BROOKLYN, N.Y. – SJ Auctioneers’ online-only Jewelry, Silver, Glass Art, Fashion & Toys auction set for Sunday, MAY 25th, is jam-packed with close to 280 lots of sterling silver flatware services and other sterling objects; Ralph Lauren and Polo handbags; dazzling jewelry pieces colorful Herend and Swarovski figures; vintage pens; vintage toys; and decorative accessories. The auction showcases items by famous name designers and makers, including Tiffany & Co., Buccellati, Gorham, Georg Jensen, Reed & Barton, Gucci, Cartier, Pomellato, Schofield Silver, Montblanc, Daum, Baccarat, S.T. Dupont, Bvlgari, Meissen, Matchbox, Hubley and Dinky Toys. Bidding is available online now, at LiveAuctioneers.com. Pre-bidding is also available, meaning for those who are unable to attend the online auction, they can still leave their bids now. The auction has a start time of 5:30pm Eastern. A link to the catalog is here:
Created in the latter part of the 19th century by Paul-César Helleu, Femme au miroir was for many years part of the collection of the flamboyant Dr. Pozzi, the father of modern gynecology.
Paul-César Helleu (1859-1927), Femme au miroir, pastel on canvas, signed, 73 x 111 cm/28.74 x 43.7 in. Estimate: €50,000/80,000
Count Robert de Montesquiou is famous for having inspired the character of Jean des Esseintes, the (anti)hero of Joris-Karl Huysmans’ novel À rebours (Against Nature). Better still, his friend Marcel Proust also made him one of the models for Baron de Charlus, one of the main protagonists of À la recherche du temps perdu (In Search of Lost Time). This charismatic, art-loving, literate dandy admired one of the greatest pastelists of the Belle Époque: Paul-César Helleu. Helleu also has a link with In Search: the painter Elstir, Proust’s ideal artist, was created in his image – together with the American artist James Whistler. Robert de Montesquiou dedicated a book to his friend Helleu – Paul Helleu peintre et graveur (H. Floury éditeur, Paris, 1913) – in which he lyrically celebrated the “distinguished and inimitable refinement” of his Parisiennes. Paul-César Helleu painted a great deal of French high society, and was one of the few to be able to draw the Countess de Greffulhe – a Proustian character if ever there was one, and Montesquiou’s cousin – whose portrait by his friend Émile-Auguste Carolus-Duran sold for over €100,000 at Leducq last February. He also used many of his close friends and family as models, his wife Alice for example. Nevertheless, we can’t say that this pastel on canvas of Femme au miroir represents his wife,” states auction expert Élisabeth Maréchaux Laurentin. On the other hand, the information contained on the stamp of the color dealer Troisgros Frères (active between 1883 and 1892) makes it possible to situate the work between 1884 and 1887.” Robert de Montesquiou describes the painting as follows: “A young woman, a woman in childbirth [the detail is important, editor’s note], perhaps a woman in labour, blissfully convalescent, in the twilight of an alcove, enjoys touching a mirror with a flower.”
The delicately shaded dress and sheets give the impression that the young woman is about to disappear…
The palette is faithful to the painter’s aesthetic proposals: the dress and sheets in delicate shades of white and faded blue-gray give the impression that the young woman is about to disappear, swallowed up by her bed. Her red hair echoes the orange hue of the flower. Montesquiou makes no mistake when he evokes “the dear model with marigold-colored hair” that fascinates the artist. He adds: “[This] mysterious pastel is still Dr. Pozzi’s property, a veritable lesson in the art of this learned physician.” Samuel Pozzi may not be a household name, but for scientists, doctors and surgeons, he is forever associated with the invention of modern gynecology. Here, too, Proust’s readers will find some of the obstetrician’s qualities in Dr. Cottard. His life is a novel in which all the Parisian intelligentsia meet: the Goncourt brothers, the poet Leconte de Lisle, the journalist Jean Lorain, Marcel Proust of course and, of course, Robert de Montesquiou. A visionary doctor and committed politician, elected Senator for Dordogne in 1898, he was one of Alfred Dreyfus’s main supporters. As chance would have it, he even treated the Captain during the assassination attempt on him during the transfer of Émile Zola’s ashes to the Panthéon. In The Man in the Red Coat (Johnathan Cape, 2019), Julian Barnes recounts the life of this extraordinary doctor, a collector of art as well as women. He paints the portrait of a scholar, translator of Darwin, author of a treatise on gynecology that brought him fame in his day. An unbridled art lover, the 1,221 items in his collection were sold a year after his death, at Drouot, under the gavel of Fernand Lair-Dubreuil, between June and July 1919. Significant paintings in his collections included a study by Turner, four Corots, two Delacroixes and a portrait of Madame Gautreau Drinking a Toast, by American painter John Singer Sargent.
Thanks to this American artist, Samuel Pozzi enjoyed an unexpected posterity. In 1881, Sargent – disliked by Montesquiou and esteemed by Helleu, whose friend he was – painted a full-length portrait of the doctor entitled Le Docteur Pozzi dans son intérieur (Dr. Pozzi at Home). The painting is one of the highlights of the “Sargent and Paris” exhibition at New York’s Metropolitan Museum of Art, on view until August 3. In it, the doctor is shown in all his nobility, dressed in a long red interior coat against which subtly expressive hands stand out, prompting Julian Barnes to say, “If one were asked to guess this man’s profession, one might think of a virtuoso pianist.” The author then dwells on the cords that close the coat in “an intricate knot, from which hangs a pair of fluffy tassels or pompons, one on top of the other. They hang just below the lower abdomen, like a scarlet ox nerf.” He saw it as an indication of Pozzi’s extraordinary vitality, real or imagined, induced by “a painter of magnificence, unafraid of controversy, even perhaps attracted by it”, and who indeed caused a scandal at the 1884 Salon with a sulphurous portrait of Madame Gautreau, Madame X, leading to his exile to London. Samuel Pozzi, whose elegance and poise made the Princess of Monaco say: “He’s handsome, so handsome… it’s disgusting”, I liked it very much indeed. Sarah Bernhardt, his most famous lover, called him her “Doctor God”, and their friendship lasted more than twenty-five years. The color red in Sargent’s portrait of Samuel Pozzi is that of passion, but also that of blood… Dr. Pozzi died in June 1918, shot three times by a disgruntled patient. His portrait was finally withdrawn in extremis from the 1919 sale by his family. Like Femme au miroir, it would not reappear until after the death of his son, Jean, in 1967.
The first model vehicles produced as toys for children started to appear in the early 20th century as real cars gained popularity worldwide. German toy companies, including Bing and Marklin, took the lead in this new line of business. Shortly after, American companies started to produce these playthings to keep up with demand. These century-spanning miniatures remain collectors’ favorites today. Matthew Bullock Auctioneers of Ottawa, IL presented its Dealership Promo Car and Toy sale on May 10, 2025. Over 900 lots of vintage and modern die-cast treasures were on offer. Here are some results that took the pole positions in this exciting event.
