BILLINGS is thrilled to announce two major auctions this Spring 2025: Spring Modern Art + Design and Prints and Posters by Sister Mary Corita.
Rufino Tamayo, ‘Galaxia’ Mixografia
Spring Modern Art + Design – April 5th – 10AM PDT.
The BILLINGS annual Spring Modern Art + Design auction features a truly eclectic mix of interesting art and design spanning the 20th century, from arts & crafts to postmodern.
Among the highlights of this sale is a tremendous collection of 1960s abstract and hard edge paintings by Los Angeles artist Beverly Politi. These stunning works from her personal collection will be offered to the public for the first time.
Additionally, you will find ‘Soriana’ sofas by Tobia Scarpa, tapestries by Evelyn Ackerman, leather sectionals by DeSede, Akari light sculptures by Isamu Noguchi, along with examples by Hans Wegner, Borge Mogensen, George Nakashima, and many more.
View the BILLINGS Spring Modern Art + Design auction catalog HERE.
Sister Mary Corita Kent: The Collection of Iva Carrico – April 6th – 10AM PDT
Following the BILLINGS spring sale, is a truly special opportunity to bid on an extensive collection of prints and posters by Sister Mary Corita.
From the family of a decades old friend, student, and associate of Sister Mary, these pieces span Sister Mary Corita’s career from the 1950s through the 1970s.
Included in the collection are many unique pieces, as well as curated examples of works by her students. This is a rare chance to own items that have been in storage for 50 years.
View the BILLINGS Sister Mary Corita auction catalog HERE.
All items are available for in-person preview during the week before the sale at the BILLINGS Arts District warehouse in Downtown Los Angeles. Bidding is available live online, in-person, via phone, or absentee.
BILLINGS Spring 2025 Auctions 2124 Sacramento Street, Los Angeles, CA 90021
Spring Modern Art + Design Auction April 5, 10am PDT
Sister Mary Corita Kent: The Collection of Iva Carrico April 6, 10am PDT
Preview March 29: 9am – 2pm March 31 – April 4: 9am – 4pm
Preview Party April 4: 6pm – 9pm
About BILLINGS
Founded in 2015 to address an absence of curated channels in Los Angeles‘ design market, BILLINGS offers a platform for the sale of quality modern design, furniture, art, and decorative objects.
BILLINGS’ quarterly auctions feature 300-400+ lots spanning from the pedigreed to anonymous, classic to unusual, and rare to noteworthy. Heavily weighted in mid-century modern selections from the 1960s to the early 2000s, BILLINGS’ catalogs represent a wide range of American and international art and design.
BILLINGS’ in-house live auctions are accessible online, with options to bid in-person, online, as an absentee or by phone. Registration and pre-bidding begin three weeks before each sale.
For more information and press inquiries, contact Rich Carmichael at [email protected] or by phone at 213-584-2240.
Creations with an eclectic style inspired by Antiquity, the Middle Ages and the Renaissance.
€2,520 Jules Wièse (1818-1890), c. 1845, “La chasse au lion” stamp depicting an Amazon in silver on a chased small column with ivy, partially in vermeil, master’s mark, case, gross weight 96.25 g/3.4 oz., h. 10.7 cm/3.9 in. Fontainebleau, January 25, 2025. Osenat auction house.
The creations of Jules Wièse (1818-1890) illustrate the Romantic movement that flourished in France from 1820 onwards. Born in Berlin, Wièse began his career in goldwork with Johann George Hossauer, the official goldsmith to the Prussian King Frederick William III, and in 1839 he started working in Paris. He joined the workshop of François-Désiré Froment-Meurice, where he soon become foreman, and continued to work for him for 11 years after setting up his own business in 1844. A decade later, Wièse’s gold, silver and jewelry work was rewarded with a first-class medal at the 1855 Universal Exhibition in Paris. In 1880, his son, Louis (1852-1923), took over the family business, perpetuating the historicist style until the 1920s.
€3,250 Jules Wièse, Renaissance-style openwork gold and tortoiseshell comb with mascaron, foliage, lion’s head and dolphin motifs, signed, 6.5 x 9 cm/2.4 x 3.5 in., gross weight 27.34 g/0.95 oz. Versailles, October 27, 2020. Osenat auction house.€8,134 Louis Wièse, trefoil brooch probably based on a design by Jules Wièse, with a central ronde-bosse chimera and interspersed grotesques, gold, hallmark and signature, 4 x 4 cm/1.6 x 1.6 in., gross weight 39.74 g/1.4 oz. Paris, Espace Tajan, December 5, 2023. Tajan auction house. Mr. Salit.€19,481 Louis Wièse, pair of neo-Gothic style bracelets converting to a necklace, gold, pearls and sapphires, late 19th century, signed, master’s mark and eagle, l. 18.2 cm/7.1 in. and 19 cm/7.4 in., total weight 38.4 g/1.3 oz. Saint-Quentin, July 22, 2023. Saint-Quentin Enchères auction house. Mr. Yaiche.
Julius-Rodolphe-Léopold Wièse, aka Jules Wièse, excelled in carving sculptural pieces.
€65,280 Wièse, 19th century, neo-Gothic gold cross pendant with a central 20 ct sapphire cabochon surrounded by emerald, citrine and amethyst cabochons, pendant height 7 cm/2.8 in. Paris, Hôtel Drouot, December 3, 2021. L’Huillier & Associés auction house.€4,550 Louis Wièse, gold ruffle pin with openwork neo-Gothic foliate decoration, signed, goldsmith’s mark, c. 1880-1890, l. 10 cm/3.9 in., gross weight 20 g/0.7 oz. Cannes, November 19, 2021. Pichon & Noudel-Deniau (Azur Enchères) auction house. Vendôme Expertise.
€85,800 Louis Wièse, gold necklace with 12 ronde-bosse motifs of chimeras inspired by Notre-Dame de Paris, interspersed with four-leaf clovers, late 19th century, l. 150 cm/59 in., weight 264.7 g/9.3 oz. Paris, Hôtel Drouot, December 3, 2024. Ader auction house. Ms. Soupault.
Assembled between 1950 and the 1980s, this outstanding collection pays a splendid tribute to the great Mediterranean civilizations from Carthage to Rome via Greece. A historical retrospective in images.
Carthage, c. 260 BCE. Gold trihemiastater with a horse on the reverse, head looking back, diam. 22.26 mm/0.87 in., weight 12.5 g/0.42 oz. Estimate: €10,000/€15,000
With the sale of over 500 lots of Roman, Greek and French coins dating from antiquity to the modern age, 2,400 years of history are evoked in this collection. And it is surely no coincidence that it came into being during a tragic and historic period in the 20th century: the Second World War. A Marseille entrepreneur was called up and posted to Algeria. One day, an acquaintance showed him an ancient coin — at the time, a great many could still be found in that country — and it ignited a passion. The young man started buying seriously in 1950. “Only some of his collection is on offer today,” says auctioneer Jean-Baptiste Renart: “the part he passed on to his grandson. It probably represents half of what he owned.” Until the 1980s, the collector — who died a decade ago — was a regular customer in numismatic circles, buying at public auctions and from dealers alike. The major stores on the Rue de Richelieu withheld no secrets from him! His exacting and meticulous standards led him to seek out coins in pristine condition, while his obsession with the Romans inspired him to build up a series of great emperors. But this sale also features some French royal coins, like a double gold Louis with eight Ls and the insignia of Louis XIV (€2,800/€3,500), struck in Paris in 1701, which is a reformed flan (or blank), i.e. a coin struck over an older type of flan: a common act of devaluation used late in the Sun King’s reign to deal with financial problems. France’s history continues with a double gold Louis with a dressed bust of Louis XVI minted in Bordeaux in 1777, estimated at €2,000/€2,800, and one of nine 100-franc gold coins with a laureate head Napoleon III dating from between 1863 and 1869 (€2,000/€2,400 each). In the overall estimate of €600,000/€700,000, supported by numismatists still very present in the market and a rising gold price, the 185 Greek and Roman coins will account for a significant portion.
