Vera Molnár: An Artist With Algorithms in Her DNA

This second sale devoted to the artist unveils an unprecedented collection of some 180 works, retracing over 40 years of creation and highlighting the legacy left by this pioneer of generative art.

Vera Molnár (1924-2023), Sainte-Victoire, Fragments (Studies), 2017, oil silkscreen on canvas, signed, titled, dated and numbered 1/I on the back, 50 x 50 cm/19.7 x 19.7 in. Estimate: €2,000/3,000
Vera Molnár (1924-2023), Sainte-Victoire, Fragments (Studies), 2017, oil silkscreen on canvas, signed, titled, dated and numbered 1/I on the back, 50 x 50 cm/19.7 x 19.7 in.
Estimate: €2,000/3,000

After an initial selection of 77 lots was sold on October 21 last year, this second sale, still under the same hammer, brings together 181 works on paper by Vera Molnár created by hand or on the computer: gouaches, paintings and collages from the same legatee, who was close to the artist. A key figure in the contemporary scene and a pioneer of digital art, Vera Molnár moved in 1947 to Paris, where La Gazette visited her in her studio in 2019. She devoted her artistic practice to exploring geometric forms and an algorithmic approach at a time when few artists were yet interested in these tools and techniques. In the 1940s and 1950s, when European art was turning towards lyrical abstraction, Molnár traveled down a more rational and methodical path. Born in Budapest in 1924, she received an academic education at the School of Fine Arts in the Hungarian capital, where she studied art history, with encouragement from an uncle who loved Rembrandt. Early on she turned from academicism to abstraction, inspired by Paul Klee, Piet Mondrian and Kazimir Malevich in particular. This quest for structure led her to develop series based on variations, permutations and progressive transformations, laying the foundations for her algorithmic approach.

Vera Molnár (1924-2023), 8 Brown Triangles A-B, 2018, cut paper collage on cardboard, diptych, 50 x 50 cm/19.7 x 19.7 in. each. Estimate: €1,800/€2,500
Vera Molnár (1924-2023), 8 Brown Triangles A-B, 2018, cut paper collage on cardboard, diptych, 50 x 50 cm/19.7 x 19.7 in. each.
Estimate: €1,800/€2,500

Geometric Rigor

At her death in December 2023 shortly before her 100th birthday, Vera Molnár left behind a prolific body of work marked by a constant analysis of structures, movement and chance in art. An approach combining scientific rigor and artistic sensitivity paved the way for new forms of visual creation, exploiting the infinite possibilities of computer-assisted art. After the Second World War, despite the fact she was deeply drawn to the Communist ideology then gaining ground in Hungary and Eastern Europe, Vera Molnár — still known as Veronica Gács — left her country in 1947. She spent a period at the Villa Medici in Rome, then left for Paris with a six-day visa in her pocket. She remained in the French capital for good, outraged by the Stalinist purges and the execution in 1949 of the Hungarian leader László Rajk. In Paris, her uncle, the brilliant film set designer Alexandre Trauner, introduced her and her future husband François Molnár to the “Hungarian artists’ table” at the Le Select Café in Boulevard Montparnasse. There she rubbed shoulders with István Beöthy and his wife Anna Steiner, József Csáky and Misztrik de Monda. But the most decisive meeting for the Molnárs was with the young François Morellet in 1957. In 1961, they founded the GRAV (Visual Art Research Group) together, rejecting expressionism in favor of rational and interactive art. 49 Red Squares (€2,000/€3,000) is a perfect illustration of this pioneering work in generative art and the use of algorithms in artistic creation. The drawing was made on a computer using a plotter, which generated geometric forms with mathematical precision. The arrangement of the 49 red squares in an irregular grid, with variations in alignment and spacing, creates a sense of imbalance and movement. Vera Molnár was particularly interested in the tension between mathematical rigor and subtle variations. Here, the slight distortions in the alignment of the squares introduce a kind of controlled chance: a concept central to her work. While this work was based on precise instructions executed by a machine, it left room for human intervention. 49 Red Squares is an emblematic work in Vera Molnár’s production, where calculation and intuition combine to create an aesthetic that is both rigorous and sensitive. It clearly reflects her quest for an imperfect order, where the algorithm became a tool for visual experimentation in its own right.

Vera Molnár, 49 Red Squares, 1989, computer drawing with ink plotter on paper, 41 x 38.5 cm/16 x 15 in (at sight). Estimate: €2,000/€3,000
Vera Molnár, 49 Red Squares, 1989, computer drawing with ink plotter on paper, 41 x 38.5 cm/16 x 15 in (at sight).
Estimate: €2,000/€3,000

Controlled Disorder

A brilliant mind with a strong sense of humor, Vera Molnár reminded Arte in 2022 that “geometry does not grow on trees”. This “instrument for bringing order” is a pure creation of the mind, a tool gravitating outside the divine spheres, shaped by and for mankind. But while Molnár’s work was based on mathematical rigor, it also incorporated a playful and poetic side. Unlike the rigorous systems of François Morellet, designed to eliminate all forms of subjectivity by sticking to precise rules, Molnár always sought a tension between order and chaos. Her conception of organized chance led her to introduce a degree of irregularity or randomness into her algorithms, to avoid the mechanical coldness of robotic perfection. Hyper-transformation, a 1974 inkjet print on Benson paper (€3,000/€4,000) from the historical series “Job from Molnár” executed at the beginning of that decade, highlights the disorder produced on concentric squares to which a random percentage is introduced in the program. Her work thus oscillated between control and accident: a pioneering approach in generative art. Chance, a central element in her output, was transformed into a meeting point between human intuition and computer logic, imbuing this rigor with a poetic dimension. Alongside her early computer drawings on Benson paper, the collection up for sale also includes handwriting, grids and lines, studies of profiles of the Sainte-Victoire mountain, collages and torn papers, illustrating her free, experimental approach to form and color. Reproduced on page 27, Sainte-Victoire, fragments (studies), an acrylic painting screen-printed on canvas (€2,000/€3,000) from 2017, is one of the many variations the artist produced from the 1990s onwards featuring the profile of the mountain range near Aix-en-Provence, a series in which she explored the deconstruction and recomposition of the landscape through simple geometric shapes, lines and grids, reducing the mountain to a refined, barely identifiable structure. A variation in the form of collage and torn papers, the 2019 Sainte-Victoire sur Ikea (€1,500/€2,000) uses graph paper with colors evoking the codes associated with the functional design and standardized aesthetic of the Swedish furniture brand. The artistic intervention introduces a unique, chaotic dimension, questioning reproducibility and standardization. Right to the end of her life, Vera Molnár constantly demonstrated, with undiminished verve, that art offers an infinite field for experimentation, and continued until 2023 to use the collage that first appeared in her work in the 1950s. Dated 2018, the diptych 8 Brown Triangles A-B (€1,800/€2,500) expresses this rigorous and experimental approach: the composition is based on a strict geometric organization, with eight brown triangles arranged according to a pattern that seems both orderly and subject to a logic of variation, but also to the imperfections of manual cutting. Through her minimalist yet profoundly expressive compositions, Vera Molnár proved that art and science, far from being opposites, can mutually nourish each other to create a new and timeless aesthetic.