Lot #0337c, a collection of NASCAR die-cast cars and other vehicles, was estimated at $30 to $300 and sold for $1,260. Image courtesy of Mathew Bullock Auctioneers.
The top lot in this sale was #0337c, a collection of NASCAR (National Stock Car Racing Association) die-cast cars and other vehicles. Estimated at USD 30 to $300, it traded hands at $1,260. The group of over 160 miniatures was in nearly as-new condition. Almost every car was in its own original presentation box, which was branded with its NASCAR racer’s name, number, and other sporting information.
Lot #0398, a Lionel LionMaster O gauge Western Maryland Challenger steam locomotive and tender, was estimated at $30 to $300 and sold for $599. Image courtesy of Matthew Bullock Auctioneers.
Model trains and related materials were well represented in this sale. Lot #0398, a Lionel LionMaster O gauge Western Maryland Challenger steam locomotive and tender, was estimated at $30 to $300 and delivered $599. Both were primarily black: the locomotive had a red cab and 1201 as its reporting mark. The coal-carrying tender was decorated with the words “Western Maryland” in gold, with a Western Maryland Fast Freight Line winged logo in gold and red. The locomotive measured 17 inches long and retained its original Lionel Legacy LionMaster box.
The Lionel Train Company was one of the best-known and beloved legacy toy train makers. It was started in 1900 by Joshua Lionel Cowen as an electrical novelty company. Its LionMaster line was introduced in 2001. It was produced specifically to enable larger steam locomotives to run in smaller-scaled settings with O-31 curves. An O-31 curve is the tightest curve this scaled model can maneuver.
Lot #0433, a Mattel Hot Wheels Redline Classic Cord die-cast car, was estimated at $30 to $300 and sold for $536. Image courtesy of Matthew Bullock Auctioneers.
Single lot, late-20th-century collector’s cars also caught the eye of enthusiasts in this exciting spring sale. Lot #0433, a Mattel Hot Wheels Redline Classic Cord die-cast car, was estimated at $30 to $300 and realized $536. This example from 1970 had a shiny, light metallic green body, silver bumpers, a black roof, and black tires with red rims. It was in excellent, all original condition, and retained its original, removable plastic roof.
This Classic Cord car was produced by Mattel from 1970 to 1971 in about a dozen rainbow-inspired hues. All had black interiors and clear windows. This model is a very desirable item among collectors, which helps to explain its highlight status in this sale. Mattel’s Classic Cord is based upon a real car, a Cord 812, which was made in 1937. Only 1,146 were produced in Indiana by the Auburn Automobile Company.
Lot #0019, a Matchbox No. 43 Hillman Minx in its branded box, was estimated at $30 to $300 and sold for $378. Image courtesy of Matthew Bullock Auctioneers.
This sale also featured several fine midcentury Matchbook series cars in their original packaging. Lot #0019, a Matchbox No. 43 Hillman Minx in its branded yellow, red, and blue box, was estimated at $30 to $300 and traded hands at $378. This die-cast toy was made in 1958 in England. It had a rare all-green body, silver headlights and bumpers, red tail lights, a black bottom, and grey metal wheels. The underside was marked, “Hillman Minx / Made in England / By Lesney.”
Hillman Minx was the name of a popular 20th-century automobile manufactured by the UK car maker Hillman. It appeared from 1931 through 1970 and had the reputation of being a safe, predictable, and affordable midsized car designed for families. Matchbox brand miniatures were invented in 1952 and launched in 1953 by the English toymaker Lesney Products. The line earned its name thanks to the merchandising of the earliest items, which resembled boxes used to package kitchen matches at the time.
Lot #0104, a Corgi Toys Chitty Chitty Bang Bang die-cast vehicle, was estimated at $30 to $300 and sold for $378. Image courtesy of Matthew Bullock Auctioneers.
This auction came full circle with displays, model airplanes and boats, boxes, dealership promo materials, and vehicles inspired by events, trends, and popular culture. Lot #0104, a Corgi Toys Chitty Chitty Bang Bang die-cast vehicle, was estimated at $30 to $300 and made $378. This distinctly old-fashioned car was made in the 1960s and was based on the flying, swimming, and hovering racecar featured in the 1968 film Chitty Chitty Bang Bang. It featured a metallic front, a wooden rear with seating for four passengers, brass fittings, and a license plate reading GEN 11– referencing the word “genii” and its magical connotations.
For more information on Matthew Bullock Auctioneers’ May 10, 2025 Dealership Promo Car and Toy sale, visit LiveAuctioneers.
Yonezawa Atom Jet 58 Racer sped to $47,970, while boxed space toys explored the outer limits: Jupiter Robot, $43,290; Astroboy Motorcycle, $25,830; XY-105 Space Fighter, $25,800
Yonezawa Tin Friction Atom Jet Racer W/ Box
WILLOUGHBY, Ohio – On May 3, Milestone Auctions unleashed a fantastic selection of vintage and antique toys that kept bidders engaged from start to finish, whether they were competing live in the gallery, over the phones, or burning the midnight oil via the Internet from Europe and beyond. Finishing at $1.1 million (inclusive of buyer’s premium), the auction was Milestone’s second dedicated toy auction to surpass the million-dollar mark, with last year’s New Year’s Toy Extravaganza blazing the trail for seven-figure results at $1.3 million.
“We had a great variety of toys to offer to collectors, including high-quality antique European autos and character toys. Every category attracted its own following, but even before the sale, we knew the hottest group would be the postwar Japanese toys. The prices on some things were just astonishing, like a tin Space Pistol that sold for ten times the high estimate,” said Miles King, principal auctioneer and co-owner of Milestone Auctions.
The grand marshal of the Japanese tin toy parade was a rare and coveted Yonezawa Atom Jet 58 Racer. Friction-powered and all original, including its tailfin, tires and hubcaps, the impressive 27-inch-long showstopper was offered complete with its original paper-label box. “On top of being very rare and one of the largest Japanese cars ever produced, It appeared never to have been played, so that was the perfect trifecta. Bidders didn’t hold back,” King said. Against an estimate of $30,000-$40,000, it sold for $47,970.
Robots can bring the big bucks, whether they’re more than a foot tall or roughly half that size. Examples of both were entered in the sale and commanded above-estimate prices. A rare 13-inch battery-operated Yonezawa Jupiter Robot accompanied by its extremely scarce original pictorial box presented in all-original condition, complete with its correct remote-control battery box. It defied its $15,000-$25,000 estimate and was chased to $43,290. At the other end of the size spectrum, a 7¾-inch Yoshiya windup Sparky Robot was in demand for its unusual color motif of chocolate brown with red, white and black accents. Working and in excellent condition, it put in a stellar performance, realizing $9,600 against an estimate of $600-$800.
