80) for 1,916,000 Euros (US$2,174,085 by today’s rate of exchange). The auction example is 6ft 10 inches tall, with each of the five panels measuring 2ft wide and, according to an advertisement for the screen, made from 36-gauge sterling silver hand-pounded over hand-carved teak wood.

An etching by Pablo Picasso (Spanish, 1881-1973), Vieux Marin et Jeune Prostituee, is estimated at $4,000-$6,000. From the same collection comes a Picasso Madoura pottery plate titled Mains au Poisson. Over 24 years, a creative partnership between Picasso and the artisans of the Madoura pottery workshop in Vallauris, France, resulted in many beautiful limited editions now highly sought after by art collectors. This whimsical plate is expected to make $5,000-$7,000. 

Among the contemporary sculptures offered is a large-scale bronze bull moose by Sam Anton Terakedis (Montana, b. 1952-), The Bull in the Burn, estimated at $4,000-$6,000. Terakedis is an award-winning self-taught artist whose work is held in important private collections worldwide.

The furniture category is crowned by a stunning Chippendale mahogany blockfront chest of drawers, circa 1760 and probably of Boston origin. Per the consignor, who is a private collector from Savannah, Ga., the piece was purchased in the 1990s from legendary American furniture dealer Israel Sack, for $95,000. Estimate: $30,000-$50,000

An early 19th-century cast-iron table is one of several known to have been brought over from Russia on the Steamship Savannah after being gifted by Tsar Alexander to the ship’s captain and crew. The ship was financed by William Scarborough, and an almost identical table, except with a different top, is in the collection of the Ships of the Sea Museum, formerly Scarborough House, in Savannah. Estimate: $1,000-$2,000 

The decorative arts are well represented by a rare 1871 Minton turquoise-ground gilded figure of a turtle estimated at $5,000-$7,000; and a silver-mounted George III knife box fully fitted with mother-of-pearl-handled, sterling silver cutlery. 

The June 18 session will open with a beautiful array of sterling silver, jewelry, couture and clocks. More than 30 lots of finely-made timepieces, primarily American mantel clocks, are featured, all coming from a Naples, Florida, collector. 

An especially elegant lot amongst the silver is a 19th-century coin silver tea service by Savannah silversmith Frederick Marquand. The set is estimated at $2,500-$4,000. Other silver highlights include a Tiffany & Co., 7-piece sterling tea and coffee service; Reed & Barton Francis I flatware, and an 1892 Gorham repousse water pitcher. 

The top-tier selection of fine jewelry includes an eye-catching 18K gold and multicolor sapphire and diamond necklace estimated at $13,000-$15,000; and an 18K gold and Fancy Yellow Diamond ring estimated at $12,000-$18,000. Both are accompanied by GIA reports.

Also featured on Day 2 is the collection of the late United States Court of Appeals Judge Joel M. Flaum of Chicago. A self-described “picker,” Judge Flaum collected the works of early and mid-20th-century Chicago and Illinois artists, World War I posters, US Presidential memorabilia, and mementos of his extraordinary judicial and military careers. Originally from Hudson, New York, Flaum worked as a stockboy in his family’s small grocery store before graduating from Union College and moving to Chicago, where he received his JD and Master of Laws degrees from Northwestern University. He worked as a county, state and federal prosecutor before serving for nearly 50 years as a federal judge on the trial court and US Court of Appeals for the Seventh Circuit in Chicago. In 2024, at the United States Supreme Court, Judge Flaum received the Edward J. Devitt Award, the highest honor that can be bestowed on a federal judge. His eclectic collection, built over the span of his remarkable life, includes antique maps and prints of his native Hudson Valley, New York, to Abraham Lincoln presidential collectibles, and more.

The auction will conclude with a large collection of fine cameras – running the gamut from Hasselblads to Leicas – and high-quality camera equipment. Numbering almost 100 lots, all of the items are from the personal collection of Ray Cottingham, a retired chemical engineer who spent more than 40 years as a freefall camera flyer and recorded more than 12,000 skydives. As a member of the Screen Actors Guild, Cottingham shot and performed in skydiving scenes in such movies as Point Break, Terminal Velocity and Honeymoon in Vegas; filmed a vast amount of footage for TV programs and ads, and shot still photos for a wide variety of magazines. Cottingham’s extraordinary photographic library is a veritable history of skydiving, from the early years of round canopies through today’s most sophisticated advances in the sport.

Everard’s June 17-18, 2025 auction will start at 10am EST on both days. Bid absentee or live online via Everard, LiveAuctioneers, Bidsquare or Invaluable. The public is invited to a June 10 preview reception from 5-7pm at Everard Auctions’ gallery. Additional previewing available June 11-13, or by appointment. For more information on any item in the auction, call 912-231-1376 or email [email protected]. Everard is located at 2436 Waters Ave., Savannah, GA 31404. Online: http://www.everard.com/. 