Second and final sale of works from the estate of Vera MOLNÁR, important painting by Shane GUFFOGG, pastel by Hans HARTUNG from 1947, painting by Moïse KISLING from 1918, works by ATLAN, FAUTRIER, SIGNAC, HAINS, KIJNO, P.-E. PISSARRO, …

Friday 07 March 2025 – 13:30 (CET) – Live

Salle 9 – Hôtel Drouot – 75009 Paris

Christophe Joron Derem

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Catalogue

Philippe Missillier, An Expert and Dealer’s Historic Collection of Arms and Medals

Gathered together with consuming passion by the expert and dealer, this collection of weapons and medals, embracing all the world’s eras and cultures, is unique. Its dispersal is destined to be a landmark event.

Poland, c. 1770-1775. Stanislas II Auguste Poniatowski's (1764-1795) ceremonial saber in gold enriched with diamonds, wooden scabbard covered with black chagrin trimmed with gold, l. 96 cm/38.1 in. Estimate: €500,000/700,000
Poland, c. 1770-1775. Stanislas II Auguste Poniatowski’s (1764-1795) ceremonial saber in gold enriched with diamonds, wooden scabbard covered with black chagrin trimmed with gold, l. 96 cm/38.1 in.
Estimate: €500,000/700,000

One of the first striking features of the catalog devoted to this vast collection is the number of experts and specialists (ten in all!) involved in what at first glance appears to be a single specialty: weapons. This may seem like a small detail, but it speaks volumes about the richness and variety of the pieces on offer, from all five continents, across all eras, and with first-rate historical references. As a result, announcing this auction as the most important devoted to an antique arms collection at Drouot in thirty years is no mere affectation. Philippe Missillier, who died in 2022, left his mark on the history of this specialty, to which he devoted his entire life as a dealer and expert. A man of great intellect and impressive open-mindedness, where most arms collectors concentrate on a single era or type of weapon, he assembled an almost encyclopedic and, in many respects, museum-quality collection. These weapons, rarely shown or only to a small circle of friends and insiders, are bound to provoke auction battles commensurate with their rarity and desirability. For beyond all their qualities, they tell a story with a capital S.

Attributed to Master MP, Italy, Milan, c.1560-1565, wrought iron repoussé rondache featuring the Judgement of Paris, diam. 61 cm/24.01 in. Estimate: €30,000/45,000
Attributed to Master MP, Italy, Milan, c.1560-1565, wrought iron repoussé rondache featuring the Judgement of Paris, diam. 61 cm/24.01 in.
Estimate: €30,000/45,000

First-Class Pieces

For many years, Philippe Missillier assisted Alexandre Giquello with his arms sales. Giquello remembers how explicitly he made his wishes known: “When he wanted an object, he would declare ‘this is mine’ before the sale. Royal… even imperial! So, first things first: a flintlock pommel pistol that belonged to Louis XIV, as attested by an entry in the inventory of the Royal Arms under number 372 from 1717. This firearm of remarkable technical ingenuity is signed by Giovanni Valetti and Lazarino Cominazzo, Brescian gunsmiths active between 1660 and 1670. It may have been a diplomatic gift, and is now being offered at €180,000 to €200,000. As for the ceremonial sword, made in Poland around 1770-1775, it is one of three made for its last king, Stanislas II Auguste Poniatowski—he abdicated in 1795 and the kingdom was divided between neighboring powers. The ceremonial weapon (€500,000/700,000), in gold and enriched with diamonds, is certainly the work of goldsmith Joachim Friedrich Jacobson, active in Warsaw from 1750 to 1776. The path to Napoleon I is clear. First to strike is the gold sabre with his numeral, commissioned by the Austrian court in 1810 and presented on the occasion of his marriage to Marie-Louise, expected to fetch between €200,000 and €300,000. With the pair of pistols by the arquebusier (gunsmith) Jean Lepage, delivered for his personal use on January 2, 1812 (€40,000/80,000)­—and presumably accompanying him during the Russian campaign—history comes alive! Great men of war were rewarded for their exploits. It’s no surprise, then, to find phaleristics (orders, medals and awards) in this set, including the Grand Cross of the Royal Order of the Union awarded by King Louis of Holland to General Rampon on August 16, 1809, made in Paris in the workshops of the renowned Martin-Guillaume Biennais (€60,000/80,000). And then comes a piece whose intimate character is particularly touching. The little King of Rome was just 2 years old when his father presented him with a gold Legion of Honor insignia adorned with diamonds and enamel. To make it, the Emperor called on François-Régnault Nitot, his personal jeweler. €150,000/200,000 will be needed to capture this jewel.

Giovanni Valetti and Lazarino Cominazzo, Italy, Brescia, c. 1660-1670, flintlock pommel pistol with two superimposed barrels and concealed second shot, day-chased iron fittings, once owned by Louis XIV, l. 65 cm/25.59 in, barrel l. 47 cm/18.50 in, cal. 12 mm/0.47 in. Estimate: €180,000/200,000
Giovanni Valetti and Lazarino Cominazzo, Italy, Brescia, c. 1660-1670, flintlock pommel pistol with two superimposed barrels and concealed second shot, day-chased iron fittings, once owned by Louis XIV, l. 65 cm/25.59 in, barrel l. 47 cm/18.50 in, cal. 12 mm/0.47 in.
Estimate: €180,000/200,000

From the Crusades to the Hundred Years’ War

A few Neolithic axes and a large finned spearhead from the Late Bronze Age (c. 1150-930 BCE – €5,500/6,500) take us back to the prehistoric period, while the medieval era is illustrated by two armorial dagger pommels decorated with champlevé enamel, whose small size—3.5 cm/1.37 in diameter—and low estimate in relation to the collection (between €1,500 and €2,500 each) say nothing about how many centuries they have been preserved. Dating from the late 12th or early 13th century, they are closely related to a group associated with the Crusades, examples of which can be found at the Musée de Cluny and the Metropolitan Museum in New York. This is the history of battlefields that built the modern world we live in! Philippe Missillier had a particular affinity for the Late Middle Ages. 1453 is a date that speaks to us all. The year of the fall of Constantinople and the end of the Eastern Roman Empire was also the year of the Battle of Castillon on July 18, a particularly famous episode in the Hundred Years’ War, when the French army emerged victorious. “In the early 1970s, probably in 1974, unknown individuals made the fortuitous discovery, at a ford in the Dordogne, of 80 medieval swords, crammed into two chests aboard a barge that had sunk to the bottom of the river. By virtue of the area in which they were found and their dating, these swords appear to be linked to the famous Hundred Years’ War battle, and were certainly part of the booty recovered from the English troops,” explains specialist Marina Viallon. Philippe Missillier was able to acquire three of them, each estimated at between €25,000 and €35,000.