When something exotic appears in a toy auction, the sky can be the limit. Such was the case when a rare Asakusa 8-inch tin friction Mighty Atom (Astroboy) Motorcycle crossed the auction block. In all original condition, with a clean vinyl head, this appealing toy was destined to land a super-premium price, in part, because of its colorful, Japanese-language box. On its lid is a nonsensical but endearing graphic of the popular cartoon character Mighty Atom (Astroboy) riding his motorcycle – shirtless and in shorts – across an Arctic landscape as a seal and five penguins look on from the distance. Entered with a $3,000-$5,000 estimate, it was bid aggressively to $25,830.
Following closely in the list of top 10 auction winners was a K Okada 19-inch-long tin friction XY-105 Space Fighter. All original and complete, including its guns and canopy above two correct spacemen drivers, it also retained its original paper-label box. One of the best and most original examples of its type that Milestone’s specialists had ever seen, it rocketed to $25,800 against an estimate of $10,000-$15,000.
Also achieving an auction price that exceeded expectations, an MT 7-inch tin friction Flying Saucer X-3000 with its very scarce pictorial box showed off excellent color and condition. Estimated at $6,000-$8,000, it closed at $10,200.
Even in the world of space toys, very good things come in small packages. An Alps tin friction Space Control pistol proved that point to be true. All original with bright colors and graphics, and accompanied by its original pictorial-label box, it checked out at more than 10 times its pre-sale estimate, selling for $8,100.
A flawless Marx battery-operated remote-control Yeti The Abominable Snowman was all original and complete, and appeared never to have been played with. It was accompanied by its crisp original pictorial box, including its correct insert and a mini-storybook about Yeti that came with the toy from the factory. As pristine as the day it was made, the amusing depiction of a mythical Himalayan beast was won for $6,900 against an estimate of $2,000-$3,000.
Japanese toy interpretations of mid-century American cars are unbeatable for their styling and attention to detail. An Asahi/ATC (15in-long tin friction Chrysler Imperial, all original and complete, boasted sleek lines, rich black factory paint, and outstanding condition. Against an estimate of $6,000-$8,000, it glided easily to $11,700.
The European-toy category featured many charming early-20th-century character toys, including 15 made by the revered French manufacturer Fernand Martin. A very scarce Martin windup Lady Walking with Baby, cloth-dressed over tin and with hand-painted facial features, was bid to $5,850 against an estimate of $1,500-$2,500.
The sale also included 59 lots of all-American Buddy ‘L’ pressed-steel automotive toys. A #208 Passenger Bus in Extremely Fine all-original condition measured a full 29 inches long. With exceptional paint and decals, this Midwestern transportation classic changed hands for $9,535 against an estimate of $5,000-$7,000.
Milestone’s May 3, 2025 Premier Vintage Toy Sale catalog and prices realized can be viewed at Milestone’s website. To discuss consigning to a future toy auction at Milestone, whether it’s a single item or an entire collection, please call Miles King at 440-527-8060 or email [email protected]. All enquiries are kept strictly confidential and there is never an obligation to consign. Online: https://www.milestoneauctions.com.
Despite a decade punctuated by Brexit and the Covid health crisis, the fair has managed to impose its dynamism. It is one of the leading photography events in Great Britain, a country where the market is reaching maturity.
Julia Fullerton Batten (b. 1970), Bathing by Tower Bridge, print presented at Photo London’s anniversary exhibition “London Lives”.
When he launched Photo London with Fariba Farshad in 2015, Michael Benson made no secret of his ambition to make London a stronghold for photography, and even surpass Paris Photo. In 2003, the couple co-founded Candlestar, a company specializing in the consultancy, creation and development of cultural projects, the most notable of which is the Prix Pictet, created in 2008. With a purse of more than €100,000, this award is supported by over 350 “nominators” from across the globe. This international network, the reputation of the prize and their expertise form a solid foundation. “The first and probably most important step was the support of Maja Hoffmann’s Luma Foundation, followed by the Financial Times,” recalls Michael Benson. The game was not won in view of the unsuccessful attempts to establish a presence in the early 2000s, most recently in 2007 by Reed Exhibitions, owner of Paris Photo. In addition to the crisis of 2008, this failure was due to a lack of local roots and an underdeveloped British photographic scene, particularly in institutions such as the Tate Modern, which only opened its photography department in 2009. Compared to France, Germany or the United States, this multiple art form was neglected by collectors, even though there are many – and wealthy – in the English capital. However, in the mid-2010s, a general turning point was reached, as evidenced by the advent of Photo Basel – admittedly modest – alongside the Swiss contemporary art fair, and that of Paris Photo Los Angeles by Reed Exhibitions – which finally came to an end in 2016. Aipad New York, the doyenne founded in 1979 by mainly American dealers and gallery owners, is still around. Not to mention Paris Photo, the sovereign born in 1997, which took a decisive step forward with its move to the Grand Palais in 2013.
For Paris Photo regulars, first-time exhibitors at Photo London may be surprised to see less vintage, a more eclectic range of works and a lower price tag, rarely exceeding €50,000.
Fariba Farshad and Michael Benson know: the date and location of a fair are fundamental. They chose May (Paris Photo is in November) and the prestigious Somerset House, right in the heart of London, on the banks of the Thames. A prestigious and atypical venue, with a succession of small and medium-sized rooms offering the perfect setting to display photography, the art of intimacy. In 2015, Candlestar attracted major international galleries – Howard Greenberg and Edwynn Houk (New York) and Thomas Zander (Cologne) – and received the support of local institutions such as the National Portrait Gallery and the Victoria and Albert Museum. The founders also understood the need to accompany and educate the public. A classic program of lectures and exhibitions by “masters” – including Sebastião Salgado, Valérie Belin, Don McCullin and Shirin Neshat – completes the commercial side, as do historical explorations of the work – Roger Fenton, Henry Fox Talbot and Robert Capa – and thematic presentations, such as the French calotype from 1846 to 1860 in 2024. This year, as part of the 10th anniversary celebrations, the exhibition pays tribute to the city of London, with some thirty artists: James Barnor, David Bailey, Julia Fullerton Batten, Karen Knorr, Christian Marclay…
An Atypical Selection That’s So Britkitsch!
For Paris Photo regulars, first-time exhibitors at Photo London may be surprised to see less vintage, a more eclectic range of works and a lower price tag, rarely exceeding €50,000. Historical and modern works are present, but not as much, in favor of fashion, large-format nudes and flower bouquets, rock star portraits and photojournalism: genres that are rare at other fairs. Whether you call it “English taste” or kitsch, Photo London shakes up the usual standards. In fact, on some stands, this atypical offering is combined with cabinet-of-curiosities-style hangings. Over time, this approach has also made the fair more attractive in this cosmopolitan city, and the quality of presentations has improved. Reflecting the evolution of the market, it also welcomes more and more generalists: “Although the majority of our galleries are solely dedicated to photography, the balance is clearly shifting to embrace other art forms and explore new frontiers”. One of its hallmarks is also its ability to renew itself – up to 30% new participants for certain editions – and to innovate: “As early as 2016, we decided to expand the fair by creating the Central Pavilion, set up in the courtyard, and in 2017, we opened the ‘Discovery’ sector under the curatorship of Tristan Lund (artistic advisor and exhibition curator, editor’s note)”. These two initiatives have forged Photo London’s identity: the Pavilion’s open space offers more scenographic possibilities for large formats. This ephemeral building has quickly become the popular – and more expensive – place to be. As for “Discovery”, bringing together young galleries dedicated to emerging artists (admitted at preferential prices), it has contributed to the fair’s growing reputation by opening it up to experimental work, a strong current on the contemporary scene where one-off works dominate.