Suzuki Harunobu, Printmaker, Poet of Women and Color and Precursor of Ukiyo-e

A pioneer of the “brocade print” and its innovative polychromy, the master created a highly sophisticated feminine universe, a prelude to the golden age of ukiyo-e.

Suzuki Harunobu (c 1725-1770), Evening Near the Marshes, print from a series of three (chuban tate-e) on the “Three Vesper Poems” (Sanseki waka), 1766-1767, signed, 28.2 x 20.4 cm/11.10 x 8.03 in. Estimate for the series of three: €60,000/80,000
Suzuki Harunobu (c 1725-1770), Evening Near the Marshes, print from a series of three (chuban tate-e) on the “Three Vesper Poems” (Sanseki waka), 1766-1767, signed, 28.2 x 20.4 cm/11.10 x 8.03 in.
Estimate for the series of three: €60,000/80,000

This delicate vision of a young couple comes from the personal collection of a great connoisseur of ukiyo-e: the Dutchman René Scholten, who since 2000 has presided over the destiny of his gallery Scholten Japanese Art, in New York. At the same time, and for his own personal pleasure, this aesthete has collected hundreds of prints by the greatest Japanese masters. Now eager to part with them, he already sent some of them to the auction block on October 16, under the hammer of Audap. Thursday, June 12, the Paris-based dealer is preparing to disperse a second selection, among which three prints by Suzuki Harunobu, an eighteenth-century virtuoso of the genre, should be particularly eye-catching. From an untitled series illustrating the “Three Vesper Poems” (Sanseki waka), these images in chuban tate-e format date from 1766-1767 and each feature a pair of characters.

These nishiki-e or “brocade prints”, a term recalling the shimmer of multicolored fabrics, revolutionized the art of printmaking, which until then had been restricted to the use of two or three hues.

The Infinite Delicacy of Harunobu’s Style

This composition, entitled Evening by the Marshes, shows an elegantly dressed couple in an interior: the man standing, immersed in reading a letter, and the woman at his feet, holding the three-stringed instrument known as a shamisen. Behind them, open bays give a glimpse of marshes, where birds frolic. This intimate scene is explained by the short poem inscribed in a frame at top right: “Against my will, a feeling of melancholy has invaded my heart… on the marsh where the snipe flies away in autumn, at dusk”. Who wrote it? The medieval poet Saigyo Hoshi (1118-1190) celebrated as one of ancient Japan’s most illustrious. In perfect symbiosis, the melancholy sentimentality of the ancient verses is matched by the infinite delicacy of the style of Harunobu, famous for having been the supposed inventor, around 1765, of the first images printed in several colors, thanks to the use of a dozen inked plates on a single sheet. These nishiki-e or “brocade prints”, a term recalling the shimmer of multicolored fabrics, revolutionized the art of printmaking, which until then had been restricted to the use of two or three shades. First applied to e-goyomi, illustrated calendars, this complex process enabled him to give life to a characteristic type of slender young women, whose silhouettes evolve against an architectural or landscape background. A sophisticated, fantastical universe that ushered in the golden age of Japanese printmaking, soon to be exemplified by Utamaro, Hokusai, Hiroshige and many others.

René Scholten’s personal collection, Netherlands (Part II) – Early Japanese prints & Shin-Hanga

Thursday 12 June 2025 – 14:00 (CEST) – Live

Salle 7 – Hôtel Drouot – 75009 Paris

Audap & Associés

Info and sales conditions

Catalogue

Quinn’s June 6 Fine & Decorative Arts Auction: A Capital Collection of Art, Silver & Style

Sale features nearly 500 lots of fine paintings, bronzes, jewelry, and global decorative art from distinguished Capital Region collections

Khmer Buddhist triad, Bayon period, 13th c.
Khmer Buddhist triad, Bayon period, 13th c.

FALLS CHURCH, Va. – On Friday, June 6, 2025, Quinn’s Auction Galleries will present a beautifully curated sale of nearly 500 lots that reflect the enduring elegance and cross-cultural taste of Washington, DC’s most refined estates. From postwar American art and Spanish modernism to Cambodian bronzes, fine silver, and estate jewelry, the Fine & Decorative Arts Auction includes a sophisticated range of property with broad appeal.

One of the most historically interesting lots in the sale is a 1980 serigraph by Andy Warhol titled Edward Kennedy. This striking diamond-dusted portrait was created as a prototype for Kennedy’s presidential campaign and hung in his PAC office until the mid-1980s, when it was personally gifted by the Senator to a senior staff member. Estimated at $4,000-6,000, the work is poised to outperform expectations. Previous examples from the series have sold for significantly more, particularly those with strong provenance. With its bold visual presence and direct link to both Warhol and Kennedy, this piece is a compelling fusion of American art and political history.