Diocletian (284-305), Siscia. Aureus with on the obverse a laureate bust of the emperor wearing the imperial mantle and holding a scepter surmounted by an eagle, and on the reverse Mars advancing on the right with a spear and shield, diam. 21.11 mm/0.87 in., weight 5.16 g/0.18 oz. Estimate: €12,000/€15,000Caesar Licinius II (317-324), Nicomedia. Aureus with a front-facing bust of the caesar draped and cuirassed on the obverse, on the reverse Jupiter seated head-on leaning on a spear in his left hand and holding a Victory with his right hand, with the inscription “VOT V SIC x” on the dais, diam. 21.39 mm/0.83 in., weight 5.29 g/0.18 oz. Estimate: €12,000/€15,000
Greek Colonization
As this collector’s passion began in North Africa, he took a particular interest in the ancient Mediterranean world and Greece’s many colonies. We thus head for Ionia (on the coast of present-day Turkey) with the oldest piece in this selection: a silver half-stater made in Teos, north of Ephesus, in 520-480 BCE, sporting a seated griffin (€200/300). Founded by the Minoans or Mycenaeans, the city of Knidos on the coast of Caria (also in present-day Turkey) was a Dorian colony before coming under Spartan and later Persian rule. It is well-known as the home of Antiquity’s most famous statue: Praxiteles’ Aphrodite of Knidos. And in fact, a profile head of the same goddess appears on the obverse of a rare silver “Timoteles, Magistrate” tetradrachm dated 390-300 BC, estimated at €2,000/€3,000. Colonized by the Greeks in the 7th century BC, Cyrenaica (now in Libya) came under the Ptolemaic dynasty’s control in 322 BC. Its coinage reflects this influence, as witness a gold stater from 323-305 BC depicting a quadriga driven by Nike and, on the reverse, a standing Zeus Ammon holding a patera and a scepter. This has an estimate of €1,500/€2,500. We then follow the coast to what is now Tunisia with a gold trihemistater struck in Carthage in c. 260 BC with an engraved decoration of remarkable quality, featuring the head of Tanit on the obverse and a horse on the reverse, and dominating the estimates at €10,000/€15,000 (see inset). The Carthaginian goddess of fertility is shown in profile wearing a wheat ear wreath, earrings and a necklace on a gold stater dating from 350-320 BC (€2,500/€3,000) or crowned with barley on a large trishekel from 264-241 BC (€4,500/€6,000),“which will be highly sought-after for its rarity, as bronze versions of it are more common,” to quote expert Corinne Rosenbaum.
Julia Domna (187-217), Rome. Aureus with a draped bust of the empress on the right on the obverse, and Venus leaning against a pillar holding a palm branch and an apple on the reverse, diam. 19.82 mm/0.75 in., weight 7.14 g/0.25 oz. Estimate: €6,500/€10,000Pertinax (193), Rome. Aureus with a laureate, draped bust of the emperor on the right on the obverse, and on the reverse Providence standing, looking left and raising her right hand towards a star, diam. 20.86 mm/0.79 in., weight 7.27 g/0.24 oz. Estimate: €22,000/€25,000
Roman Emperors in Marching Order
Rome will impose its hegemony through 119 lots, with one great emperor succeeding another. Julius Caesar starts off this triumphant sequence, as the aureus — meaning “gold” in Latin — was created under his rule. Coinage appeared late on in Roman history, at the end of the 4th century BCE, and only in silver and bronze. It was not until Sulla’s dictatorship that gold coins were minted in 84-83 BCE, and then regularly under Caesar with the aureus. Struck in 44 BCE, this example (€2,500/€3,500) features the veiled head of Vesta and, on the reverse, pontifical instruments (lituus, sacrificial vase and axe). After Caesar’s assassination (44 BCE), Mark Antony and Octavian were allies during the second triumvirate, before facing each other off in Egypt in 31 BCE. Octavian subsequently took the name of Augustus, in 27 BCE. An aureus from 43-33 BCE immortalizes this short period of harmony with their faces in profile, one on each side. Despite its weak strike, it is expected to make €7,000/10,000. It is hard to uphold gender parity in this field, but we should note the presence of an aureus featuring Domitian’s wife Domitia (€5,000/€7,000), and another with the effigy of Julia Domna, wife of Septimius Severus, from 187 CE (€6,500/€10,000). And how could anyone resist the perfectly engraved profile of Pertinax on an aureus minted in Rome? This was struck between January and March 193 CE — the three months of his short reign. Estimated at €22,000/€25,000, this coin, acquired in Monte Carlo at a sale on December 2 and 3, 1975, still has its original new-minted shine: proof that it has circulated very little. At the same auction, the collector bought an aureus made in Nicomedia between 317 and 324, the few years during which Licinius II was made caesar and then consul, before being murdered in 325, at only 15, on Constantine’s orders. This coin shows his youthful face head-on: an extremely rare position in Roman coins. Estimated at €12,000/€15,000, it is “the only aureus produced during the reign of Licinius II, during which mainly solidi were minted,” says Corinne Rosenbaum. The aureus was permanently replaced by the solidus during Constantine’s reform in 310, which created a monetary system designed to be more stable. This stability, somewhat relative—particularly after the Roman Empire’s division in 395—is evoked by a Ravenna solidus (€3,500/€5,000) with the effigy of John (423-425). He was appointed Western Roman Emperor by local officials against the wishes of Theodosius II, who led an army against him and had him executed during the circus games, when General Aetius and the Huns, rallying to John’s cause, arrived too late to save him. Lastly, another coin bears witness to the fall of the Roman Empire. You will need €100/150 for this tremissis in the name of Zeno struck in Milan, with the effigy of a cuirassed Odoacer (476-491). This emperor was a German warrior, the son of one of Attila’s collaborators, who deposed Romulus Augustulus in 476 and caused the break-up of the Empire, leaving the way open for the Germanic kingdoms. He was in turn assassinated by the highly ambitious Ostrogothic King Theodoric the Great. A story that certainly abounds in twists and turns!