One of the fair’s hallmarks is also its ability to renew itself – with up to 30% new participants for certain editions.
An Independent Book Market
Continuing on the path of innovation, this year’s organizers have entrusted the direction to Sophie Parker – who has been part of the team since 2018 -, and are inaugurating two major new features: the “Positions” sector, dedicated to unrepresented artists supported by collectors, created on the model of the unRepresented fair in France. And an independent book market, concentrated over the weekend: enough to attract a new audience who can’t necessarily afford to buy a print. Photo London’s tour de force is to have withstood “the terrible twins”, as Michael Benson calls them with all-English humor: “The utter madness of that act of national self-mutilation we called the Brexit and the pandemic. But these two events also helped shape the fair”. Indeed, the event has remained international in scope, with an average of twenty countries represented per edition, and recently opened up to Turkey thanks to a partnership with Turkish Bank. At the same time, it has continued to attract local galleries, compensating for the desertion of foreign exhibitors put off by post-Brexit taxes. Another initiative in 2020, when the physical edition was cancelled, was the launch of its “Academy”: a free educational digital platform that continues to offer a year-round extension of the fair. The British government has made no mistake: Photo London is the only fair to have received cultural stimulus funding after Covid. Enough to keep the flame burning for the 42,000 visitors who walk its aisles – the vast majority from the UK – whose numbers have more than doubled since 2015. “Among them, more and more museum groups from the United States, France, Italy, Germany and the Nordic countries,” Michael Benson points out. While Photo London hasn’t dethroned Paris Photo, with its hundred or so exhibitors, it is part of the landscape of photo fairs that count.
Worth Knowing Photo London, Somerset House, London From May 15 to 18, 2025. photolondon.org
Circa-1904 Mills ‘Lion Lung Tester,’ one of only two known and with a documented line of ownership going back 50 years, led prices realized at $184,500
LAS VEGAS – Morphy’s April 30-May 3 Coin-Op & Antique Advertising Auction in Las Vegas offered collectors nearly 2,000 lots of high-quality arcade, music and gambling machines, and exceptional antique signs from businesses and products of a bygone era. The lively, well-attended sale totaled more than $3.5 million, inclusive of buyer’s premium.
The king of the jungle also became the king of Las Vegas during the highlight-packed third day of the series, as a circa-1904 Mills “Lion Lung Tester” made its formidable appearance on the auction block. Standing 103 inches tall, the iconic coin-op machine distinguished by its deeply-carved three-dimensional image of a lion with a fearsome expression and mouth agape was well known to collectors. Twenty-four years ago, it was chosen to grace the front cover of the inaugural issue (March 2001) of the Coin Operated Collectors Association’s COCA Times magazine.
The machine’s action is thrilling to watch. When a penny is deposited, the giant cat’s eyes illuminate, and when a patron blows into the tester, the beast emits a spine-tingling roar. A continuously-running clock displays how many seconds each player can keep the lion roaring, hence an assessment of how strong their lungs are. The auction example is believed to be one of only two surviving machines of its type, with a line of documented ownership going back more than 50 years. It made its auction debut in fine style, selling within its lofty estimate range for $184,500.
Rare and magnificent, a circa-1900 Mills Novelty Co., Violano Virtuoso was described in the auction catalog as one of fewer than 20 known to exist. Presented in its beautiful quartered-oak cabinet with handsome tiger-striping and a wonderful Art Nouveau bow-front window, this musically-gifted entertainer had been fully restored at some point in its past. It conveyed with all of its keys and six musical rolls, selling within its estimate range for $79,950.
Anyone who has ever visited Chicago’s bustling central business district would have been amused by an outstanding circa-1900 reverse-painted glass sign advertising C.P. Kimball & Co., Carriage Builders, Michigan Avenue. It featured a large, impressive graphic of a quaint, early horse-drawn coach with well-dressed passengers, and additional depictions of the company’s manufacturing facilities. In beautiful condition with crisp, bright lettering, it was graded a condition 9.0 and sold for $54,120 against an estimate of $4,000-$10,000.
Mm-mm good! The product that would single-handedly launch the pop art movement, Campbell’s Tomato Soup, was colorfully presented in a 12-inch-high, single-sided porcelain thermometer that had survived many decades in working order and outstanding condition. An all-American advertising piece that was AGS-graded 93 and certified #11976, it served up a winning bid of $45,510 against an estimate of $20,000-$30,000.
A very rare circa-1931 International Mutoscope “Shootomatic Merchandise Vender” 5-cent arcade prize-dispensing game, a variation on a “digger” machine, had been extensively restored, with a quartered-oak cabinet and new plating applied to its mechanical components. Fully operational, with keys and a nice selection of prizes included, it landed near the midpoint of its estimate range, at $28,290.
A circa-1900 Yuengling’s Beer, Ale & Porter single-sided self-framed round tin sign was a classic representation of the famed Pottsville, Pennsylvania, brewery. The artwork at its center depicted a mighty eagle atop a rocky summit, protecting a barrel of Yuengling’s brew. Measuring nearly two feet in diameter and graded a condition 8.0, it surpassed its high estimate to settle at $15,990.
Another popular entry was a circa-1900 embossed tin sign advertising Kabo Corsets with the phrase Kabo Corsets Have No Brass Eyelets and the image of a young lady in an elaborate hat, tying a corset around her waist. Exhibiting exceptional artistic quality, the sign commanded $13,530 against an estimate of $3,000-$8,000.
As visuals go, one of the most outstanding signs in the sale was the circa-1910 advertisement for Kemp & Burpee’s (Syracuse, N.Y.) Success Manure Spreader. The main image depicted the farm implement in use, adorned by a cartouche with the company’s attractive lion’s-head trademark. Its gold self-frame continued the leonine theme with ornate lion graphics around its outer edges. Estimated at $2,000-$4,000, it rose to $11,070.
Advertising with a Native American theme is always sought after. Two lots, in particular, found favor with bidders. A circa-1900 Old Sleepy Eye Flour (Sleepy Eye, Minn.) single-sided tin sign featured a central graphic of Chief Sleepy Eye of the Sisseton Dakota tribe in an oval cartouche. Additional vignettes around the perimeter depicted various Native American scenes. A strong condition 8.5, this gorgeous example of a coveted sign sold for $17,220 against an estimate of $6,000-$12,000.