Another auction highlight is ¡Viva España!, a luminous 1909 oil-on-canvas by Antonio Muñoz Degrain (Spanish, 1840–1924). Golden sunrays burst in geometric formation across a glowing pink and violet sky above a tranquil sea, while the phrase “¡Viva España!” blazes boldly across the heavens in painted light. Romantic, symbolic and visually arresting, the painting is a patriotic celebration of Spanish identity and pride, at once lyrical and declarative.

From the Capital’s own postwar art legacy, the sale includes a bold 1967 abstract by Howard Mehring, a central figure in the Washington Color School, known for his saturated bands of color and hard-edge compositions. He is joined by fellow Color School artist Paul Reed, represented by a vibrant 1960s painting from the height of his career that showcases his precise color fields and rhythmic structure. Also featured is a work by Willem de Looper, whose atmospheric abstractions reflect his long association with the Phillips Collection and the evolution of modern art in Washington.

The auction also offers more than 50 lots of fine and estate jewelry, including a show-stopping suite of emerald, diamond, and South Sea pearls. An 18K white gold necklace and matching tassel earrings anchor this portion of the sale, which features a range of elegant period pieces, in gold, platinum, and with precious stones, from long-held private collections.

Two exceptional Khmer bronzes anchor the South and Southeast Asian offerings: a serene 13th-century Buddhist triad featuring Buddha sheltered by a seven-headed serpent, flanked by bodhisattvas of compassion and wisdom (Lot 332); and a 12th-century bronze figure of Vishnu (Lot 331), cast during the Angkor Wat period, embodying the elegance and spiritual grandeur of the Khmer Empire’s classical style. Both works reflect the refined bronze casting techniques of the time and present rare opportunities to acquire sacred statuary seldom seen outside museum collections.

A rare 13th-century bronze Buddhist triad from Cambodia’s Khmer Empire features Buddha sheltered by a seven-headed serpent, flanked by the bodhisattvas of compassion and wisdom. Cast during the golden age of Khmer art, this sacred temple piece reflects the spiritual symbolism and refined metalwork of one of Southeast Asia’s greatest civilizations. Religious bronzes of this caliber are exceptionally scarce on the market.

Additional highlights include an intricately carved Qing Dynasty cinnabar lacquer “Babao” plate and a rare early 20th-century Hopi two-horn katsina mask with ceremonial basketry detail.

“This sale reflects the broad-minded sophistication of Washington’s best collectors,” said Matthew Quinn, Executive Vice President. “It’s not just what’s valuable—it’s what’s meaningful, stylish, and deeply tied to the homes and lives of people who cared about culture.”

Closing the list of top highlights is an expressive 1983 bronze sculpture by Mimmo Paladino (Italian, b. 1948-), a key figure in Italy’s Transavanguardia movement. Titled Senza Titolo, the piece features a solitary figure holding a branch and leaning into a red dog. Poetic, surreal, and unforgettable, the work comes with gallery provenance and authentication from the artist.

The June 6, 2025 auction will begin at 12 noon ET. Bidders may participate online via LiveAuctioneers, or request phone/absentee bidding through Quinn’s. In-person previews will be held at Quinn’s Falls Church, Virginia, showroom from Monday, June 3 through Wednesday, June 5. Visit Quinn’s website for additional details: https://www.quinnsauction.com 

When examined more closely, antiquities reveal how incredibly advanced many ancient cultures were

Roman Pentelic Marble Statue of Athena and Shield with Amazonomachy

HARWICH, UK – Who isn’t fascinated by relics from civilizations that flourished thousands of years ago? While at first glance some might seem quite primitive and far-removed from present-day art and objects, a closer look reveals quite another story. Often, they show levels of sophistication and imagination that were highly advanced for their time. Here are three items chosen at random from an auction coming up on June 3-7 in England, along with a taste of their back stories. They may change your perception of certain societies of the Mediterranean and Near East, which were actually quite advanced and innovative. 

Terracotta Cuneiform Tablet from 2400-2340 BC

Thanks to The Rosetta Stone, which was discovered in 1799 during Napoleon’s Egyptian campaign, archaeologists were able to decipher hieroglyphics that had remained a mystery for several millennia. The Rosetta Stone is a slab of ancient stone that bears identical text inscribed in three different writing systems: hieroglyphic, demotic (common colloquial language), and Greek. Because the Greek text was able to be readily translated, French scholar Jean-Francois Champollion was able to make comparisons and decipher the Demotic and hieroglyphic texts in 1822. 

Hieroglyphics are most commonly associated with Ancient Egyptian sarcophagi, statues, vessels and the interior walls of tombs. But they had much more mundane purposes, as well. An Early Dynastic (IIIB, 2400-2340 BC) terracotta administrative cuneiform tablet entered in the auction actually shows that people of that period recognized the need for good record-keeping. Its translation reveals that it was actually a scrupulously-detailed record of livestock ownership. Perhaps the spreadsheet of its day?