Carthaginian coinage
Carthage, c. 260 BCE. Gold trihemistater with the head of Tanit on the obverse on the left with her hair up, wearing a wheat ear wreath, earrings and a necklace; the reverse with a horse on the right on a ground line, head looking backwards, diam. 22.26 mm/0.87 in., weight 12.50 g/0.42 oz. Estimate: €10,000/€15,000
Founded by the Phoenicians in the 9th century BCE, the city of Carthage gradually gained its independence and established the Punic civilization, becoming one of the foremost trading powers in the Mediterranean basin. Its expansion into North Africa, the Iberian Peninsula and Southern Italy was opposed by first the Sicilians and then the Romans, and ended with its defeat in the Third Punic War (146 BCE) and the destruction of the city, which was then incorporated into a new Roman province. In 303, under Diocletian, it became Africa Proconsularis, or Zeugitana. Despite its long period of domination, Carthage was very late in adopting the use of currency. In the 4th century BCE, the Punic colonies in Sicily issued the first coins in order to pay their troops on site, in a style strongly influenced by the Greek coins then in use. The iconographic model came from Syracuse, particularly the designs of the engravers Euainetos and Kimon. Carthage was inspired by these Siculo-Punic coins. Eager to facilitate trade, it minted its own currency from the middle of the 4th century BCE, especially as it had an abundance of gold. Like this gold trihemistater with its extraordinarily high-quality engraving, its shekels, didrachms and staters bore the head of the Phoenician fertility goddess Tanit with a wheat ear wreath: iconography that drew inspiration, through cultural syncretism, from the goddess Persephone found on the Syracusan prototype. The other side always featured a horse, like the superbly naturalistic one on the reverse of this coin. An obscure reference, but one that could have originated from Virgil’s Aeneid, which tells how the Phoenician colonists who founded Carthage were summoned by Juno (or Tanit) to start the new colony at the place where a horse’s head was discovered in the ground. A similar trihemistater fetched €29,624 at the sale of the Jean Louis Noisiez collection on November 23, 2023 in Paris (Osenat auction house; Ms. Berthelot-Vinchon).
18th-century Korean Eight-Panel Screen in ink on paper, estimated at $20,000 to $30,000 Each panel is 66 1/2 by 18 1/2 inches.
New York and New Braunfels, TX: In celebration of Asia Week New York, Lark Mason Associates is proud to present four major sales of Asian art on iGavelAuctions.com, featuring a dynamic selection of Chinese, Japanese, and Korean works of art, alongside European and American pieces that span over 5,000 years of artistic innovation. From rare Chinese bronzes and jadestoiconic anime cels, 18th-century Korean screens, and Spanish Colonial masterpieces, these sales feature an extraordinary range of works spanning over 5,000 years of history and artistic achievement.
“We are excited to offer an extraordinary array of Asian, European, and American works of art, representing more than five millennia of creative expression and cultural history,“ says Lark Mason, founder of Lark Mason Associates.
Now open for bidding through March 20, the first of these exciting sales is Retro Anime: Original Cels and Other Items from the 1980s–2000s, a two-part sale benefiting the San Antonio Museum of Art. This nostalgic collection showcases iconic anime history with rare original cels and drawings, including a standout original Sailor Moon cel and drawing featuring Usagi and Luna from Episode12, estimated at $500 to $800, YuYu Hakusho, Original Anime Cel and Drawing, Yusuke Urameshi, (Estimate: $300-500) and Inuyasha, Original Anime Cel and Drawing, Inuyasha (Estimate: $300-500).
Running concurrently through March 27 is Chinese Bronzes and Ceramics from a Prominent Collector, a remarkable assemblage of works from the Estate of Daniel Wolf(1955–2021), acquired between 1997 and 2007. Reflecting the refinement of ancient Chinese ritual bronzes, is a powerful Chinese Bronze Tripod Cooking Vessel (Ding) from the Western Zhou Dynasty, circa 1046–256 BCE, estimated at $5,000 to $8,000.
Also, on offer through April 1, is Chinese Jade Carvings from the Collection of Sam and Myrna Myers, featuring significant jade works, many with distinguished provenance and some previously published. Leading this group is an exceptional Chinese Jade Dragon Bi Disk from the Han Dynasty, with an estimate of $15,000 to $20,000, showcasing the elegance and symbolic artistry of early jade carving traditions.
Taking place later in the season, from March 25 through April 8, is Asian, Ancient, and Ethnographic Works of Art, featuring an eclectic mix of jades, paintings, bronzes, porcelain, and lacquer objects from Chinese, Japanese, Korean, and other cultures. Highlights include a striking 18th-century Korean Eight-Panel Screen in ink on paper, estimated at $20,000 to $30,000, and an impressive Chinese Red Lacquer Chest from the Qianlong Period, expected to realize between $20,000 to $40,000.
Last but not least, running from April 3 to 17, is Spanish Colonial and Other Paintings and Works of Art, which will explore the fascinating cross-cultural influences of Asian-inspired Spanish colonial art. Says Lark Mason, “Rarely can these works be seen side by side showing the various cultural influences.” This rare group of early works features richly carved baroque frames and dramatic imagery, including a 17th-century oil on canvas of Our Lady of Chiquinquirá, estimated at $25,000 to $40,000, and a powerful Cristo de Burgos, also from the 17th century, with an estimate of $15,000 to $25,000.
The sale will also feature American pottery and furniture from the Estate of Daniel Wolf, including a Large American Tramp Art Bookcase Cabinet circa 1900, estimated at $2,000 to $4,000, and an American Arts and Crafts Bronze Twelve-Light Chandelier, circa 1900, estimated at $1,000 to $1,500.
With its broad scope and exceptional quality, Lark Mason Associates’ Asia Week New York sales present a unique opportunity for collectors, scholars, and art enthusiasts to acquire rare and important works that bridge cultures, time periods, and artistic traditions.
Style icon and influencer Iris Apfel (American, 1921 – 2024) lived life to its fullest. Her signature mantra, “More is more and less is a bore,” was apparent in the way she dressed, ran her businesses, and encouraged her followers to fearlessly pursue their authentic paths. Doyle of New York, NY presented its two-day Iris Apfel Collection event on March 4 and 5, 2025. Lots #1 – 300 were sold on the first day, and lots #400 – 733 were sold on the second day. According to Doyle, the auction realized more than twice its presale estimate and featured a 99% sell-through rate.
Doyle’s sale followed on the heels of Christie’s Unapologetically Iris: The Collection of Iris Apfel auction. Christie’s 220-lot Apfel sale, which closed on February 13, 2025, realized nearly USD 930,000. Here are some highlights from Doyle’s recent event that caught the eye of the Auction Daily team.
Lot #299, a collection of vintage costume jewelry, was estimated at $400 to $600 and sold for $41,600. Image courtesy of Doyle.
Iris Apfel Costume Jewelry
The top lot in this exciting event was #299, a large collection of Iris Apfel’s vintage costume jewelry. Estimated at $400 to $600, it sold for $41,600. The grouping included dramatic and well-embellished faux gem pins, bracelets, necklaces, earrings, and other accessories in the form of bows, flowers, animals, and geometric shapes. Brands and makers included examples by Erickson Beamon and Roger Jean Pierre.
Both Erickson Beamon and Roger Jean Pierre jewelry items are known for their eye-catching and over-the-top designs, so it is no surprise that Ms. Apfel had an eye for their bold aesthetics. Erickson Beamon was founded in 1983 by three designers who quickly realized their greatest success lay in jewelry design and production. Other Erickson Beamon enthusiasts include Beyoncé, Lady Gaga, and Rihanna. Roger Jean Pierre began producing glamorous costume jewelry in the mid-1930s. Throughout his career, he partnered with companies and individuals such as Elsa Schiaparelli, Jean Clement, Dior, and Balenciaga, among many others. One of his signature jewelry elements was large faux fresh water pearls, which were actually glass beads painted in a special finish to give them a pearl-like luster.
Lot #82, a late 18th- to early 19th-century Provincial German School painting, was estimated at $400 to $600 and sold for $6,400. Image courtesy of Doyle.