A handsome 78-inch-tall cigar store American Indian figure was attributed to Thomas V Brooks (New York, 1828-1895), who was known for his carvings of ships and shop figures, especially Native Americans with distinctive V-shape headdresses. The auction figure was designed with a cluster of cigars in one hand and leaning on a post with the other hand. Restored and boasting extremely attractive colors, it sold within estimate for $24,600.
Wonderfully modeled and well executed, a bronze-wrapped Bull Durham Tobacco countertop display depicted the company’s bull mascot in a “muscular” three-dimensional form. The base was embossed “For Three Generations the Standard of Smoking Tobacco” and its sides were marked “Genuine Bull Durham.” Seldom seen in such a high (8.75+) condition, it finished just below its high estimate at $15,990.
After the auction concluded, Morphy Auctions’ founder, president and principal auctioneer expressed his pleasure with the series. “The house was packed and there was strong bidding, both in person and remotely, including live online through Morphy Live. We always aim high and place an emphasis on offering fresh-to-market antiques from long-held, well-provenanced collections because that’s what today’s buyers want. At every sale we see new faces right alongside those who’ve been attending our Las Vegas Coin-Op sales since the beginning. That growth, combined with collectors’ willingness to bid confidently on high-end pieces, is a sign that the hobby is thriving.”
To discuss consigning to a future Coin-Op & Antique Advertising Auction at Morphy’s, please call Dan Morphy tollfree at 877-968-8880 or email [email protected]. There is never an obligation to consign, and all enquiries are kept strictly confidential. Visit Morphy’s online at www.morphyauctions.com.
Highlights include a Magic: The Gathering Limited Edition Alpha factory-sealed starter deck in case with magnetic lid, estimated at $50,000-$70,000
MTG: Alpha sealed Starter Deck
FALLS CHURCH, Va. – Quinn’s Auction Galleries will forge ahead in their 30th year as northern Virginia’s most trusted auction and estate specialists with a live gallery auction dedicated to the Michael A Quigley collection of Wizards of the West Coast Magic: The Gathering trading cards. The May 15 auction is open for absentee bidding through Quinn’s online catalog now through 11:40am Eastern Time on auction day, at which point all absentee bids will be executed competitively against live bidders in the gallery and those participating online via LiveAuctioneers and Invaluable.
Magic: The Gathering (also known as just “Magic” or “MTG”) is enormously popular with collectors and the gaming community. The tabletop and digital card game was created in 1993 by Richard Garfield, initially as Wizards of the Coast. It was the very first trading card game, and during the years 2008 through 2016, more than 20 billion Magic cards were produced.
Magic: The Gathering generates over $1 billion in revenue annually, with much of that coming from the cards viewed as collectibles, both past and present. The Quigley collection spans the gaming phenomenon’s history from its introduction with the Limited Edition Alpha deck through the 2020s. With approximately 50 million players worldwide, there is no shortage of buyers for the wildly popular collector cards. According to Quinn’s Sr VP Matthew Quinn, intense bidding competition is expected as the auction advances toward its close. “For example, there are already eleven bids on a group of 89 Magic: The Gathering Limited Edition Beta Swamp (B) Basic Land cards,” Quinn noted.
The auction’s headliner is Lot #33, a very rare Magic: The Gathering Limited Edition Alpha factory-sealed starter deck, which has a case with magnetic lid. It is expected to attract a winning bid of $50,000-$70,000.
Lot #81 is a Magic: The Gathering Limited Edition Beta “Volcanic Island” card, PSA graded 4, in Very Good to Excellent condition. The card has a pre-sale estimate of $2,000-$4,000.
Lot #220 is an example of “The Tabernacle at Pendrell Vale” card, PSA graded 8.0 Near Mint, from the Magic: The Gathering Legends Expansion Set. It is entered in the auction with a $2,000-$4,000 estimate. Lot #111 is a Magic: The Gathering Arabian Nights Expansion Set “Bazaar of Baghdad” card, PSA graded 7 Near Mint. It is expected to realize $1,000 to $2,000.
Lot #52, a Magic: The Gathering Limited Edition Beta “Time Vault” card, is PSA graded 6 Excellent to Near Mint and should bring $800-1200. Because the Quigley collection is so comprehensive, there are sets and cards to please every pocketbook. Lot #215 is a Magic: The Gathering Legends Expansion Set “Moat/ Fossato Italian Beckett” card, graded 9.5 Mint. Estimate: $400 to $600. A similar estimate applies to Lot #207, a Magic: The Gathering Legends Expansion Set “Chains of Mephistopheles” card, PSA graded 7 Near Mint.
Group lots are led by Lot #29, a collection of 252 Magic: The Gathering Limited Edition Alpha cards. The lot estimate is $3,000-$4,000. The grouping includes the following, with quantities preceding each card:
3 Animate Artifact, 8 Benalish Hero, Black Ward, 3 Blue Elemental Blast, 3 Blue Ward, 3 Bog Wraith, 2 Burrowing, 6 Castle, 2 Celestial Prism, 5 Circle of Protection: Blue, 8 Circle of Protection: Green, 7 Circle of Protection: Red, 4 Circle of Protection: White, Consecrate Land, 2 Conservator, 3 Conversion, 6 Craw Wurm, 8 Creature Bond, 2 Crystal Rod, Cursed Land, 3 Death Ward, 2 Deathgrip, 8 Disintegrate, Drain Life, 8 Drudge Skeletons, 2 Dwarven Demolition Team, 7 Dwarven Warriors, Earth Elemental, 2 Evil Presence, 3 False Orders, 7 Fear, 5 Firebreathing, 2 Flashfires, 3 Flight, 11 Fog, 4 Giant Growth, 6 Giant Spider, 2 Glasses of Urza, 6 Gray Ogre, Green Ward, 7 Grizzly Bears, 9 Guardian Angel, 9 Healing Salve, 8 Hill Giant, 11 Holy Armor, 10 Holy Strength, 4 Howl from Beyond, 8 Hurloon Minotaur, 2 Instill Energy, 4 Invisibility, 6 Iron Star, 3 Ironclaw Orcs, 6 Ironroot Treefolk, 3 Ivory Cup, 4 Jump, 5 Karma, Keldon Warlord, 2 Lance, 2 Ley Druid, 2 Lifeforce, Lifetap, Living Wall, 4 Lure, 5 Merfolk of the Pearl Trident, 5 Mesa Pegasus, 12 Mons’s Goblin Raiders, Nettling Imp, Obsianus Golem, and 7 Paralyze.