The pillow-shape tablet is incised with dense cuneiform text to its two broad faces and one edge, listing 146 sheep and their owners or shepherds, with lines to separate flocks. The fascinating relic was acquired from Laemmle Gallery in Los Angeles in the early 1970s. In 2011, it went to Bonhams, London, and then became part of a private central European collection. The tablet will be auctioned together with a copy of its translated text and copies of relevant Bonhams catalogue pages. Estimate: £15,000-£20,000/$19,390-$25,850

6th-5th Century BC Achaemenid (Persian Empire) Silver Bowl with Royal Egyptian inscription for Darius the Great

Darius the Great knew how to get things done. Born Darius I, he was the third king of the Archaemenid (Persian) Empire, reigning from 522 BC until his death in 486 BC. He was known for his administrative genius and foresight in launching extensive building projects. He is credited with expanding the Persian Empire, organizing it into 20 provinces, and creating both a unified currency and standard system of weights and measures. Also during his time, he directed such major undertakings as the Royal Road and the city of Persepolis. 

An important art object in the auction is closely associated with Darius. It is a sizable fragment from a heavy silver bowl created in the 6th-5th century BC, richly decorated with teardrop bosses, lotus-flower and rosette motifs, and most significantly, a hieroglyphic legend that translates to “Darius, Pharoah, the Great.” Was it the king’s own bowl? There’s no way of knowing, but we do know that hieroglyphic inscriptions on Achaemenid items are very rare. Whether it was his property or not, whoever retained this bowl fragment would have been well aware that its significance to future generations would have been in the inscription. The auction estimate is £8,000-£10,000/$10,340-$12,930.

Early Superheroes: The Amazons Who Battled the Ancient Greeks

Ancient Romans had an extraordinary gift for imagination and the artistic ability to turn their musings into tangible objects of exceptional beauty, as seen in one of the auction’s headliners: a Roman Pentelic marble statue of Athena. The goddess holds a shield that is crisply carved with the images of a convoluted snake and depictions of Amazonomachy. In Greek mythology, this term refers to the conflict between ancient Greeks and the all-female Amazon warriors who were known for their physical agility, strength, archery skills and riding expertise – the Wonder Women of their era.  Made in the 2nd century AD and modeled in the round, the statue of Athena with the Amazonomachy shield will be auctioned with an estimate of £50,000-£70,000/$64,640-$90,490.

TimeLine’s June 3-7, 2025 auction will be held live at the company’s head office located at The Court House, 363 Main Rd., Harwich, Essex CO12 4DN, UK. All lots featured in TimeLine’s hardcover catalogue will be auctioned during the June 3 opening session. Internet bidders may pre-register online. Goods may be previewed in person at the gallery by prior arrangement only. 

Auction start time: 7am US Eastern time/12 noon GMT. All remote forms of bidding will be available, including absentee, by phone (please book phone line 48 hours ahead of time), or live via the Internet through TimeLine’s bidding platform or LiveAuctioneers. TimeLine Auctions accepts payments in GBP and ships worldwide. Questions: call +44 7494 866514 or email Aaron Hammond at [email protected]. Online: https://timelineauctions.com. 

François Lemoyne’s Lady Chapel Restored in Saint-Sulpice

The restoration of the Lady Chapel in Saint-Sulpice (Paris) means that visitors can rediscover interior decoration dating from the 18th century. Its dome is the work of an artist at the peak of his powers, and was his final masterpiece.

© Saint-Sulpice Ville de Paris, COARC Jean-Marc Moser
© Saint-Sulpice Ville de Paris, COARC Jean-Marc Moser

In 1730, François Lemoyne (1688-1737) was commissioned to decorate the vault of the Lady Chapel in Saint-Sulpice, an imposing church in the Saint-Germain-des-Prés district of Paris. The choice of this painter was no accident: Lemoyne, famous for his technical skill and fine sense of composition, was seeking to establish his reputation in Parisian artistic circles. Completed in 1732, the Lady Chapel decoration features an Apotheosis of the Virgin in a huge illusionist composition creating the impression that the ceiling opens onto the sky. The fresco covers the entire surface of the dome (373 sq. m./4,014 sq.ft), offering viewers a celestial vision, where the Virgin is received into divine glory by a hundred figures: saints, angels and characters both allegorical and real, including Abbot Jean-Jacques Olier, a major figure at Saint-Sulpice in the 17th century. “The project assigned to Lemoyne aimed to dazzle visitors with a triumphant apotheosis combining monumentality, chromatic brilliance and technical virtuosity,” says Véronique Milande, Chief Heritage Curator in charge of religious and civil artwork conservation for the City of Paris. The work was part of an ambitious decorative program commissioned by Jean-Baptiste Languet de Gergy, the parish priest from 1714 to 1748, who had already brought in the Slodtz brothers to create the sculpted garlands of cherubs with flowers and fruit around the dome. The chapel was further enriched with four paintings by Carle Van Loo on the side walls in 1748.