India, 18th century, dagger (khanjar), nephrite jade hilt and scabbard with floral motifs in precious stones, watered steel blade, l. 39.5 cm/15.55 in, later green velvet-covered wooden scabbard. Estimate: €60,000/80,000
India, 18th century, dagger (khanjar), nephrite jade hilt and scabbard with floral motifs in precious stones, watered steel blade, l. 39.5 cm/15.55 in, later green velvet-covered wooden scabbard.
Estimate: €60,000/80,000

The Horse and the Late Middle Ages in Majesty

This summer, the Château de Versailles hosted the equestrian events of the Olympic Games, held in its gardens, with a magnificent exhibition devoted to the horse. A number of rare pieces were on display. While our collector’s pieces were not featured, they would have had their rightful place in the exhibition. What would a knight be without his mount? It’s easy to understand why the best craftsmen were called upon to make protection for horses. This is true for the one large iron chamfer (l. 48 cm/18.89 in), stamped in Northern Italy around 1460-1470 (€17,000/25,000), and for the bridle bit (h. 21 cm/8.26 in) with the coat of arms of the Lord of Eksaarde, cast in France or Flanders in the early 14th century. In the late 13th and early 14th centuries, gilded bronze bits with enamel decoration were luxury items reserved for ceremonial riding, due to the relative fragility of their material compared to those made of iron. Estimates climb between €55,000 and €75,000, and taking us right into the period of the Duchy of Burgundy, and the rivalry between these powerful lords and the still-fragile Kings of France, seeking to consolidate their power. The battlefield was their regular meeting place. An infantryman’s targe­—a light, sturdy shield—in slightly convex wood covered with rawhide and lined on the front with a canvas painted white with the large red cross of St. Andrew (h. 75 cm/29.52 in), bearing the emblem of Charles the Bold, tells a part of the story. Estimated at between €25,000 and €35,000, it probably comes from the spoils of the Battle of Grandson on March 2, 1476, won by Louis XI’s Swiss allies against the Duke’s troops, who were forced to retreat after being caught in a vice-like grip.

What makes this example particularly exceptional, apart from its excellent state of preservation, is the presence of the two bovine heads engraved on the top.

Germany, 17th century, in the manner of Johann Michael Maucher of Schwäbish-Gmünd (1645-1701). Round powder flask in ivory carved in high relief with intertwined animals, gilded silver mount with pouring spout and spring-loaded swan flap, h. 17 cm/6.69 in. Estimate: €10,000/12,000
Germany, 17th century, in the manner of Johann Michael Maucher of Schwäbish-Gmünd (1645-1701). Round powder flask in ivory carved in high relief with intertwined animals, gilded silver mount with pouring spout and spring-loaded swan flap, h. 17 cm/6.69 in. Estimate: €10,000/12,000

Foot soldiers and horsemen are also highlighted by their warrior attributes and those rewarding their bravery. The Milanese rondache (a circular shield) c. 1560-1565, in single piece of repoussé iron, one of a series of cladding pieces from a workshop whose master is known only by his initials: MP. This may be Matteo Piatti, whose shield, also decorated with the mythological scene of the Judgment of Paris­—based on Raphael‘s composition widely disseminated in a print—is kept at the Deutsches Historisches Museum in Berlin. Prices range from €30,000 to €45,000. Rondaches were used in close combat as a means of protection and intimidation. Was this model sufficient in the face of the violence of a mass of weapons? A winged iron model (l. 63 cm/24.8 in, €12,000/20,000), with its silver damascened, oriental-inspired vegetal decoration, also from mid-sixteenth-century Italy, begs the question… Fortunately, the soldier was wearing armor—€58,000 to €78,000 for a German breastplate c.1560-1570, with high-quality engraving that could link it to the work of a Saxon workshop, perhaps more precisely in Brunswick—and a bourguignotte (burgonet), the name behind which hides a highly protective helmet. This one, made in gilded iron with acid-etched plant motifs in southern Germany, probably in Nuremberg around 1560-1570, is a fine example, justifying the €100,000 to €120,000 price tag. Its shape and motif link it to the Zischägge (lobster-tail burgonet) type, based on—and deriving its name from—the Ottoman çiçak. The workshops of Nuremberg and Augsburg specialized in these combat helmets for members of the great families of Central Europe. “In addition to its excellent state of preservation, however, what makes this example particularly exceptional is the presence of the two engraved bovine heads on the top. Normally, Zischägge only feature aniconic decorations, either geometric or vegetal, in the tradition of Islamic weapons”, adds the specialist.


Weapons From Near and Far

Another distinctive feature of this collection is its global reach. Philippe Missillier didn’t limit himself to Europe: he opened his eyes to cultures from all over the world, from Central America, the origins of this a pair of large iron stirrups from the mid-18th century­—these Mexican objects, markers of social status, were banned in 1778 because of the danger they represented to pedestrians—to Japan, via Indonesia—several kris (a Javanese asymmetrical dagger) between €1,500 and €3,000 each. In the vast Oceanian archipelago, he stopped at a U’u war club from the Marquesas Islands, probably from the 18th century, originally in the Pierre Weité Collection. This fighting weapon, emblematic of Polynesian culture was equally an object of prestige. The asking price for this genuine war trophy is €30,000 to €40,000. The Indian Continent fascinated him with its daggers set with precious stones. In the Muslim world, it is said that weapons are man’s jewels. Rarely have these words resonated as much in the West as they do with Philippe Missillier’s weapons.

Mexico, Viceroyalty of New Spain, mid-18th century, iron stirrups with chased latticework and openwork floral medallions, h. 47, l. 37 cm/h.18.50, l.14.56 in. Estimate: €12,000/15,000
Mexico, Viceroyalty of New Spain, mid-18th century, iron stirrups with chased latticework and openwork floral medallions, h. 47, l. 37 cm/h.18.50, l.14.56 in.
Estimate: €12,000/15,000

Iron Dagger in a Velvet Sheath!