Provincial German School Painting
Fine art that reflected Iris Apfel’s playful, quirky spirit was well represented in this sale. Lot #82, a late 18th- to early 19th-century Provincial German School painting of the Brothers Graf Karl Florian von Seldern and Freiherr Franz von Seldern, was estimated at $400 to $600 and realized $6,400. It featured two very well dressed little boys with mature faces jointly holding a small bouquet. This oil on canvas work was inscribed on verso with the names and birthdates of the siblings.
Fine art from the Provincial German School generally was produced by self-trained, less technically skilled artists who worked outside of the era’s established schools of art. These included the Düsseldorf, Cologne, and Munich schools. Common subject themes included battlefield scenes with soldiers on horseback, portraits, outdoor scenery, and tableaus.
Lot #277, a pair of Neoclassical style marquetry side chairs, was estimated at $300 to $400 and sold for $4,800. Image courtesy of Doyle.
Neoclassical-Style Side Chairs
This sale also included a fine offering of furniture from Ms. Apfel’s Palm Beach, FL estate. Lot #277, a pair of Neoclassical-style marquetry side chairs, was estimated at $300 to $400 and delivered $4,800. The duo measured 37 inches tall and 17 inches wide. Each was elegantly detailed with a baluster-turned top rail above a pierced splat, a flared seat with dramatic tiger printed fabric, and four tapering, square legs.
Marquetry refers to the art of embellishing furniture and other functional and decorative items with small, inlaid pieces of wood and other materials, including bone, shell, ivory, and metal– much like a flush mosaic. The art form took off starting in the late 16th to early 17th centuries, when it was often used to decorate the interior of churches and other religious spaces. The word ‘marquetry’ derives from a French word meaning ‘to variegate.’
Lot #120, a Christian Dior evening dress, was estimated at $400 to $600 and sold for $2,304. Image courtesy of Doyle.
Christian Dior Evening Dress
Clothing worn by Iris Apfel was another key category in this early spring sale. Lot #120, a Christian Dior light blue and crème silk stripe evening dress, was estimated at $400 to $600 and traded hands at $2,304. This 20th-century, possibly custom example featured a deep and open V style neckline, long and dramatic puffy sleeves, a gathered pouf, and an oversized side bow decoration.
Christian Dior couture made several appearances throughout this two-day sale and clearly was a preferred brand from Ms. Apfel’s closet. The designer introduced his first collection right after the conclusion of World War II and was active in the fashion industry until his death in 1957. His clothing designs were feminine as well as striking. They were often made in stunning, high-quality materials and finished with hand embroidery, fringe, or other complementary trims.
Lot #468, a Louis XVI-style umbrella stand, was estimated at $200 to $400 and sold for $4,480. Image courtesy of Doyle.
Louis XVI-Style Umbrella Stand
Decorative items, household goods, handbags, and eyeglass frames from the Apfel estate rounded out this two-day event. Lot #468, a Louis XVI-style gray painted caned umbrella stand, was estimated at $200 to $400 and delivered $4,480. This late 19th- to early 20th-century piece was oval-shaped and decorated with square and oval-shaped woven cane side panels. It stood on matching small carved feet.
To browse the complete results of this Iris Apfel collection sale, visit Doyle.
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This graceful 14th-century Chinese Yen-Ten (Phoenix Tail) Longquan Celadon Vase from the Yuan Dynasty (1271–1368) is among the many ancient ceramic wares in Green Glazed Ceramics from China, Japan, Korea and Vietnam, at Zetterquist Galleries. Typically crafted in celadon, they date from the Southern Song Dynasty to the Ming Dynasty and are frequently found in Japan and Southeast Asia.
New York, NY – Asia Week New York, the highly anticipated annual celebration of Asian art and culture, will return for their 16th year from March 13-21. This event continues to be a cornerstone for Asian art in the global market and will showcase 27 esteemed galleries, including two online exhibitions, along with six major auction houses—Bonhams, Christie’s, Doyle, Heritage Auctions, Freeman’s|Hindman, and Sotheby’s.
Since its founding in 2009 by a passionate group of twelve dealers, Asia Week New York has evolved into a dynamic series of exhibitions, auctions, and cultural events spread across Manhattan and beyond. The 2025 edition promises an inspiring array of treasures, from ancient artifacts to contemporary masterpieces, offering something for every art enthusiast.
The festivities kick off with a series of gallery openings, inviting visitors to experience the convivial spirit that has become synonymous with Asia Week New York. Highlights include curated exhibitions from world-renowned dealers, live auctions, and insightful panel discussions led by industry experts. The gala reception at The Metropolitan Museum of Art celebrates the event’s ongoing partnership with one of the world’s most prestigious cultural institutions.
“Marking our 16th year, we are proud to continue connecting art lovers, collectors, and scholars from around the globe,” said Brendan Lynch, Executive Director of Asia Week New York.
Whether attending in person or exploring the online offerings, visitors can expect a rich tapestry of cultural heritage and artistic innovation. Asia Week New York continues to champion the timeless connection between art and humanity, drawing thousands of attendees who share a passion for Asian art. Here is a list of highlights according to country of origin: Ancient and/or Contemporary Indian, Himalayan, and Southeast AsianArt
Among the Latest Acquisitionsof Indian Art at Art Passages is a detail of Maharana Jawan Singh from Udaipur, circa 1830. Maharana Jawan Singh is seated in an elaborate tent setting, the interior of which is decorated with textiles in floral arabesque as well as heraldic imagery. (Online only)
In their exhibition Portraits, Animals and Birds: Works on Paper from India and Persia, Oliver Forge and Brendan Lynch, Ltd. will present a 17th-century portrait of a reclining beauty from the collection of Pierre Le-Tan (1950–2019), the late artist and illustrator famous for his New Yorker covers. This fascinating Safavid painting is a Persian interpretation of the Renaissance depiction of the reclining female nude as painted by Raphael and Raimondi. 67 East 80th Street, Suite 2
This rare and important Mughal Zebra by a court artist, circa 1625, is one of the many works at Francesca Galloway’s exhibition India’s Fascination with the Natural World, illustrating Imperial fascination with the wider natural world. This fascination is evident in the use of master court painters to record these animals for imperial collections and the great lengths taken to import animals not indigenous to India, such as red squirrels, turkeys, ostriches, and in this case, a zebra. 23 East 73rd Street, 7th floor, Penthouse
A graceful image of Avalokiteshvara, the Bodhisattva of Compassion, is one of the sculptures in Classical Art from India and the Himalayasat Carlton Rochell Asian Art. Called one of the finest in the Pala tradition, it was most likely made in Tibet and closely modeled after Indian prototypes. The well-proportioned, suavely modeled figure stands gracefully, reflecting the full, perfect body of a youth. 24 East 80th Street
Ancient and/or Contemporary Chinese and Vietnamese Art
“Mountain Dream 8,” an ink and color drawing on rice paper, by Wucius Wong–the artist’s first exhibition in twenty years –is among a large selection of works in the exhibition Lee Chun-yi, Gu Gan, Wang Wucius Wong: Reconstructed at Alisan Fine Arts.120 East 67th Street, Main Floor
A striking pair of vibrant green and white Chinese Imperial Green Enameled Dragon Dishes with a Qianlong mark dated AD 1736–1795 is among the superb offerings in the Spring Exhibition of Chinese Porcelain and Works of Art at Ralph M. Chait Galleries, Inc.16 East 52nd Street, 10th floor
“Summer Reflections by the Lakeside Pavilion” by Qian Du (1764–1845) takes center stage in the Fluid Strength: The Art of Ink at Fu Qiumeng Fine Art. This hanging scroll in ink and color on silk showcases the timeless beauty and artistic significance of traditional Chinese painting. 65 East 80th Street, Ground Floor
One of the highlights featured at INKStudio is “Sumeru No. 34,” which is part of Kang Chunhui’s Sumeru series. The series explores the relationship between color, shape, light, dimension, and boundary through the form of the fold. Folds of draping fabric are a key artistic element in Gandharan Greco-Buddhist sculpture and form the basis for the brush-line mode of early Chinese figure painting that later becomes the essence of East Asian brush painting. By appointment only[email protected]
In their exhibition, Separate Realities,Kaikodo LLC will feature 5th-century BCE Bronze Snake-decorated Finials from Eastern Zhou, exemplifying the strikingly innovative bronze-casting methods that made such creations possible. This piece is relevant to the year of the snake as a relic of ancient Chinese enterprise and ingenuity. (Online only)
Lark Mason Associates exhibition, Maps of Asia, a selection of early western maps of Asia, includes a representative group of cartographers highlighted by Maris Pacifici, by Abraham Ortelius. This map was published in 1589 in his Theatrum Orbis Terrarum. It was not only the first printed map of the Pacific, but it also showed the Americas for the first time. Also on view are Masterworks of Chinese Art from the Ming and Qing Dynasties including a Chinese Painted and Inlaid Lacquer Cabinet and a Chinese Mother of Pearl and Gold Foil inlaid Blossom-shaped Box, both from the Kangxi Period.