A Resounding Success

In creating the Apotheosis of the Virgin, Lemoyne adopted a resolutely Baroque approach inherited from the Italian masters. “It was an ambitious attempt to transpose to France the visual language of the illusionist apotheoses that became widespread in 17th century Italy,” says Véronique Milande. The composition is structured by an upward movement, which immediately draws the eye to the radiant center and the Virgin. The dynamic energy of the whole scene is enhanced by the spiral arrangement of the figures, which seem to float in airy space. To achieve this spectacular effect, Lemoyne employed a virtuoso foreshortening technique and skillful play on light and shadow. He used a vibrant palette dominated by deep blues and sparkling golds to brighten the rather dark chapel. The Apotheosis of the Virgin was soon established as one of the painter’s greatest successes, and was admired for both its technical virtuosity and its original iconography. At Saint-Sulpice, Lemoyne sought to rival the greatest European masters. Four years later, in 1736, he was appointed first painter to the king by Louis XV: an honor that marked the peak of his career.

© Saint-Sulpice Ville de Paris, COARC Jean-Marc Moser
© Saint-Sulpice Ville de Paris, COARC Jean-Marc Moser

But this triumph was short-lived. Paralyzed by the pressure of his position and exhausted by the scale of the projects assigned to him, the artist took his own life the following year. “In retrospect, the Saint-Sulpice decoration seems like a testamentary work: a final attempt to achieve glory through the sheer immensity of the undertaking,” says Véronique Milande. After that, the chapel fell prey to a series of misfortunes. It was damaged by a fire on the night of March 16-17, 1762, and only restored in 1774. “The architect Charles de Wailly created a second open dome in wood, through which Lemoyne’s painted decoration could be seen,” says the curator. Above the high altar, a niche lit by hidden windows was built to house Jean-Baptiste Pigalle’s Virgin and Child. But another fire broke out a few years later, and the chapel was damaged by water several times after that. A heater exploded in 1858 and a bomb shell fell on the chapel roof in 1870. Over the years, some heavy-handed restoration work was carried out. Some of it even applied “dirt on top of dirt,” as Véronique Milande puts it, which gradually made the fresco unrecognizable. After centuries of vicissitudes, with the last repair work carried out nearly 80 years ago, proper restoration work was desperately needed.

© Saint-Sulpice Ville de Paris, COARC Jean-Marc Moser
© Saint-Sulpice Ville de Paris, COARC Jean-Marc Moser

Extraordinary Colors

The situation was grim, with natural deterioration, accumulated soot and dust, oxidized varnish and repainting that had distorted or masked the virtuosity of the decor. Even more worrying, the chapel’s very structure was showing signs of weakness. Cracks had been found in the vault, and some of the stucco sculptures were in danger of coming off. The project launched by the City of Paris in 2022, with support from the Fondation Avenir du Patrimoine à Paris, raised €2.35 M, including €1.5 M from the Pinault family. “This budget made it possible to use cutting-edge technology to make sense of the pictorial layers and reveal hidden details,” said a City of Paris official. Cleaning the fresco was a crucial step. Using a meticulous dust removal protocol and then applying special gels, the 40-odd restorers carefully removed the successive repainted layers and gradually revealed the brilliance of the pigments. Beneath the layers of grime, Lemoyne’s work emerged “with unexpected nuances that restored all the depth of its azure sky and sculptural figures, revealing the intensity of the blues and golds he used,” says one of the restorers, visibly moved. Another challenge involved consolidating the reliefs and gilding. The garlands sculpted by the Slodtz brothers were also renovated, restoring the original visual harmony of the whole. This project not only saved a masterpiece, but also brought little-known aspects of Lemoyne’s technique to light. Digital imaging revealed several reworkings, evidence of the artist’s second thoughts. A few barely sketched figures appear to have been abandoned half-way through the process. Specialists can also appreciate the subtle effects of transparency the painter incorporated into his fresco, particularly in the veils and drapery, reminiscent of Paolo Veronese’s chromatic experiments.

This project not only saved a masterpiece, but also brought little-known aspects of Lemoyne’s technique to light.

Another revelation was the presence of rare pigments, in particular an ultramarine derived from lapis lazuli, confirming the extraordinary resources used for this work. The operation carried out between September 2022 and June 2024 has restored this masterpiece to its former glory, and is now considered a textbook example of religious heritage conservation. Its success highlights the importance of regular work on fragile decorative art, as witness the recent campaigns at the Church of Saint-Germain-des-Prés, the Royal Chapel of Versailles and Notre-Dame de Paris. And apart from its scientific interest, this project enables viewers to rediscover one of the finest 18th century pictorial ensembles in Paris—and the only known fresco by Lemoyne in France. Véronique Milande concludes: “What we see today is undoubtedly what Lemoyne’s contemporaries discovered in 1732: a lively and vibrant fresco bathed in light.”