In the chaos of medieval hand-to-hand battle, swords no longer made much sense. Knights and foot soldiers drew their daggers to fend off their opponents. Short, with a double-edged steel blade ending in a tapered needle point, these white weapons enabled swift and frighteningly precise strikes. The dagger can be found throughout this collection, from an early model dating back to the Scythian culture of the 5th and 4th centuries BCE (€800/1,000) to examples from the Mughal period, testifying to the prestige of their owner. Along the way, we come across medieval daggers—€35,000/55,000 a cinquedea dagger with acid-decorated steel blade gilded in full by Ercole dei Fedeli, a silversmith active at the court of Ferrara around 1500—and a Renaissance stiletto dagger with fine estoc blade—€6,000/10,000, a left-hand dagger known as “à la taza”, made in Milan around 1650-1675, whose iron frame is fully chased with a vegetal decoration­—all as beautiful as they are terribly effective. Mughal daggers bear witness to the magnificence of the Indian imperial era. Here, the hardened steel blade is curved, but what gives these pieces their majesty is the luxurious materials used for the handles, medallions and chapes: very often nephrite jade inlaid with precious stones in floral arrangements in kundan (a technique for setting extremely pure, fine gold). Two daggers are offered, each priced between €60,000 and €80,000, one of which (reproduced) features an unusual pattern of flowers on the pommel of the hilt, enriched with large leaves and blossoming buds.

KEY FIGURES

487: Number of lots

10: The number of experts and specialists invited to participate in a single specialty—weapons

5: The number of continents explored

€100/200: The lowest estimate for seven brass figurines of First Empire soldiers

€500,000/700,000: Highest estimate for the sword of King Stanislas Poniatowski of Poland

March 6 and 7, 2025: Two landmark days in the history of arms sales

Philippe Missillier Collection

Thursday 06 March 2025 – 14:00 (CET) – Live

Salle 5-6 – Hôtel Drouot – 75009 Paris

Giquello

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Catalogue

Rising interest in ancient coins, ingots and jewelry is attracting collectors to UK auctions

TimeLine’s March 4-9 Antiquities Auction includes outstanding array of rare coins – the “newspapers” of their day – from important civilizations of the past 2,500 years

Hadrian AE Sestertius.

ESSEX, UK – TimeLine Auctions is the modern-day incarnation of a venerable antiques dealership that originated in 1858. Of the many categories featured in their high-profile sales over many decades, one of the most popular has always been precious metals, whether in the form of coins, ingots or jewelry.

TimeLine’s fully-vetted March 4-9 auction presents the opportunity for collectors to acquire some of the finest earth treasures the company has ever handled. The array of rare coins includes examples from the earliest Middle Eastern civilizations as well as Roman, Greek/Mediterranean, Near Eastern, Celtic Britannian, Viking, and Medieval productions. 

It may surprise some to know that ancient coins weren’t just a form of currency; they also served as the “newspapers” of their day. In ancient Rome, to cite just one example, news was spread through coins, each carrying a message, propaganda, or an important announcement. 

Even beginners with little knowledge of ancient coinage can start a historically meaningful collection with pieces offered in the March sale. The catalog descriptions are written by noted industry experts who examine and assess each entry, providing both new coin enthusiasts and seasoned numismatists with the knowledge they need in order to bid confidently. In addition to thorough descriptions, the provenance – or line of previous ownership – is shown in as detailed a manner as possible.  

Let’s look at a few highlights in the upcoming auction, starting with a Roman coin struck 129-130 AD and depicting Hadrian AE Sestertius. A bust of Hadrian, draped and bare-headed, is shown on the obverse, while the reverse bears an image of Justitia on her throne, holding a patera in her right hand and a long scepter in her left. “S C” is shown in the exergue. Graded extremely fine with a brown patina and green highlights, this very rare coin’s ownership can be traced as far back as a 1930 auction conducted by Arts Classica, with a subsequent (2013) sale by Stack’s Bower. Highlighting the coins section of TimeLine’s March auction, it is expected to sell in the vicinity of £1,800-£2,400 ($2,270-$3,025). 

Imagine the thrill of finding a pre-Viking gold ingot while scouring for treasures in the historical Midlands region of England. That actually happened in December 2022 when a woman named Anita Malin was searching with her metal detector in the Harborough district of Leicestershire. Her lucky discovery turned out to be a 5.86-gram Anglo-Scandinavian gold bar, rectangular in shape and equal in weight to 4.5 tremisses. A tremiss is a small, pure gold coin from Late Antiquity worth one-third of a solidus, the primary gold coin of the Roman Empire during its time.  

Ms Malin reported her find to the proper authorities, who declared it a “Treasure” and returned it to her. The ingot will convey together with a copy of the Report of Potential Treasure from HM Coroner, Froleswoth, Leicestershire; a copy of the British Museum’s Portable Antiquities Scheme (PAS) Report, and an illustrated lot declaration signed by the Head of TimeLine’s Antiquities Department, Dr Raffaele D’Amato. The auction estimate is £400-£600 ($500-$760).

TimeLine’s auction of ancient art, books, natural history rarities and coins will start on Tuesday, March 4 and conclude on Sunday, March 9. All forms of remote bidding will be available, including live online either through TimeLine’s bidding platform or LiveAuctioneers. TimeLine Auctions accepts payments in GBP and ships worldwide. Questions: call +44 7494 866514 or email Aaron Hammond at [email protected]. Website: https://timelineauctions.com. 

Tête de Femme by Picasso, a Bronze Sculpture from 1906-1907

This rare bronze edition of a Head of a Woman from 1906-1907 provides an opportunity to revisit a pivotal moment in Picasso’s artistic production. A moment when sculpture sheds light on the painter’s work and reveals his inspiration ..