The Loewentheil Photography of China Collection presents Sun and Silver: Early Photographs of China by Lai Afong and John Thomson, which brings together masterpieces by two giants of 19th-century photography of China—Lai Afong and John Thomson—who originated many significant developments in early Chinese photography. Among the photographs is “Rapids at Nanping, River Min,” which first captured the imagination of Lai Afong in 1869 and later by John Thomson in 1870. 10 West 18th Street, 7th Floor
This graceful 14th-century Chinese Yen-Ten (Phoenix Tail) Longquan Celadon Vase from the Yuan Dynasty (1271–1368) is among the many ancient ceramic wares in Green Glazed Ceramics from China, Japan, Korea and Vietnam, atZetterquist Galleries. Such vases, produced for both domestic and export use, were often presented in pairs for temple or large residential altars. Typically crafted in celadon, they date from the Southern Song Dynasty to the Ming Dynasty and are frequently found in Japan and Southeast Asia. 3 East 66th Street, Suite 2B
Ancient and/or Contemporary Japanese Art
“Oban tate-e, courtesan applying eyebrow makeup,” by the prolific Kitagawa Utamaro (1753–1806), is one of the many Japanese woodblock prints in 250 Years ofJapanese Woodblock Printsat The Art of Japan. Originally an object of worship, the mirror has become an object of value, offered as a precious gift. The Mark Hotel, 25 East 77th Street, Suite 215, March 14-16)
In Mingei Modern, Dai Ichi Arts, Ltd. presents a group of ceramic works by Kawai Kanjiro (1890–1966), one of the founding figures of the Mingei Movement. From left to right: the flat, square jar from the mid-1950s, the 1961 stoneware flask featuring Kawai’s signature Gosu blue glaze, and the 1955 platter with a Hakeme glaze, which reflects Kawai’s deep engagement with traditional Korean ceramic techniques. 18 East 64th Street, Suite 1F
After a brief hiatus, Carole Davenport returns to Asia Week New York with What’s in a Title: Japanese Works of Art from Ancient to Modern, an exhibition that includes “Yamanba,” an early Edo sculpture by Deme Yuka, a dynamic representation by the well-known carver, bearing his seal on the reverse. John Molloy Gallery 49 East 78th Street, Suite 2B
“Kawase Hasui’s Komagata Embankment from the series Twelve Scenes of Tokyo” (1919) captures a tranquil summer scene on the Sumida River, with a sleeping drayman and his horse framed by stacks of bamboo. The vibrant colors and bold composition reflect Tokyo’s charm during its late Taisho modernization (1912–26). Praised as one of Hasui’s finest summer designs, this scarce pre-earthquake print will be available in Love of Place: The Landscapes of Kawase Hasui at Egenolf Gallery Japanese Prints, The Luxury Collection Hotel, 151 West 54th Street and online
Luminous “Raden Fubuki Caddy 2023” by Terumasa Ikeda is one of the objects offered in the exhibition Abundance and Light: Gold in Japanese Art, at Ippodo Gallery. Ikeda crafts his design by applying gold leaf to the underside of silver-lip oyster shells, enhancing the radiant golden glow as light filters through the shell’s iridescent surface. 35 N. Moore Street
“Segawa Kikunojō III as Ōshizu, the wife of Tanabe Bunzo,” by Tōshūsai Sharaku (active 1794–95), a color woodblock print, is one of twenty-eight half-length portraits of actors by the enigmatic artist Sharaku available in Japanese Prints and Paintings: 1720-1820, at Sebastian Izzard LLC Asian Art. 17 East 76th Street, Floor 3
“Overlapping Comma Pattern Vessel,” a colorful ceramic by Wada Morihiro (1944–2008), one of the pieces in Beyond the Surface: The Unity of Form and Pattern in the Work of Wada Morihiro, at Joan B Mirviss LTD, beautifully reflects the artist’s seamless marriage of form and surface. 39 East 78th Street, Suite 401
From the fading glow of dusk to the crescent moon casting its luminescence over a sea of clouds, this box tells the story of the ever-changing sky. “Box with Design in Maki-e, ‘Memories Come Back,’ 2013,” in Kogei and Art, at Onishi Gallery, is crafted from white-lipped pearl oyster, South Sea abalone shell, gold, and pearl oyster. 16 East 79th Street
Scholten Japanese Art will present Landscape Escapes: Famous Views of the Floating World, an exhibition focusing on landscape woodblock prints, primarily of the 19th century, including works by the two most beloved masters of the genre, Katsushika Hokusai (1760–1849) and his younger contemporary, Utagawa Hiroshige (1797–1858). 145 West 58th Street, Suite 6D
Returning to the fold, Seizan Gallerywill present Takashi Seto: Solo Exhibition a single artist show featuring “A-UN (A), 2024” (Waiting for more info on this piece). 525 West 26th Street, Ground Floor
“Tai,” by Japanese artist Yamaguchi Takeo–one of the works of art in Postwar Japanese Calligraphy and Painting at Shibunkaku–reflects his deep connection to his Asian roots, symbolized by his use of yellow ochre and Venetian red. Joan B Mirviss, Ltd. 39 East 78th Street, Suite 401
TAI Modern presents From Timber to Tiger: The Many Bamboos of Japanese Bamboo Art, a retrospective of mixed media bamboo, paintings, and sculpture by the late Nagakura Kenichi, who passed away unexpectedly in 2018. 23 East 67th Street, Fourth Floor
This visually arresting pair of screens–presented at Thomsen Galleryin their exhibition Japanese Modern Masterpieces 1910-1950–melds two strands in the subject matter of Japanese Nihonga painting of the early 20th century which encompasses a focus on plants—both traditional Japanese species and recent imports—and pictures of beautiful women. Artists of this period who had trained in the newly fashionable genre of bijinga —pictures of beautiful women in elegant settings–typically surrounded by fashionable luxuries—sometimes transferred their skills to depict country women in rural settings, using rich mineral pigments to convey contrasting natural and man-made colors and textures. 9 East 63rd Street, Floor 2
With its wide-open eyes and imposing musculature, Kongo Rikisi (Vajrayaksa)––one of the heavenly protector deities of Buddhism, exemplifies the realism typical of the Kamakura period, which heralded the emergence of the samurai and the transition from the nobility to landowning military men. It is one of many New Acquisitions at Hiroshi Yanagi Oriental Art–Nicholas Hall,17 East 76th Street, 4F