Worth seeing
Saint-Sulpice Church, 75006 Paris.
paroissesaintsulpice.paris

It’s Time To Bid! Estate Jewelry & Timepieces Come To Turner Auctions + Appraisals On June 7

Over 165 Lots Feature Jewelry Items with Precious Metals & Gemstones

C.H. Meylan Watch Co. for Shreve & Co. 14k gold pocketwatch
C.H. Meylan Watch Co. for Shreve & Co. 14k gold pocketwatch

SOUTH SAN FRANCISCO, CA, May 27, 2025 – Turner Auctions + Appraisals is pleased to present Estate Jewelry & Timepieces on Saturday, June 7, 2025, at 10:30 am PDT. Featuring over 165 lots from several estates, jewelry offerings include necklaces, rings, bracelets, pendants, brooches, and earrings. Many are gold or silver, including sterling or blackened; most are set with gemstones such as diamond, emerald, ruby, amethyst, pearl, opal, coral, garnet, jade, aquamarine, turquoise, moonstone, lapis lazuli, and/or rock crystal – plus micro-mosaics or pietra dura. Some pieces are antique or vintage. There are also several lots of Victorian hairwork jewelry. 

Among the wide array of men’s watchmakers are LeCoultre, Hamilton, Lord Elgin, Gruen, Timex, Movado, Girard-Perregaux, Wittenauer, and many others – including a selection of Russian watches. Also on offer are a number of pocket watches, including a C. H. Meylan timepiece for Shreve, and gents’ accessories. The auction also includes pens from Cartier, Montblanc, Dupont, and Tiffany; jewelry boxes; and antique, vintage and/or costume groupings of jewelry and buckles.

Turner Auctions + Appraisals begins its online auction on Saturday, June 7, 2025, at 10:30 am PDT; sale items are available for preview and bidding now. The auction will be featured live on four platforms: LiveAuctioneers, Invaluable, Bidsquare, and Turner Auctions + Appraisals’ free mobile app, which can be downloaded from the App Store or Google Apps (“Turner Auctions”). Both are easily accessed through ‘Upcoming Auctions’ at the company’s website:  www.turnerauctionsonline.com/upcoming-auctions/.

Here below are some highlights of the upcoming online sale (please see lot details in the online catalog):

Lot 21: A Victorian Micro-Mosaic and 14k Gold Brooch. Depicting the Vatican; weighing 29.59 grams; length: 2 in. Estimate $500-$700. 

Lot 37: C. H. Meylan Watch Co. for Shreve & Co. 14k Gold Pocket watch. #3850, 17j, 3 adjustments, seconds subsidiary dial, with 18k gold watch chain and pocketknife; gross weight approximately 112.19 grams; 45mm dia. Estimate $1,500-$2,500. 

Lot 29: A Group of Angel Skin Coral and Gold Jewelry. In 18k and 14k gold, comprising a ring, brooch and screw back earrings; gross weight approximately 29.65 grams; ring size: 7; brooch length: 1 7/8 in; earrings: 1 1/2 in. Estimate $500-$700. 

Lot 46: An Emerald and 14k Gold Necklace and Earring Set. Both set with emerald-cut emeralds, together weighing approximately 1.35 carats; gross weight approximately 3.98 grams; necklace length: adjustable 16 – 18 in.; ring size: 8 ¼. Estimate $800-$1,200. 

Lot 35: Credit Suisse 1 Oz 999.9 Fine Gold Ingot, Numbered 090289. Estimate $2,000-$3,000. 

Lot 47: Two Jade and Gold Bracelets. One 14k gold bangle and one 18k gold link bracelet with 14k gold jade bi charm; gross weight approximately 59.0 grams; lengths: 8 and 7 in., respectively. Estimate $400-$600. 

Lot 6: Matl and Ricardo Salas, an Amethyst, Turquoise and Sterling Silver Necklace, Mexico. With bird motifs, the central ornament featuring an oval-shaped amethyst measuring approximately 12.3 x 6.0mm, accented by round turquoise cabochons, and rectangular-cut foil-back quartz; signed Matl, MS-12, Ricardo Salas, Matl Poulat, Mexico 925; weighing approximately 100.5 grams; length: 18 in. Estimate $400-$600. 

Lot 28: Two Pairs of Gem-Set and Gold Earrings. An 18k gold and diamond pair, together with a 14k, lapis lazuli and diamond pair; gross weight approximately 23.70 grams; lengths: 7/8 and 1 in. Estimate $500-$700. 