Lot #120 is a group of Magic: The Gathering Arabian Knights Expansion Set cards, approximately 800 in total. They include: 3 Abu Ja’far, 2 Aladdin, Aladdin’s Lamp, Aladdin’s Ring, 3 Bottle of Suleiman. 2 Dancing Scimitar, 3 Island Fish Jasconius, 2 Junun Efreet, 10 Merchant Ship. Mijae Djinn, 2 Pyramids, Repentant Blacksmith, 8 Sinbad and 3 Stone-Throwing Devils. Lot estimate: $800-$1,200
Lot #68 is a group of Magic: The Gathering Limited Edition Beta cards, approximately 1,000 cards total, including: Air Elemental, 3 Animate Wall, 3 Basalt Monolith, 15 Black Ward, 24 Blue Elemental Blast, 13 Blue Ward, 19 Burrowing, 5 Castle, 8 Celestial Prism, 3 Channel. 21 Conservator, 2 Control Magic, 13 Conversion, 37 Craw Wurm, 13 Crystal Rod, 6 Cursed Land, 7 Death Grip, 2 Deathlace, 5 Disenchant, Drain Life, 10 Dwarven Demolition Team, 13 Earth Elemental, 75 Earthbind, 15 Feedback,9 Evil Presence, 5 Fire Elemental, and 1 Fireball. Estimate: $1,000-$2,000
Quinn’s Thursday, May 15, 2025 auction of the Michael A Quigley collection of Wizards of the West Coast Magic: The Gathering trading cards is a live gallery event that will start at 12pm Eastern Time. Preview from 11-4 Eastern Time Monday, May 12 through and including Wednesday, May 14. No appointment is needed.
Absentee bidding has opened through Quinn’s website, www.quinnsauction.com. Bid live online during the auction through LiveAuctioneers or Invaluable. For additional information about any item in the auction or to discuss a future consignment to Quinn’s, call John Callebert at Quinn’s, 703-532-5632 ext. 570; or email [email protected].
An impassioned autodidact and insatiable bargain hunter, Marcel Perron assembled a collection guided by an unbiased eye and extraordinary curiosity. It was on display throughout his home: the Château de l’Abbaye in Haute-Saône.
Attributed to Jacob Frères, Empire period. Tripod in thuja veneer, three retractable secret drawers in the apron, dark green breccia marble top, chased gilt bronze ornamentation with flowers and foliage, three uprights with a bust of Fame wearing a crescent, tripod base with palmettes, h. 88.5 cm/34.6 in., diam. 39.8 cm/15.4 in (detail). Estimate: €20,000/30,000
Some collectors express their taste through order, a rigorous typology or stylistic consistency. Others, few and far between, build up their worlds according to their own particular rationale, choosing pieces that follow no pre-established guidelines, but reflect a personal journey and a unique vision. Marcel Perron (1944-2018) was one of these. Self-taught, precocious and intuitive, this antique dealer turned collector filled his life with highly telling objects steeped in memories. Over three days, the 1200-odd lots in his collection are being auctioned at the Château de l’Abbaye in Haute-Saône, a residence he restored and transformed into a theater of objects. They include fine cabinet works, figures from the Far East, fragments of royal history, heroic bronzes, academic paintings and a bestiary of wooden animals, some lacquered, some with polychrome decoration. Together, these pieces draw a sensitive self-portrait of the collector.
His gallery in Cannes became a must-see for the top dealers, who visited it daily until it closed in 1986.
The Birth of a Vision between China and India
Perron’s passion for China emerged at an early age. Born in 1944, he began dealing in secondhand goods when he was only 15, out the back of his Peugeot van. He started out alongside antique dealer Raymond Brand, who became his mentor. He soon began building a personal collection of rare or unusual objects and furniture, housing it in the Château de l’Abbaye in Neuvelle-lès-la-Charité (between Vesoul and Besançon), which he bought in 1994, saving the historic site from rack and ruin. Perron’s world opens with a bestiary and mythology from other climes. A large late Qing statue of Guanyin in painted wood, 162 cm/63.8 in high, dominates the collection with benign authority. Draped in stylized waves, with hands in dhyana mudra and a calm face with black glass pupils, this figure of compassion embodies an aesthetic of quiet elevation (€6,000/€8,000). The statues is in dialogue with a painted wooden Burmese ascetic, whose hieratic rigidity expresses another version of holiness, one that is rougher and more earthly (€1,500/€2,000). One elevates, the other questions. Between them, a 19th-century rearing horse, probably from Andhra Pradesh in India, prances with a touch of the comical (€3,000/€5,000). Perron was clearly fascinated by the ritual aspect and aura of polychrome wooden figures, but did not seek to create a homogeneous collection: he preferred a mixture of these icons at the crossroads of the sacred, the light-hearted, and the mysterious. Having started his career by salvaging old doors, fireplace plates and windows from building sites to sell at flea markets, he became well-known as a key figure in the field in just a few decades. His gallery in Cannes became a must-see for the top dealers, who visited it daily until it closed in 1986. A tireless bargain hunter, Perron scoured flea markets and auction houses, learning quickly, refining his eye and developing a sound feel for unique objects.
Louis Majorelle (1859-1926) and Louis Janin (1891-1975), “Pélican” cabinet in solid mahogany, with rosewood, mahogany and Macassar ebony veneer inlaid with mother-of-pearl and marquetry of different woods, with a rounded quadrangular body supported at the front by two carved pelicans, palm leaf decoration on the front, model created in 1925, 146 x 200 x 45.5 cm/57.5 x 78.7 x 17.7 in. Estimate: €8,000/€12,000
From Trémolières to Majorelle: A Taste for the Exceptional
His finds, modest at first, involved increasingly rare and outstanding pieces over the years. He eventually unearthed a tripod attributed to Jacob Frères, which encapsulates the aesthetic of the First Empire with its architectural lines, opulent materials and symbolism inspired by ancient Rome. Crafted with thuja burl veneer, it combines a slender shape with ornamental virtuosity (€20,000/€30,000). Meanwhile, the Portrait of Marie-Clémentine Sobieska by Pierre Charles Trémolières (1703-1739) is a fine illustration of French academic painting (€10,000/€20,000). Draped in rich fabrics and wearing an ermine cloak, the granddaughter of King John III Sobieski of Poland and wife of James Francis Stuart is shown praying in an attitude of royal piety. The painting evokes her retirement to Rome in 1730, the date inscribed on the letter in the foreground. The hand of Trémolières, a pupil of François Lemoyne, can be recognized in the meticulous draftsmanship and subtle lighting. The more dramatic Gloria Victis by Antonin Mercié (1845-1916), in its monumental version cast by Barbedienne, embodies the republican heroism of a France wounded by the defeat of 1870. A winged figure in suspended flight carries a young dead soldier heavenwards. This bronze was one of the main attractions of the 1874 Salon. Its inclusion in Perron’s collection is not surprising: as someone who loved objects imbued with history and ideals, he could not fail to be moved by this sculpture elevating loss to a moral victory (€12,000/15,000).