Ancient and/or Contemporary Korean Art
In the exhibition Elegance and Simplicity: Bohnchang Koo and Geejo Lee, at HK Art & Antiques, LLC, Koo Bohnchang photographed these blue-and-white porcelain bottles from the Korean collection of the Victoria and Albert Museum. For him, these wares echo the essence of the Joseon aesthetic. Because they are often stained, cracked, and worn from everyday use, they are a perfect subject through which to convey warm traces of human life. In this series, he highlights the pure beauty of Korea’s cultural heritage. 49 East 78th Street, Suite 4B
About Asia Week New York
Asia Week New York is a nine-day celebration, bringing together top-tier international Asian art galleries, the six major auction houses, and numerous museums and Asian cultural institutions. It features simultaneous gallery open houses, Asian art auctions, museum exhibitions, lectures, and special events. Participants from Great Britain, China, Hong Kong, Japan, and the United States unveil an extraordinary array of museum-quality treasures from China, India, the Himalayas, Southeast Asia, Tibet, Nepal, Japan, and Korea. Asia Week New York Association, Inc. is a 501(c)(6) non-profit trade membership organization registered with the state of New York. For more information, visit www.AsiaWeekNewYork.com @asiaweekny #asiaweeknyTo download Hi-Res Jpegs visit www.asiaweekny.com/press-images
Featured: Howard Chaykin art for Star Wars #1, Gil Kane cover art for Star Wars Weekly (UK) #7, Aurora model kit art (Capt. America, Hulk), Luke Skywalker Double-Telescoping action figure
Star Wars #1 Historic Comic Book Page Original Art By Howard Chaykin.
YORK, Pa. – Hake’s March 25-26 auction will showcase an unprecedented selection of firsts: original art from first-run issues, first-ever auction appearances, first discoveries, and highest-grade examples from dozens of pop culture categories. The 1,449-lot online-only sale of toys, comics, political and entertainment memorabilia is distinguished by exceptional finds from collections that have quietly flown under the radar for decades before making their auction debuts this month.
Throughout the collector community, word has spread quickly about the prized original comic book art that leads the event. Hake’s Auctions’ president, Alex Winter, remarked: “In this auction, we have more pieces of art from the 1970s Marvel run than most other auction houses have offered since first opening their doors. Not only is the art unique and early, much of it is for key pages and covers. This is an unrivaled buying opportunity that could take Star Wars original comic art to a new level in the marketplace.”
The crown jewel of the comic art section is Howard Chaykin’s (b. 1950-) original pen-and-ink page art (Page 16) from issue #1 of the Star Wars comic book. This July 1977 book was the first of six issues in a series published by Marvel as a print adaptation of the film Star Wars: A New Hope. Composed of seven panels representing two crucial scenes from the film, it features famous characters in six of the panels, including Darth Vader in four of them; and a famous vehicle, the Jawas’ Sand-Crawler, in one of them. The text is nearly identical to the movie’s dialogue, including Vader’s iconic line, “I find your lack of faith disturbing.” Hake’s experts have described the Chaykin page art as “easily one of the most important examples of Star Wars art from any era or publisher to date.” A Marvel copyright stamp appears on verso. This fresh-to-the-market “find” will make its first-ever appearance at auction with an open estimate and a required starting bid of $10,000.
Another treasure from the same private collection is Gil Kane’s (1926-2000) original pencil art for issue #7 (March 22, 1978) of Marvel’s UK Star Wars Weekly comic book series. The British arm of Marvel reprinted their American counterpart’s Star Wars comic series identically, but in smaller segments spread over 12 issues as opposed to the six issues published in the US. For this reason, some of the British covers are unique to the UK print run. The auction artwork depicts a pivotal film scene in which Luke Skywalker and Han Solo, both in Stormtrooper armor, are trapped in the Death Star garbage compactor along with Princess Leia and Chewbacca. Identifications include a printer job stamp with the initials of both Kane and Tony DeZuniga, who inked the page; and a Marvel copyright stamp on verso. Fresh to the market and the only original Star Wars cover art from a Marvel UK adaptation issue ever to come to auction, it is estimated at $20,000-$35,000.
In total, Hake’s will auction eight pieces of original 1970s “published” Star Wars art. Within this grouping are two other Howard Chaykin pages from the 6-issue US adaptation, as well as two other UK Star Wars Weekly covers (from later issues than the aforementioned Gil Kane #7 cover).
A classic for the ages, a 3.75-inch Star Wars (1978) Luke Skywalker 12 Back-A AFA 85 NM+ Double-Telescoping (DT) Lightsaber action figure is presented on its original unpunched blister card. Its rarity is further enhanced by the fact that the card lacks a SKU number on its footer. Following the initial release of Luke DT figures, Kenner modified the design, removing the double-telescoping feature due to cost and manufacturing issues. The auction example is unopened, with a crystal-clear bubble and unpunched card free of any store stickers. It is encapsulated within an AFA Archival case. At the time of cataloging, AFA’s Population Report indicated there were only three known examples of this figure on a 12 Back-A card without the SKU on the footer and graded AFA 85 NM+. This is only the second carded Luke DT figure of its high grade ever to be auctioned by Hake’s and the first 12 Back-A example without a SKU on the footer that the company has offered in any grade. An extreme rarity suitable for a premier collection, its auction estimate is $35,000-$50,000.