Lot 8: Georg Jensen Sterling Silver Bracelet. The link bracelet, with post-1945 mark, #29; weighing approximately 47.29 grams; length: 7 1/2 in. Estimate $300-$500. 

Lot 48: A South Sea Cultured Pearl and Diamond Pendant. The drop shaped cultured pearl measuring approximately 14.8 x 13/4 mm, with diamond-set 14k white gold bail, suspended from a fine 18k white gold chain; weighing approximately 5.39 grams; pendant length: 7/8 in., chain length: 18 in. Estimate $550-$750. 

Lot 20:  An Antique Pietra Dura and Low Karst Gold Necklace. Designed with 11 round and oval floral motif pietra dura; 59.66 grams; length: 13 1/2 in. (some damage to onyx). Estimate $500-$700. 

Lot 92: A Pair of Opal, Moonstone and Diamond Earrings. The drop earrings featuring opal plaques, framed with round, oval and pear-shaped moonstones and single-cut diamonds, in blackened silver; weighing approximately 14.39 grams; length: 2 in. Estimate $500-$700. 

Lot 41: Antique 18k Gold Quarter Repeating Pocket Watch. NOTE: All watches are sold as is regardless of functionality. Please examine the provided photos to evaluate each piece. All watches in the sale have been in storage since 2015. Estimate $500-$700.

Lot 16: An Antique Austro-Hungarian Stone-Set and Silver Necklace. Set with emeralds, foil back stones (and possibly glass), and a painted central ornament; weighing approximately 49.89 grams; lengths: 14 1/2 in. Estimate $400-$600. 

Lot 107: Vintage 10k LeCoultre LED Watch. NOTE: All watches are sold as is regardless of functionality. Please examine the provided photos to evaluate each piece. All watches in the sale have been in storage since 2015. Estimate $300-$500. 

PLEASE NOTE: For combined purchases over $500, Turner Auctions will not accept credit cards on gold, or jewelry. Payment must be made by wire transfer.

###

ABOUT TURNER AUCTIONS + APPRAISALS

Based in South San Francisco, Turner Auctions + Appraisals was founded by Stephen Turner to expand and complement the capabilities of Stephen G. Turner Associates, an auction and appraisal consulting firm founded in 2004. Turner Auctions + Appraisals presents online auctions in diverse categories of personal property (www.turnerauctionsonline.com). Among them are Fine Arts, Decorative Arts, Asian Arts, Toys, Jewelry, Militaria, Ethnic Arts, and others. The company offers a range of auction and appraisal services for buyers, sellers, and collectors. Online auctions are held several times a month. Working with leading live and online auction houses on the West Coast since 1991, Turner is a professional appraiser of personal property and seasoned auctioneer. His areas of expertise include fine art, decorative arts, antiques & residential contents. The company welcomes consignments and appraisals.

For more information about the company, please contact:

Stephen Turner, President

Turner Auctions + Appraisals, 461 Littlefield Avenue, South San Francisco, CA 94080

415-964-5250 / [email protected] / www.turnerauctionsonline.com

For media inquiries or photos, please contact:  

Jill Turner, Rodin & Shelley Associates / [email protected]

Morphy’s secures high-quality pieces from advanced collections for a finely-curated June 4-5 Toys & General Collectibles Auction

Featured: J&E Stevens mechanical banks ‘Race Course’ & ‘Girl Skipping Rope;’ Portrait Jumeau doll in Dior ensemble; Target Robot, Popeye & OliveOyl Tank; Jordan rookie card, Star Wars figures; marbles.

Race Horse Mechanical Bank W/ Original Box
Race Horse Mechanical Bank W/ Original Box

DENVER, Pa. – Morphy Auctions is known throughout the collecting hobby for its consistent ability to secure premier examples of antique and vintage toys, banks and quality collectibles for its sales. While some of their auctions focus on a single, high-profile collection, others present a varied selection of expertly-curated pieces from many different sources. Their next multi-consignor Toys & General Collectibles auction, numbering 1,253 lots, will be held on June 4-5 at Morphy’s flagship Pennsylvania gallery, with all remote forms of bidding welcome, including live online via Morphy Live.

Antique cast-iron mechanical banks are among the top-estimated items and are led by two outstanding designs by J & E Stevens, a legendary Cromwell, Connecticut company founded in 1843 by brothers John and Elisha Stevens. The first of the two highlight banks is known as “Race Course” and presents in bright original paint. This bank, which has a sophisticated action and horseracing theme, is accompanied by its original box with a replacement label bearing a realistic image of the bank. In Near Mint condition, it is estimated at $25,000-$30,000.

Following closely behind the Race Course bank is an Excellent Plus example of Stevens’ “Girl Skipping Rope” bank assessed as being in 100% original condition. When activated, the girl jumps “rope” more than 15 times. The bank is accompanied by a period key that is well suited for winding although not exactly like the key originally issued by the manufacturer. Representing one of the all-time favorites from Stevens’ broad money-box production range, this bank could command $15,000 to $30,000.