Pablo Picasso (1881-1973), Tête de femme (Head of a Woman), 1906-1907, probably a 1933 cast by Florentin Godard, bronze with light brown patina, signed, 11.6 x 8.2 x 8.6 cm/4.5 x 3.2 x 3.4 in. Estimate: €100,000/150,000
Pablo Picasso (1881-1973), Tête de femme (Head of a Woman), 1906-1907, probably a 1933 cast by Florentin Godard, bronze with light brown patina, signed, 11.6 x 8.2 x 8.6 cm/4.5 x 3.2 x 3.4 in.
Estimate: €100,000/150,000

Pablo Picasso once said “sculpture is the best comment a painter can make on painting”. Trained in the graphic arts, the Spanish artist embraced sculpture, self-taught and seizing opportunities to learn as they arose. Working in a variety of techniques, Picasso found that mass served as a vehicle for pursuing his thought processes. As early as 1902, influenced by Rodin, he began working in raw clay, but it was from 1906 onwards that he really developed this practice as a way of pursuing his research and resolving pictorial problems. This was a pivotal year in his career, as the exhibition “Picasso 1906. The Turning Point” at Madrid’s Reina Sofía Museum examined last year. Having left behind the psychological aspects of the Blue and Rose periods, the Picasso experimented with a more analytical approach that would become Cubism. Influenced by his visit to the Louvre exhibition of archaic Iberian bronzes, and then by his encounter with early Romanesque and Catalan art during his stay with Fernande Olivier in the village of Gósol, in the Pyrénées-Orientales region of France, he tackled volumetric, synthetic female forms. Picasso had been working for months on the portrait of Gertrude Stein, holding a series of posing sessions without managing to get past a blockage, but his return from Gósol enabled him to get to the heart of the matter and “adjust” the painting from memory. He developed a schematic treatment that can be seen in his sculptures, such as male and female heads. The eyes, often almond-shaped, the nose and the mouth are considered analytically, and seem to form an addition of measurable elements. Going as far as the mask, the barely-modeled faces go straight to the point, displaying no precise expression.

While the documentation from the Musée Picasso, Paris, listed seven examples in 2013, including the one in its collection, others have since come up for sale. This unpublished edition could be the ninth or tenth in this limited series.

A Truly Cubic Sculpture

Our head, identified as that of his partner Fernande, who frequently served as the artist’s model during this period, is the first step towards what the art dealer Daniel-Henry Kahnweiler declared to be “a truly cubic sculpture, a sculpture aimed at creating solids in space, solids with their own existence”. The real breakthrough came with another head, also of Fernande, dated 1909, which attracted particular attention from collectors. In 1910, Ambroise Vollard bought a series of sculptures from Picasso, mostly plaster casts, which he commissioned to be cast in bronze and marketed. Listed under number 12 in Werner Spies’ catalog raisonné, the 1906 Tête de femme is signed on the reverse and bears the inscription (or date) “1933” on the inside. While the documentation from the Musée Picasso, Paris, listed seven examples in 2013, including the one in its collection, others have since come up for sale. This unpublished edition could be the ninth or tenth in this limited series. Vollard worked with several foundrymen, but more particularly, in the case of Picasso’s work, with Florentin Godard, to whom he commissioned eleven bronzes from different models between 1921 and 1939. Art historians Élisabeth Lebon and Diana Widmaier Picasso, count 31 Picasso fonts between 1926 and 1928, although the foundryman’s account books provide no further information on the pieces in question or their commissioners. The estate sale of Godard’s studio in 2004, which included a copy of our Tête de femme (Head of a Woman), revealed an agreement with Picasso, who was concerned to perpetuate and diffuse, through the strength and timelessness of bronze, a fragile work, important in the development of his thought process.

Prestige – Part Two

Tuesday 04 March 2025 – 14:00 (CET) – Live

26 bis, allée Saint-François – 29600 Morlaix – Saint-Martin-des-Champs

Dupont & Associés

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Catalogue

Step Right Up: Freedom Auction Company’s 2025 Circus Memorabilia Auction

Freedom Auction Company of Sarasota, Florida held its signature Circus Memorabilia Auction – The Icons event on February 16, 2025. On offer were over 970 lots of vintage to antique circus, sideshow, and performance related materials. These included promotional posters, collections and archives, stage-worn costumes, miniatures and models, apparatus, and other rarities from well-known troupes, as well as smaller, regional acts. Here are several center-stage highlights that captured the attention of the Auction Daily editors. All prices noted include the auction house’s buyer’s premium.

Lot #0040, a poster for Brigham Young's Great Theatre featuring Dr. Hugh Simmons Lynn, was estimated at $800 to $1,200 and sold for $20,000. Image courtesy of Freedom Auction Company.
Lot #0040, a poster for Brigham Young’s Great Theatre featuring Dr. Hugh Simmons Lynn, was estimated at $800 to $1,200 and sold for $20,000. Image courtesy of Freedom Auction Company. 

Brigham Young’s Great Theatre Poster

The top lot in this circus memorabilia sale was #0040, a lithographed poster for Brigham Young’s Great Theatre featuring Dr. Hugh Simmons Lynn. Estimated at USD 800 to $1,200, it soared to $20,000. This one-sheet broadside promoted the illusionist and traveler Dr. Hugh Simmons Lynn’s appearance at Brigham Young’s Great Theatre in Salt Lake City, Utah in February 1864. This framed example was printed in Belfast and Dublin, Ireland by Marcus Ward & Company. It was illustrated with a front view of the venue’s stage, which is decorated with two classical statues, a painting, a mantle, and a chair. The theater was full of well-dressed men and women paying rapt attention to the performer, who was holding a bird in his hand.

The Salt Lake Theatre, located in Salt Lake City, UT, was the largest building in its area at the time. It was built in 1861 and completed in 1862 under the auspices and oversight of Mr. Brigham Young himself. He believed the project had holy components. Young funded half of the construction costs and monitored the building’s cash flow, safety, and other operations. In existence until 1928, the Salt Lake Theatre was considered in the top four great American performance venues throughout the late 19th and early 20th centuries. 

Lot #0094c, a Ringling Brother Circus Clown wardrobe worn by Lou Jacobs, was estimated at $1,500 to $2,500 and sold for $10,625. Image courtesy of Freedom Auction Company.
Lot #0094c, a Ringling Brother Circus Clown wardrobe worn by Lou Jacobs, was estimated at $1,500 to $2,500 and sold for $10,625. Image courtesy of Freedom Auction Company. 

Circus Clown Costume 

This auction featured a fine collection of stage-worn clothing. Lot #0094c, a Ringling Brothers Circus clown wardrobe worn by performer Lou Jacobs (German American, 1903 – 1992) in the 1950s, was estimated at $1,500 to $2,500 and delivered $10,625. The articles included a matching jacket and pants made from blue and white fabric, red suspenders, a white shirt, and bold red, white, and blue tie. These belonged to Jacobs, a leading, talented, and beloved member of the circus’ Clown Alley for over six decades.

A troupe’s “clown alley” refers to a traditional backstage area where clown entertainers used to dress for their performances and apply their facial makeup. Mr. Jacobs became a member of the International Clown Hall of Fame– located in Baraboo, Wisconsin– in 1989. His clowning achievements included popularizing the now ubiquitous tiny clown car prop and inventing the red rubber ball nose. In 1966, his portrait was featured on a US postage stamp, making him the first living person to achieve that distinction at that time.