For the many who love Star Wars foreign productions, the auction offers a Palitoy Star Wars: Return of the Jedi (1983) Boba Fett 3.75-inch action figure on a Tri-Logo 70 Back-B blister card, graded AFA 85 NM Meccano Style Bubble. The French Meccano figure variety is of darker gray plastic with a light-brown belt, and the back of its leg correctly lacks the origin text and origin production “scar” seen on Malaysian productions. The color characteristics and intentional omissions on the auction example are exclusive to the rare French Meccano Boba Fett varieties. The Palitoy packaging is printed with English, Spanish and French text. Only two other AFA 85 Boba Fett examples are known across all Tri-Logo varieties, and at the time of cataloging, the figure offered by Hake’s was the single-highest-graded example of its type according to the AFA Population Report, with none higher. It will take a hefty bounty to land this special toy. Estimate: $10,000-$20,000
Hake’s expects aggressive bidding from superhero, art and Aurora model kit collectors over two particular lots of original box-lid art. Both were created for 1966 Aurora kits, featuring Captain America and The Incredible Hulk. The Captain America art, graded VF/Excellent, shows the muscular hero charging into battle in a pose reminiscent of Jack Kirby’s interpretation of the character. The Incredible Hulk art by the legendary Neal Adams (1941-2022) depicts Hulk standing amidst twisted wreckage and two smoking craters, with clenched fists and an angry snarl on his face. Adams began his fabled X-Men run in 1969, so this painting would be an early example of his work for Marvel. The nicest and most significant examples of Marvel Aurora art ever be offered at auction, both are suitable for matting/framing. Estimate: $20,000-$35,000 each
An Amazing Spider-Man #667 retailer incentive variant comic book published by Marvel in October 2011 is absolutely unique. With Gabriele Dell’Otto cover art, it is documented as being 1/1 in the CGC Population Census. The variant was offered only as an optional purchase to retailers who ordered 100 or more copies of the standard comic. The auction example’scover was signed in bold in 2012 at two separate comic industry events, by story author Dan Slott and interior-page artist Humberto Ramos. Of the approximately 200 copies of this variant cover believed to be in circulation, it is the only one of nine signed examples in the CGC Census to be autographed by both Slott and Ramos. Graded CGC JSA Authentic Autograph 9.8 NM/Mint, it was formerly in the Duke Caldwell Collection. Estimate: $10,000-$20,000
The Teenage Mutant Ninja Turtles will return to the spotlight in the form of a CGC 9.2NM issue of TMNT comic book #1. Published by Mirage Studios in May 1984, it is a first issue, first printing from a run of approximately 3,000 issues, and has a wraparound cover. The storyline includes the origin and first appearance of the Turtles, as well as Shredder and Splinter. The story and art are by Kevin Eastman and Peter Laird, with cover art by Eastman. This sought-after Copper Age comic book featuring characters beloved by a generation is estimated at $10,000-$20,000.
A rare 1992 TMNT Slam Dunkin’ Don hand-painted hardcopy prototype was created for Playmates’ action figure of fan favorite Donatello. The 14½-inch figure is jointed, as a final production figure would be, and displays the same overall design as the smaller Slam Dunkin’ Don figure released in 1991. Donatello is shown in a red and white TURTLES jersey with the number “23,” the same number Michael Jordan wore on his Chicago Bulls jersey. In Fine/VF condition overall, it is one of only five TMNT prototypes known to exist in the larger sale and is the actual example shown in the book Rad Plastic. Estimate: $5,000-$10,000
Two extraordinarily rare items headline the American political memorabilia category. A 1900 full-color “Total Eclipse Nov. 6” jugate button is emblazoned with an image of presidential and vice presidential candidates William Jennings Bryan and Adlai Stevenson I “eclipsing” their ultimately-victorious opponents William McKinley and Theodore Roosevelt. The slogan plays on the May 28, 1900 solar eclipse that had captured the public’s imagination and created no small amount of hysteria. Measuring 1.25 inches in diameter, it is marked on the curl with the manufacturer’s name: Crescent Art Gallery, Kansas City, Mo. In excellent condition, its estimate is $20,000-$35,000.
A circa-1840 molded-stoneware bank in the form of a log cabin with a large hard-cider barrel at top promotes the candidacy of “Hard Cider Boys” William Henry Harrison and John Tyler. With cobalt-blue highlights throughout, including on the voluminous text, its roof panels read: William Henry Harrison/President In 1841/With Tip and Tyler/We’ll Burst Vans Boiler/Log Cabin and Harrison The Hero Of/Tippecanoe Fort Meigs And/The Thames Against Van/Buren The Demagogue/Of Kinderhook/Hurrah For Old Tip The/Farmer Of North Bend. This important campaign artifact, possibly the earliest known political bank, has never before been offered for public sale. It was previously held in the esteemed collection of Rex and Patti Stark, who acquired it from Edmund B. Sullivan, Professor and Curator at the Hartford University Museum. Estimate: $10,000-$20,000
Hake’s March 25-26, 2025 online auction is now open for bidding. For a free printed catalog or additional information on any item in the sale, call +1 866-404-9800 (toll-free) or +1 717-434-1600; email [email protected]. View the fully illustrated catalog online and sign up to bid at https://hakes.com/. Enjoy a special video about Lot 822, Howard Chaykin’s original page art for the historical Star Wars #1 comic book, at https://www.youtube.com/watch?v=RHdbkDp7R80.
To mark the centenary of the artist’s birth, the eponymous foundation is staging a series of events and exhibitions around the world, while tirelessly continuing the mission entrusted to it by the American painter.
Joan Mitchell (1925-1992) was commemorated three years ago with a retrospective of her work and the exhibition entitled “Monet – Mitchell” at the Louis Vuitton Foundation (see Gazette 2022 no. 39). In 1982, she was the first female American painter to be shown at the Musée d’Art Moderne de la Ville de Paris. Over 30 of her works are now in French public collections. But aside from her dazzling abstract and naturalistic paintings, people are far less aware of her commitment to young artists. The proponent of the New York School arrived in France for the first time in 1948, and subsequently lived in Paris with the painter Jean Paul Riopelle (see Gazette 2023 no. 24) in the 1950s and 1960s. In 1967, this ‘Frenchwoman’ at heart bought a house in Vétheuil, where she loved to entertain artists. When she died in 1992, her will stipulated the distribution of her property and the creation of a foundation to “support and assist” them. A year later, the Joan Mitchell Foundation was created in New York: a philanthropic organization that reflects her spirit, led by a board of experts in art, finance and law, and run today by a 30-strong team who manage the programs and administrative side. “Joan Mitchell often invited young poets, artists and musicians to stay at her home for a few days or several months,” says Christa Blatchford, the Foundation’s Executive Director since 2015. ”She offered them a roof over their heads and a place to work, and encouraged them to focus entirely on their art.” In 1994, the organization, endowed with a small sum of money, initiated a grant program for painters and sculptors “to advance their work and careers.” Initially set at $10,000 for 18 creators, the grant amounts rose in 2005 to $25,000 for 25 visual artists. “In 2021, we launched the Joan Mitchell Fellowship, which replaced our previous schemes. This fellowship of $60,000 over five years has been awarded to 15 artists, selected by a jury of five key figures from the art world. The grant requires no work of art in return, and also provides for shared learning through workshops and virtual meetings.”
Joan Mitchell often invited young poets, artists and musicians to stay at her home for a few days or several months.
The Extensive Joan Mitchell Collection
In addition to this fellowship, there are emergency grants: “When a major disaster occurs, like 9/11, Hurricane Katrina or Covid-19, artists sometimes lose their studios, works, supplies or exhibition opportunities,” Blatchford adds. “Often, they don’t have the money to start over. In January, for example, we joined forces with a coalition of American organizations to create the L.A. Arts Community Fire Relief Fund in response to the recent wave of fires.” In the same vein, the Foundation decided to expand its support in 2010 by creating the Joan Mitchell Center: an artist residency center that opened in New Orleans in 2015. Designed to foster creation and experimentation, it also offers opportunities for networking with art professionals and the local cultural community. “Following a selection process by a jury, these residencies of one to five months are available to artists already receiving grants from the Foundation, as well as to artists from New Orleans. Ten studios and accommodation are provided to them in spring, summer and fall/winter. This year, 35 recipients will be staying there.” The Foundation’s missions cover not only grants and residencies, but also the promotion and preservation of Joan Mitchell’s legacy through exhibitions, publications and educational programs. It receives no state funding or external sponsorship, but finances its activities by selling the artist’s works, in accordance with her will. In 2004, the Joan Mitchell estate bequeathed to it the majority of her collection: several hundred pieces including some 200 paintings (e.g. Cercando un ago (c. 1959), Heel, Sit, Stay (1977), Edrita Fried (1981) and a diptych, Untitled, from 1992), works on paper and engravings from over four decades of creation. The collection also contains a few works by Riopelle and other more modest works by artist friends, as well as several donated archives containing over 11,000 photographs and letters to her former husband, the American publisher Barney Rosset, and to relatives. It also includes art archives, various 19th and 20th century family documents, work materials and part of her personal library.