Pierre Charles Trémolières (1703-1739), Portrait of Marie-Clémentine Sobieska (1702-1735) at prayer, oil on canvas, 191 x 144 cm/75.2 x 56.7 in. Estimate: €10,000/€20,000
After closing his store in 1986, Perron returned to the region of his childhood and focused on his quest for unusual objects to fill the now restored Château de l’Abbaye. The furniture he collected spoke of gestures, relationships and technical prowess. One piece is a Louis XVI rolltop desk in mahogany, with bronzes in the form of dolphins and leaf friezes, by Nicolas Grivenich, from the Comte de Salverte’s collection (€15,000/€20,000). The later pieces include an Art Deco group remarkable for its decorative consistency. It contains the Pélican cabinet created by Louis Majorelle in 1925 in collaboration with sculptor Louis Janin (€8,000/€12,000). This piece, outstanding for its virtuoso marquetry, precious woods, play with exotic species, palm trees and foliage inlaid with mother-of-pearl, was exhibited at the 1925 International Exhibition of Decorative Arts and brilliantly embodies Art Deco in its most organic form, mingling formal refinement with vibrant lines. This sale offers much more than a collection of rare objects: it paints a picture of a man with insatiable curiosity and an unbiased eye, untrammeled by the usual dictates of taste.
SOUTH SAN FRANCISCO, CA, May 5, 2025 – Turner Auctions + Appraisals is very pleased to present The San Francisco Socialite’s Closet on Saturday, May 17, 2025, at 10:30 am PDT. The sale features the luxe clothing and accessories from the estate of Gladyne K. Mitchell, the well-known San Francisco philanthropist and socialite. With over 305 lots, this auction presents an enticing array of designer scarves, clothing, furs, purses, shoes, and more – almost all the personal property of Ms. Mitchell (see below).
The auction features over 50 scarves and shawls, mostly by Hermès and Gucci. With some dresses that are custom or couture, clothing designers include Chanel, Oscar de la Renta, Christian Dior, Valentino, Max Mara, Alexander McQueen, Yves Saint Laurent, Arnold Scaasi, Mary McFadden, Monique Lhuillier, Carolina Herrara, Bill Blass, Jil Sander, DKNY, Jeanne Marc, and Josie Natori – as well as several Chinese embroidered robes. Among the purse designers are Louis Vuitton, Gucci, Chanel, Bottega Veneta, Dior, Salvatore Ferragamo, Akris, and Judith Leiber. There are shoes offerings by Manolo Blahnik, Prada, Bottega Veneta, and Ferragamo. The furs in the sale include full length coats, stoles, and hats. In addition to a selection of vintage perfumes and compacts, the auction presents numerous jewelry items: watches and pocket watches, brooches and cameos, bracelets, and a wide arrange of antique, vintage, and costume jewelry groupings with gemstones, coral, pearls, silver, rock crystals, micro mosaics and more.
Turner Auctions + Appraisals begins its online auction on Saturday, May 17, 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/.
About Gladyne K. Mitchell
Born and bred in San Francisco, Gladyne Kenderdine Mitchell (1940-2024) was the daughter of Mitchel and Emma Mitchell, a hardworking, industrious, and successful family whose efforts have contributed meaningfully to the betterment of San Francisco and beyond. Educated in the United States, Switzerland, and Italy, Gladyne graduated with degrees in art history and music. Returning to the U.S., she taught kindergarten for several years. Subsequently, following in her family’s real estate footsteps, she worked for her father in property management, then managed her properties after her parents’ deaths. Gladyne enjoyed traveling and learning other languages, fine dining and wine, and helping others. Well-known in San Francisco society, she was a patron of the arts and a generous benefactor of many charities and organizations, saying “I give to things that I love.” Among those in San Francisco who were recipients of her largesse were the symphony, opera, museums, hospitals, historical preservation, educating underprivileged children, and feeding the hungry in San Francisco.
According to her devoted family and friends, Gladyne was a “class act” who loved art, jewelry, antiques, and beautiful things; these included refined clothing and chic accessories, many by celebrated designers. In fact, the recent auction of Gladyne’s stunning collection of fine jewelry was extremely popular and achieved 100% sell through with prices well over estimate, a rare feat in the auction world. The upcoming May 17 sale now opens the doors of her expansive closet to the elegant and luxurious items within for others to peruse, acquire, and enjoy. Here below are some highlights of the upcoming online sale (please see lot details in the online catalog):
Lot 61: Louis Vuitton Saint Germain Shoulder Bag. A Louis Vuitton Saint Germain Dune shoulder bag in Monogram Empreinte calf leather; with gold-toned chain/leather straps. Louis Vuitton gilt-stamped leather label inside and stamped hardware. 8 1/4″ x 12″ x 4″. Excellent unused/like new condition. With dust bag and box/leather cord. Estimate $800-$1,200.
Lot 144: Mary McFadden Couture Mint Green Pleated Bodice Gown (Size 6). Circa
1980s. A Mary McFadden Couture labeled mint green long gown, the bodice/long sleeves of Fortuny-style “Marii” pleated charmeuse, the full skirt with two layers of chiffon over silk underskirt. Labeled Size 6. Approx. flat measurements: shoulders 15″; chest stretches to 17″; waist 14 1/2″; length from top of back 52″. Excellent vintage condition; with a Nordstrom Couture hang tag attached (appears unworn). Estimate $400-$600.
Lot 11: Gucci Suede Gold Belt Buckle Purse. Circa early 1970s. A brown suede Made in Italy by Gucci labeled shoulder bag, with gold-toned chain belt buckle closure, brown leather sides and shoulder strap. 7″ x 10″ x 2 1/2″. Comes with original 1971-1973 dated Joseph Magnin store tag, and Gucci tag inscribed Mod. G1593. Very good vintage condition.
Lot 70: J. Mendel Paris Fur Coat (Size S/M). A vintage fur labeled J. Mendel Paris, below knee length, hook closures, with a silky J. Mendel jacquard lining, including hem pleating. No size tag (approx. Size shoulders 16″; chest 20″; waist/hips 21″; length from back of neck 43″. Excellent vintage condition. Estimate $400-$600.
Lot 136: Arnold Scaasi Couture Emerald Green Satin Ball Gown. Circa 1980s-1990s. The Scaasi Boutique and Nordstrom Couture labeled emerald green satin ball gown with shawl collar and bodice of layered tiers, drop waist, with a pleated full skirt over an integral tulle petticoat. Zip up back. No size tag. Approx. flat measurements: shoulders 17″; chest 18″; waist 16″; hips 18″; length from top of back 51″. Excellent vintage condition. Estimate $300- $500.
Lot 31: Akris Two-Way Trapezoid Tote Shoulder Bag. An Akris two-way/ reversible red/cream leather trapezoid shoulder bag, with open pockets and Akris stamped silver-toned turn-lock clasp. Height approx. 11 1/2″; base approx. 15″ x 4″; unclasped width approx. 20″ at top. Condition: overall very good (no wear), but red side with small white surface stain, and faint spot of soiling lower center; cream side with a small smudge of soiling near top. Estimate $300-$500.
Lot 40: Judith Leiber Chatelaine Minaudiere Crystal Purse. The Judith Leiber silver-tone coin purse shape “Chatelaine” minaudiere, embellished with crystals and opening to a silver leather interior. Approx. 5 1/4″ x 4 3/4″. Includes the optional chain shoulder strap and matching coin purse. In Judith Lieber dust bag with comb and mirror. Excellent, like-new condition. Estimate $200-$400.