Lot #0092a, a Ringling Brothers and Barnum Bailey Circus elephant medallion, was estimated at $800 to $1,200 and sold for $3,750. Image courtesy of Freedom Auction Company.
Lot #0092a, a Ringling Brothers and Barnum Bailey Circus elephant medallion, was estimated at $800 to $1,200 and sold for $3,750. Image courtesy of Freedom Auction Company. 

Circus Elephant Medallion 

Iconic vintage to antique circus apparatus was another key category at this sale. Lot #0092a, a Ringling Brothers and Barnum Bailey Circus elephant medallion, was estimated at $800 to $1,200 and traded hands at $3,750. This blue and white round porcelain medallion had a diameter of 16 inches. These were worn by the performing pachyderms on the front of their decorative headdresses.  

Performing elephants became a signature act with the Ringling Bros. Circus in 1882, when the organization acquired Jumbo the elephant from London. They were a popular attraction for the circus for nearly a century and a half, but not without controversy from animal rights activists and others who were concerned for their welfare over time. In 2016, the circus held its last performance with elephants in Providence, Rhode Island and then subsequently retired the remaining 11 to a conservation center in Florida.

Lot #0001, a Carl Hagenbeck-Wallace Circus poster, was estimated at $600 to $900 and sold for $2,750. Image courtesy of Freedom Auction Company.
Lot #0001, a Carl Hagenbeck-Wallace Circus poster, was estimated at $600 to $900 and sold for $2,750. Image courtesy of Freedom Auction Company. 

Carl Hagenbeck-Wallace Circus Poster

Fine vintage to antique posters and broadsides advertising circuses and acts of yesteryear also caught the eye and wallets of collectors. Lot #0001, a Carl Hagenbeck-Wallace Circus poster, was estimated at $600 to $900 and realized $2,750. This linen-backed, one-sheet lithographed example was from about 1920 and was published by Old Eire Litho. It was illustrated with a portrait of a smiling clown wearing a tiny hat and an oversized neck ruff.

Despite this highlight poster featuring a clown, the Hagenbeck-Wallace Circus was best known for its amazing troupe of trained animals. This circus, second in size only to the Ringling Bros. and Barnum & Bailey Circus at the time, launched in 1907 and was headquartered in Peru, Indiana. The organization closed shop in 1938, but the facility that once served as the circus’ winter home now houses the International Circus Hall of Fame.

Lot #0096, a Hagenbeck-Wallace Circus wagon wheel, was estimated at $600 to $900 and sold for $2,750. Image courtesy of Freedom Auction Company.
Lot #0096, a Hagenbeck-Wallace Circus wagon wheel, was estimated at $600 to $900 and sold for $2,750. Image courtesy of Freedom Auction Company.

Circus Wagon Wheel

Entertainment-related ephemera, artwork, miniatures and models, and other category-spanning collectibles rounded out this annual sale. Lot #0096, a Hagenbeck-Wallace Circus wagon wheel, was estimated at $600 to $900 and traded hands at $2,750. This primarily tan, brown, yellow, and orange wooden example measured 33 inches in diameter and was professionally restored by Wes “Brownie” Brown (American, 1910 – 2012). Mr. Brown worked for both the Wisconsin State Circus World Museum and the Florida Ringling Museum. He was responsible for the restoration of historic circus apparatus and materials.

For more information on Freedom Auction Company’s February 16, 2025 Circus Memorabilia Auction – the Icons, visit LiveAuctioneers.
Looking for more circus memorabilia? Check out Auction Daily’s coverage of Freedom Auction Company’s 2024 circus memorabilia sale.

Bertoia’s March 15 Signature Auction features Smith Collection of early American toys and banks, Part II

Also showcased: Tony Cuff’s European toys, Radiguet boats & English-outline trains; Ira Bernstein’s early Japanese autos; Brad Kaplan’s Lionel trains, trolleys and other brand rarities

Althof Bergmann Santa In Goat Sleigh
Althof Bergmann Santa In Goat Sleigh

Also showcased: Tony Cuff’s European toys, Radiguet boats & English-outline trains; Ira Bernstein’s early Japanese autos; Brad Kaplan’s Lionel trains, trolleys and other brand rarities

VINELAND, N.J. – Any auction hosted by the Bertoia family goes above and beyond with the quality, rarity and condition of its contents, whether the holdings are antique toys, banks, trains or holiday treasures, but there’s an extra level of prestige associated with their Signature Series. Those particular sales place the focus squarely on legacy collections with “name” recognition. On Saturday, March 15, Bertoia’s will conduct its first Signature Sale of 2025, with 500 lots representing four spectacular collections, each steeped in provenance going back many decades. They are:

  • The Curtis and Linda Smith Collection of American tin, squeak toys, mechanical banks, and primitives – Part II
  • The Tony Cuff Collection of German and other European toys, including Radiguet boats and English-outline trains
  • The Ira Bernstein Collection, featuring wonderful early Japanese autos
  • The Brad Kaplan Collection of Lionel trains, trolleys and other rarities from the revered American brand

The auction’s banner collection was amassed over five decades by Linda Smith and her late husband, Curtis. The Smiths were prominent figures in the toy-collecting fraternity and active members of the Antique Toy Collectors of America. Their travels took them to now-historic East Coast and European auctions, shows and markets, where they acquired extraordinarily rare pieces with gilt-edged provenance from collectors who were pioneers of the hobby.

The centerpiece of the Smith Collection Part II is a wonderful late-19th-century Althof Bergmann Santa in a Goat Sleigh. This great rarity is considered one of the finest pieces of American clockwork tin ever produced because of its impressive 20-inch size, bright colors, and whimsical, relatable Christmas theme. The toy is prominently showcased in the Barenholtz/McClintock book American Tin Toys as well as in The Toy Collector by Louis Hertz. When last seen at auction, it was hailed as the best of all known original examples. The auction estimate for this important American toy is $70,000-$140,000.

Also by Althof Bergmann, a horse-drawn tin hook and ladder wagon includes its original firemen figures and, to Bertoia’s knowledge, is the only such example that has ever been offered for public sale. Measuring more than 2ft in length, this classic firefighting toy carries a presale estimate of $12,000-$25,000.

No collection of early American tin toys would be complete without the inclusion of at least one hand-painted George Brown production, and the Smith Collection brings forth one of the best: a clockwork toy version of the Civil War boat the USS Monitor. Made around 1870 – eight years after the original ironclad Monitor was launched – the toy offered by Bertoia’s displays a fine state of preservation and is expected to sell in the $15,000-$30,000 range. 