A spectacular all-original Jumeau French fashion (or “Portrait Jumeau”) bisque doll comes to auction with prestigious museum provenance. Near-life-sized at 36 inches, the elegant doll wears a dress said to have been specifically designed for it by French couturier Christian Dior. Its neck is incised 12 and bears red artist’s check marks. Additionally, the face features well-painted eyebrows and lashes, and the ears are adorned with pierced earrings. The well-accessorized doll wears an antique mohair wig, holds an exquisite feather fan and has a pair of opera glasses suspended from a chain around her neck. It also comes with a parasol, presumably for use on sunny days. This stunning antique doll has remained in a private collection for nearly 40 years following its acquisition at the 1986/’87 auction series of contents of The Toy Museum of Atlanta. In Excellent condition, it will step into the auction spotlight with a $15,000-$25,000 estimate.

From Masudaya’s mighty Gang of Five battery-operated robot lineup, a purple tin-litho Target Robot stands an impressive16 inches high. Distinctive for its boxy, skirted body, this big boy comes with its original factory gun and darts, as well as its original pictorial box with cardboard insert. Graded Excellent with a VG box, this super-desirable midcentury Japanese ‘bot is estimated at $10,000-$20,000.

Another Japanese toy that is both rare and well known to collectors is Linemar’s 8½-inch tin-litho Popeye & OliveOyl Tank. Morphy’s will offer a very nice example of this amusing battery-op, together with a high-quality reproduction box. When activated, OliveOyl pokes her head out of the tank turret as Popeye shows off his spinach-powered strength by lifting the vehicle’s front end. Assessed in Excellent condition with a clean battery box and a (smoking) pipe that appears to be original, the tank will roll across the auction block with a $6,000-$9,000 estimate.

An absolutely unique handmade Southern Pacific steam engine, tender and caboose set is large scale – bigger than Buddy ‘L’ or 5-gauge – and appears to be scratch-built folk art constructed to a very high standard with machined parts of metal and wood. It is marked 3001 on the engine and matching caboose, and the tender is marked Southern Pacific on both sides. An intricate steam engine is housed inside the engine’s cab, and the caboose doors open, showing the detail and care with which the set was made. Accompanied by several pieces of large-gauge track, this museum-quality one-off item was made in the 1920s-’30s as a gift to the president of the Southern Pacific Railroad. In VG condition, it has an $8,000-$12,000 estimate.

Sports memorabilia is a fast-growing category in Morphy’s Toys & Collectibles auctions, and interest in that category is expected to be strong once again on June 4-5, in particular for an original single-signed Spalding National League baseball autographed by Pittsburgh Pirates legend Roberto Clemente (1934-1972). The beloved outfielder signed the ball during a warmup session prior to a game at Forbes Field and was initially obtained by the consignor’s father. It is a game ball, although it was not actually used in the game, and comes with a JSA LOA authenticating the signature and indicating the ball to be from the 1958-’62 era. Estimate: $4,000-$10,000. Another sports highlight is an encased 1986 Fleer Michael Jordan rookie card, PSA-graded 7 NM. Estimate: $3,000-$6,000

Antique marbles are viewed by collectors as miniature works of art, each one a special and unique production. Sulphides are among the most sought-after of all marbles, with the name referring to the chalk-like material used to create tiny figures for suspension within clear or colored glass orbs. A whole menagerie of animals can be seen in sulphides. Morphy’s June 4-5 auction includes a canine charmer – a multicolored pup with brown spots on a white body, a black mouth, and green “grass” underfoot. Measuring 1¾ inches in diameter, it has a pre-sale estimate of $500-$1,500.

Star Wars figures seem to know no bounds at auction, and many savvy buyers have found genuine treasures in Morphy’s sales. A possible “sleeper” in the June event is a lot of five Kenner 1970s Star Wars figures sealed on their original cards. Characters include: Stormtrooper, Sand Person, Jawa, Ben Obi-Wan Kenobi, and Darth Vader. All are still sealed in their plastic bubbles on clean cards. The Sand Person and Kenobi cards show some waviness. All have been punched at the tops of their cards (for potential retail display on spindles) but do not have price tags affixed. Their overall condition is VG-Excellent, and the group-lot estimate is 400-$800.

Morphy’s Friday/Saturday June 4-5, 20254 Toys & General Collectibles Auction will be held live at the company’s flagship gallery, 2000 N. Reading Rd., Denver, PA 17517, starting at 9 a.m. Eastern Time. All forms of bidding will be available, including absentee, by phone, and live via the Internet through Morphy Live. Enquiries: call 877-968-8880, email [email protected]. Visit Morphy’s online at www.morphyauctions.com.