Lot 143: Saks Fifth Avenue Couture Velvet Beaded Gown (Size M). Circa 1960s. A Saks Fifth Avenue labeled custom-made ruby red velvet empire waist evening gown, zippered back, the skirt with scrolling design of gold bugle beads, sequins, and faux jewels. The bodice with hand-stitched lining of gold satin; the skirt lined in red muslin. No size tag (approx. Size Medium); flat measurements: shoulders 16″; chest 17 1/2″; waist 15″; length from shoulder 54″. Overall very good vintage condition, but with some wear to underarm areas. Estimate $200-$400.
Lot 202: Chinese Black Silk Floral Embroidered Robe. Circa mid-20th century. A Chinese black silk robe, labeled Imported from China, The Emporium, San Francisco. With an allover design of chrysanthemums, with floral embroidered blue silk borders, purple cuffs, and blue silk jacquard lining. Approx. flat measurements: shoulders 17 1/2″; chest 22″; waist/hips 23″. Length approx. 43″. Excellent vintage condition; some scattered loose threads. Estimate $150-$250.
Lot 4: Hermès Paris Silk Scarf, “Kachinas,” by Kermit Oliver. Gold, red, blue, green on white ground. Edges hand-rolled to front. Approx. 35″ square. Excellent vintage condition. Estimate $150-$250.
Lot 28: Chanel Black Quilted Caviar Tote. A Chanel black “Caviar” quilted leather tote with gold-toned Chanel stamped hardware and chain/leather woven straps; gilt-stamped leather Chanel label inside. Open top and two compartments with center zip pouch divider. Approx. 9 1/4″ x 13″ x 5″. Very good vintage condition, with light use wear. With dust bag and box. NOTE: Accompanied by a Chanel Internal Repair Form (8/20/15) confirming repair of hole on corner, restitching of lining, and twisted chain. Estimate $800-$1,200. (Photo, page 1, right)
Lot 2: Hermès Silk Cashmere Shawl, Paperoles. Hermès Paris silk and cashmere shawl (65% cashmere/35% silk). Approx. 53″ x 53″. With box. Overall good vintage condition; one or two tiny pinhole-size holes along hem. Estimate $250-$350.
ABOUT TURNER AUCTIONS + APPRAISALS
Based in South San Francisco, Turner Auctions + Appraisals was founded in 2015 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
Oval bust portrait by Alexander Hesler, signed (“A. Lincoln”), c. 3 June 1860. Image courtesy of Freeman’s | Hindman.
Considered one of the greatest presidents in American history, Abraham Lincoln rose from humble beginnings to the height of power during a time of unprecedented national division. His assassination shocked the world and marked a turning point in American politics. Today, Lincoln still ranks among the greatest and most popular American presidents. This May, Lincoln collectors and admirers will have an opportunity to own a piece of his history in the upcoming Lincoln’s Legacy: Historic Americana auction from Freeman’s | Hindman.
Featuring items from the Lincoln Presidential Foundation’s collection, described as “one of the most important Lincoln collections ever brought to market,” this Lincoln memorabilia sale offers a tour through each phase of the President’s life. Notable lots range from personal effects to autographs, photographs, and ephemera.
A pair of stained leather gloves carried by President Abraham Lincoln at Ford’s Theatre on the night of his assassination, 14 April 1865. Image courtesy of Freeman’s | Hindman.
Leading this Lincoln memorabilia sale is a pair of stained leather gloves carried by the President on the night of his assassination (lot #0114; estimate: USD 800,000 – $1,200,000). These gloves were tucked into Lincoln’s pocket during the performance of Our American Cousin at Ford’s Theatre. They remained with his person after John Wilkes Booth issued his fatal gunshot. Lincoln was moved across the street from the theater for emergency medical treatment. After his death early the next day, these gloves (and Lincoln’s other personal effects) were returned to Mary Lincoln. In financial distress years later, she sold them to a presidential memorabilia collector. Today, the white leather gloves are cracked and flaking, but the stains– possibly from Lincoln’s blood– are still visible.
Several other items related to Lincoln’s assassination will be available in this event, including a cuff button worn by the President on that fateful night (lot #0111; estimate: $200,000 – $300,000). Made of enamel embossed with a gold letter “L”, this button was removed from Lincoln’s garments by Dr. Charles Sabin Taft, the doctor who attended to him after the fatal shooting. Mary Lincoln later gifted the button to Taft in gratitude for his efforts. This example last came to auction with Christie’s in 1990. Its twin currently resides in the Library of Congress.
Lincoln’s autograph sum book leaf, signed twice, Pigeon Creek, Spencer County, Indiana, c. 1824. Image courtesy of Freeman’s | Hindman.
An assortment of Lincoln juvenilia will also cross the auction block this month. A notable example is a leaf from a teenage Lincoln’s sum book from circa 1824 (lot #0002; estimate: $300,000 – $400,000). This page from a rustic children’s exercise book is the earliest surviving example of Lincoln’s handwriting. It contains a handwritten verse, two signatures, and several mathematical proofs.
Lincoln’s stepmother, Sarah Bush Johnston Lincoln, kept his sum book until after his assassination. She later gifted several pages to William H. Herndon, Lincoln’s former law partner, who came calling after the President’s death. This page has not been seen on the market since a 1991 Sotheby’s auction. This delicate artifact has been professionally reinforced with archival silk paper.
The Adams Handbill, the only known surviving copy of Lincoln’s first printed work, 5 August 1837. Image courtesy of Freeman’s | Hindman.
The only known surviving copy of Abraham Lincoln’s first printed work will also be available in this sale (lot #0008; estimate: $200,000 – $300,000). Known as the “Adams Handbill,” this three-column handbill was printed in Springfield, Illinois, in August of 1837. Lincoln crafted this handbill while serving in the Illinois House of Representatives as a Whig and practicing law as a newly-minted lawyer. He opposed the probate judge reelection campaign of James Adams, a Democrat whom Lincoln accused of fraud and forgery. Lincoln distributed this handbill in Springfield to dampen Adams’ support– an effort that proved unsuccessful.
Copies of this handbill were inexpensively printed and, at the time, not considered something worth preserving. The available copy is the only one known to have survived. It is accompanied by a related handbill, printed one week later, identifying Lincoln as the author of the Adams Handbill.
Other notable Lincoln items in the catalog include an oval bust portrait from circa 1860 (lot #0055; estimate: $100,000 – $150,000), a printed broadside advertising a reward for the capture of John Wilkes Booth (lot #0122; estimate: $80,000 – $120,000), and locks of hair from the Lincoln family (lot #0139; estimate: $20,000 – $30,000).
Live bidding for this Lincoln memorabilia sale at Freeman’s | Hindman will begin at 11:00am ET on May 21, 2025. Online bidding options and the full catalog are available through LiveAuctioneers.