The Bridgeport, Connecticut, toymaking firm Ives was responsible for some of the most imaginative toys of its time. Several rare and outstanding Ives creations will be auctioned on March 15. Leading the group is one of few known examples of a Hippodrome Chariot, patented in 1875. It may very well be the most imaginatively designed of all Ives horse-drawn toys, and is expected to realize $10,000-$16,000. 

A marvelous toy with a music theme is a 46-inch-long horse-drawn Schoenhut Circus Parade Wagon. This extravagant showpiece with six seated bandsmen figures, a driver and four horses could hit a high note in the $8,000-$14,000 range.

The Continental toy selection is sure to dazzle collectors on both sides of the Atlantic – and beyond – but it will take a first-class bid to sail away with an early-20th-century Marklin (Germany) clockwork Oceanliner Lusitania made in the early 1900s. Liners from this particular Marklin series are admired for their character and artful detail. The 38-inch-long four-funnel Lusitania could glide off to a new owner for $20,000-$40,000.

Among the top highlights from the Tony Cuff collection are a Marklin hand-painted Gauge 1 Churchbury train station, dating to 1913-1923, estimate $8,000-$16,000; and a rare 14-inch-long Marklin hand-painted Gauge 1 clockwork locomotive, $3,000-$6,000. The European lineup also includes a desirable Carette clockwork luxury limousine complete with its original hand-painted driver and three seated passenger figures, one of them a child. Estimate: $7,000-$11,000.

A small assortment of choice mechanical banks will be offered, including a Shepard Hardware Mason bank with gorgeous paint and its original wood box, estimated at $20,000-$35,000; and an elusive 1880s Sewing Machine bank that may have been produced as a giveaway. Estimate: $10,000-$18,000. Additionally, more than 40 still and “safe” banks will be auctioned. 

Coveted post-WW II Japanese toys are led by two large and impressive cars: an ATC 1962 Chrysler estimated at $8,000-$16,000, and an Alps 1953 Packard Convertible Cabriolet, $3,000-$6,000. For Japanese superhero fans, there’s an ASC Aoshin friction-powered Batmobile with a swivel-headed Batman at the wheel. In pristine condition, this scarce toy is estimated at $1,500-$2,500, but it might deliver an auction-day surprise if the right collectors spot it zooming out of the Batcave, headed toward Bertoia’s venue.

The March 15, 2025 Signature Auction will be held live at Bertoia’s gallery located at 2141 DeMarco Drive, Vineland, NJ 08360, starting at 10AM ET. Toys may be previewed the week before the auction by appointment only. Other bidding options include absentee, by phone, or live online through Bertoia Live or LiveAuctioneers. For additional information on any item, to leave an absentee bid, schedule a private-preview appointment, reserve a telephone line for bidding, or discuss consigning to a future auction at Bertoia’s, please call 856-692-1881, email [email protected]. Watch for auction updates on Bertoia’s website: www.bertoiaauctions.com.

Socialite Ann Lytle’s couture fashions, designer handbags and fine jewelry to be auctioned Feb. 27 in Savannah

Collection includes daywear, outerwear, bags, shoes, hats, watches and other accessories by Chanel, Gucci, Valentino, Dior, Hermes, Christian Louboutin, Louis Vuitton, Cartier, Jimmy Choo, Ferragamo, many more

Valentino Long Blue Mink and Leather Studded Vest

SAVANNAH, Ga. – Hard-hearted Hannah may have been the legendary “vamp of Savannah,” but the city’s most colorful personality of recent memory was an art aficionado and community-minded socialite named Ann Lytle. A beloved Savannah figure who passed away in 2024, Lytle’s designer wardrobe and accessories will be offered to a new generation of fashionistas on February 27, at the third and final session of a three-day sale conducted by Everard Auctions.

Ann Lytle was known for her signature style of dress that unapologetically combined artful patterns with vibrant hues to achieve an eccentric, utterly original result every time she stepped outside her charming Bull Street residence in Savannah’s Historic District. Her eye-catching outfits were rivaled only by the colorful furniture and decorative art with which she filled her home. 

Lytle’s extensive collection of couture fashion and accessories will be presented in its entirety in the 447-lot auction. Selections include daywear, outerwear, bags, shoes, hats and other accessories. A Valentino long blue mink vest with leather-studded vertical inserts on both sides carries an estimate of $2,000-$3,000. Many Chanel jackets, long coats, jackets and chic dresses are included. A Chanel 2004 checked tweed long coat and matching skirt set is entered with an $800-$1,200 estimate, as is a wonderful 2019 white minidress with and gold trim and signature gold double-C buttons. 

Extremely reasonable estimates have been assigned to many fashions, such as a Valentino black-and-white striped maxi dress, a Sonia Rykiel fringed multi-colored skirt, and a Kate Spade long jacket with a charming camel motif. Each is guided by a $100-$200 estimate.

An ultra-chic Chanel cream calf leather matelassé En Vogue handbag estimated at $2,000-$3,000 is just one of many desirable Chanel accessories entered in the auction. They join an enviable group of luxury items from other prestigious brands, such as Dior, Valentino, Hermes, Cartier, Christian Louboutin, Givenchy, Jimmy Choo, Louis Vuitton and Ferragamo. 

A large collection of fine jewelry is featured alongside the couture lots, with some pieces coming from the Ann Lytle estate and others from collections and estates in Hilton Head, S.C., and across the Southeast. A showstopping GIA-certified 18K gold Bulgari Fancy Intense Yellow Diamond cocktail ring leads the offering with an estimate of $90,000-$120,000. The 6.52ct yellow diamond is bracketed by a pair of brilliant-cut white diamonds whose total weight is 1.03 carats. Timepieces by Cartier, Rolex, Hermes, Tiffany, Ebel and Omega also await bidders, with a highlight being a sophisticated Cartier 18K gold and diamond oval-face ladies watch estimated at $10,000-$15,000. 