The Foundation has kept a group of iconic works from this huge legacy, making them available to researchers for their studies and the organization of major museum exhibitions. Among the most recent is the touring retrospective on the artist lasting from 2021 to 2023. This opened at the San Francisco Museum of Modern Art, and was then presented at the Baltimore Museum of Art before a final stop in Paris. Carefully selected from pieces that would duplicate the main collection, the works put up for sale (exclusively through the Zwirner Gallery since 2018) are used to build up a portfolio of assets, reinvested to ensure a steady income and guarantee the Foundation’s long-term sustainability. “Thanks to this portfolio, over the last 32 years, over €21 M has been paid to 1,342 artists including Mark Dion, Simone Leigh and Julie Mehretu,” says Christa Blatchford. ”For us, the Foundation is a true gift from one creator to others.”
In 2025, the artist’s foundation is still working on the Joan Mitchell catalogue raisonné, for which ten years’ research on her paintings has already been carried out in Paris and New York. It is also organizing celebrations for the centenary of her birth, which started off at the Centre Pompidou in Paris with a musical and poetic program reflecting her tastes, and will continue elsewhere. A wide array of international events is being organized to honor her life and work and her influence on contemporary artists. In addition to a tribute at the 113th Conference of the College Art Association in New York, the program included an exhibition in Louisiana of works by former residents, online conversations, a seminar, a symposium and the publication of the first children’s book dedicated to the artist. More than 70 museums across the United States, Europe and Australia will be exhibiting nearly 100 of her works. Closer to home, a dozen institutions are joining in the events laid on by the Musée des Impressionnismes Giverny, the Museum of Contemporary Art-MAC/CCB in Lisbon and the Centre Pompidou. Last but not least, Mara Hoberman, the researcher in charge of the catalogue raisonné in Paris, will be giving a series of lectures in France starting in March. The Joan Mitchell Foundation promotes and preserves her legacy through a diverse and generous approach, while supporting contemporary creation. A century after the artist’s birth, it perpetuates her influence on art across the generations.
Lisa Roger Joan Mitchell Paints a Symphony. La Grande Vallée Suite Illustrations by Stacy Innerst Published by Calkins Creeks, 2025 40 pages, in English, around €19
The dispersal of a gallery of royal portraits, notably Hyacinthe Rigaud’s famous image of Louis XIV, sheds light on the mechanisms used to disseminate the image of monarchs during the Ancien Régime
French School, Workshop of Hyacinthe Rigaud (1659-1743), Louis XIV en costume de sacre, canvas, 244 x 162 cm/88.1 x 63.77 in (detail). Estimate: €20,000/30,000
From the vantage point of their imposing gilded frames, kings who have left their mark on French history gaze down upon you… Until today, these towering portraits belonged to a collection of furniture and paintings assembled by a French couple with a passion for 17th and 18th century art. To house their treasures, purchased from leading Parisian antique dealers in the 1960s, these connoisseurs acquired a château in the Occitanie region: an ideal setting, as the estate itself dates back to the Age of Enlightenment. Here, in a specially designed gallery, a dozen portraits of kings and princes, French and foreign, have long sat enthroned. Among these majestic canvases, some are far from unknown: they are replicas of renowned, legendary museum-quality works, created at the time of the originals. Such is the case for the figures of three Bourbon sovereigns, and in particular the most illustrious of them all: the Sun King. He will open this monarchical parade with the famous Portrait of Louis XIV in a Coronation Costume (Portrait de Louis XIV en costume de sacre) by Hyacinthe Rigaud. It is a reworking, by the master’s studio, of the great official portrait painted in 1701: a model that was to set the rules for the representation of an absolute monarch. The story behind the original painting, now in the Louvre (no. INV 7492), is not without its theatricality: Louis XIV commissioned Rigaud to paint it as a gift for his grandson, the Duc d’Anjou, future King of Spain under the name of Philip V, before his departure for Madrid. But once the painting was completed, Louis XIV changed his mind…
This composition (€5,000/6,000) can also be compared to the depictions of the adolescent sovereign by the artist’s father Jean-Baptiste Van Loo, which are in the collections of the Château de Versailles.
Serial Replicas
The work caused a sensation, as reported in the Mercure de France: “No portrait has ever been better painted, nor more realistic; the whole Court saw it and everyone admired it. Highly satisfied with his image, the Sun King kept the work at Versailles…“ and commissioned a replica for Philip V. From then on, Rigaud’s workshop began to produce numerous copies of this masterpiece, intended as gifts for royal dignitaries and ambassadors alike, and constituting a substantial corpus into which our version fits. In the sale, the figure of Louis XIV will be associated with that of his successor, in the Portrait de Louis XV en pied (190 x 106 cm/74.80 x 41.73 in), an 18th century French school attributed to a follower of Louis Michel Van Loo. This composition (€5,000/6,000) can also be compared with the depictions of the adolescent sovereign by the artist’s father Jean-Baptiste Van Loo, which are in the collections Château de Versailles. As for the grandson of the “Bien Aimé” (Beloved), he is represented here by a Portrait de Louis XVI en costume de sacre (€8,000/10,000). The canvas (181 x 154 cm/71.25 x 60.6 in) was painted by a follower of the painter Antoine-François Callet. The original, completed in 1780 (perhaps the version now in the Musée Bargoin in Clermont-Ferrand), was also to serve as a model for a number of copies, destined to make the French monarchy shine throughout Europe… one last time.
A Grande Auction Will Take place on March 26th 6:00 pm online with SJ Auctioneers. Bidders and savvy collectors can find rare items from Baccarat, Sterling Flatware, Lalique, Daum Buccellati, Trains, Fine Designer Jewerly, Toys and collectibles
Beautiful 9 light candelabra decorated with leaves and grape signed Buccellati. 62 cm long – 35 cm wide – 15 cm height. Mario Buccellati, the founder of Buccellati, was born in Ancona in 1891, but moved to Milano in the early 20th century. As soon as he arrived, he secured an apprenticeship with the goldsmiths Beltrami and Besnati, whose business at Via Santa Margherita 5, between La Scala and the Galleria, at the heart of the city. It was here that the young Mario learned the best in Italian goldsmithing traditions. At the end of the First World War, Mario decided that the time was right for him to set up his own venture and he took over Beltrami and Besnati’s business. In 1925, Mario, alongside his brother, Carlo, opened a second store at Via Condotti 30–31, Rome. A third followed four years later at Via Tornabuoni 71, Florence. International expansion and recognition continued in the following years and Mario’s descendants played a role in this international overture. In 2000, The Smithsonian Institution of Washington dedicated an anthological exhibition to Buccellati called “Buccellati: Art in Gold, Silver and Gems”. Gianmaria donated the Smithsonian Cup to the museum for the occasion, which is now on permanent display. Buccellati still continues to dazzle with its extraordinary craftsmanship to this day. Please note: shipping will require international shipping fee with US customs clearance if shipped to the US.