The February 27 Couture, Designer Accessories & Jewelry Auction will start at 10 am EST. View the fully illustrated catalog and sign up to bid absentee or live online via Everard, LiveAuctioneers, Bidsquare or Invaluable. In-gallery previewing is available during normal business hours Feb. 20-21, or at other times by appointment. For more information on any item in the auction, call 912-231-1376 or email [email protected]. Everard is located at 2436 Waters Ave., Savannah, GA 31404. Online: https://www.everard.com  

Asia Week New York Zooms-in on Shifting Landscapes: New Approaches to Modern + Contemporary South Asian Art, on Thursday, February 27

New York: Asia Week New York is delighted to announce that Shifting Landscapes: New Approaches to Modern + Contemporary South Asian Art,is slated for Thursday, February 27 at 4:30 p.m. (EST). To register click here: https://us06web.zoom.us/webinar/register/WN_SYtGBp8VRjKdEAn8fD4kpA 

Gulammohammed-Sheikh-Speechless-City

Over the last decade, the global interest in modern and contemporary art from South Asia and its wide diaspora has grown exponentially. This distinguished panel will unpack some of the new and innovative approaches to modern and contemporary South Asian art that have characterized this period of growth, exploring significant changes in the local, regional and global landscapes of the category, particularly at the institutional level. 

 “We are privileged to welcome two leading experts in the field of contemporary South Asian art,” says Nishad Avari, Specialist and Head of Department for Indian Art at Christie’s New York, who will moderate the discussion.

Perhaps the most important supporter of the growth and evolution of modern and contemporary South Asian art has been the Kiran Nadar Museum of Art (KNMA), a private museum established in New Delhi by the avid collector Kiran Nadar in 2010. Deepanjana Klein, Director of Acquisitions and Development at KNMA, will highlight the museum’s evolution, its unparalleled collection, significant international collaborations and exciting plans.

Shanay Jhaveri, Head of Visual Arts at the Barbican in London, who recently curated the critically acclaimed exhibition, The Imaginary Institution of India: Art 1975-1998. The second in a series of collaborations between the Barbican and KNMA, this important show presented works by more than 30 Indian artists from a vital period of change and creativity in the country and sparked new international engagement and conversations around South Asian art and artists.

About the Panelists

Nishad Avari is Specialist, Head of Department for Indian Art at Christie’s New York. He joined the South Asian Modern + Contemporary Art Department at Christie’s as an Associate Specialist in 2013, with more than eight years of auction experience in New York and Mumbai. Before entering the auction world, he worked on Picasso: Metamorphoses 1900–1972, the exhibition at the National Gallery of Modern Art, Mumbai, Avari has contributed to numerous exhibition catalogues, journals, and news publications. In 2017, he returned to New York to lead Christie’s South Asian Modern + Contemporary Art auctions and was appointed Head of the Department in 2022. He is a member of the Asia Week New York Planning Committee.

Shanay Jhaveri is the Barbican’s Head of Visual Arts. In September 2023, Jhaveri launched a new series of site-specific commissions at the Barbican including Ranjani Shettar’s Cloud songs on the horizon (Barbican Conservatory) and Ibrahim Mahama’s Purple Hibiscus (Barbican Lakeside 2024). His most recent exhibition is The Imaginary Institution of India: Art 1975-1998 which opened at the Barbican Art Gallery in October 2024. Previously, Jhaveri was Associate Curator of International Art from 2016 to 2022 at The Metropolitan Museum of Art in New York where he was responsible for collection building, working on special projects, commission and delivering exhibitions. Among the shows Jhaveri curated are the retrospective Phenomenal Nature: Mrinalini Mukherjee at the Met Breuer in 2019, Alex Da Cortes Met Roof Commission, As Long as the Sun Lasts and Carol Boves façade commission, The seances aren’t helping both in 2021. 

Dr. Deepanjana Klein serves as Director of Acquisitions and Development at the Kiran Nadar Museum of Art (KNMA), where she oversees acquisitions and international institutional collaborations. Previously, she was the International Head of Modern and Contemporary and Classical Indian and Southeast Asian Art at Christie’s. She holds a Ph.D. in Indian Art History from De Montfort University, England, and has taught art history, theory, and aesthetics at both the Leicester School of Architecture and the Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies in Mumbai. A recipient of the Mellon Foundation (ArtStor) grant for her photographic documentation of the Ellora cave temples, she is currently writing a book on the Ellora caves.

Modern Luxuries: Everard Auctions & Appraisals to Offer Jewelry, Timepieces, and More

A collection of fine jewelry, timepieces, and couture from luxury brands such as Cartier, Valentino, and David Yurman will soon come to the market with Everard Auctions & Appraisals. The Jewelry and Couture Auction on February 27, 2025 highlights nearly 450 lots. Check out some of the top items before placing a bid.  

Cartier 18-karat gold and diamond ladies’ watch. Image courtesy of Everard Auctions & Appraisals.
Cartier 18-karat gold and diamond ladies’ watch.  Image courtesy of Everard Auctions & Appraisals. 

Cartier Wristwatch

Among the top lots in this upcoming event is an 18-karat yellow gold and diamond ladies’ wristwatch from Cartier (lot #768; estimate: USD 10,000 – $15,000). This example features an oval-shaped dial ringed with round-cut diamonds. The dial’s shape stretches the Roman numerals on the face, giving an elongated and whimsical effect. An inscription on the watch indicates it was produced in 1954. 

Cartier’s watchmaking division has a long history, stretching back to the early creations of company founder Louis-François Cartier. Joining aesthetic elegance with accurate timekeeping, Cartier watches often push the boundaries of form by responding to shifting fashion trends. These timepieces were already a coveted force in the luxury market by the mid-20th century.

David Yurman 14-karat gold and semi-precious stone cuff bracelet. Image courtesy of Everard Auctions & Appraisals. 

David Yurman Cuff Bracelet

Among jewelry lots, a 14-karat gold and semi-precious stone cuff bracelet is particularly notable (lot #748; estimate: $2,000 – $3,000). Produced by David Yurman, this bracelet is composed of twisted yellow gold with a hook clasp. Two rubies accent the piece, which also bears a David Yurman maker’s mark. 

The available cuff bracelet employs David Yurman’s signature cable bracelet design with its twisted precious metal and clasp closure. Launched in 1983, the cable bracelet was among the brand’s first commercially successful designs, and it remains popular today. The brand’s contemporary designs interweave cables with other styles, layering the bands, crossing them over, and pairing them with unusual gemstones, as seen in the present lot from Everard Auctions & Appraisals. 

Valentino suede chain stitch embroidered Rockstud bag. Image courtesy of Everard Auctions & Appraisals.
Valentino suede chain stitch embroidered Rockstud bag. Image courtesy of Everard Auctions & Appraisals.

Valentino Rockstud Handbag

Collectors will find a range of couture items and luxury handbags in this catalog, including a suede chain stitch embroidered Rockstud handbag from Valentino (lot #961; estimate: $1,500 – $2,500). This statement bag is notable for its colorful embroidery and stud hardware. It measures approximately 10 inches high and 12 inches wide with a flap closure and interior zippered pocket. This bag comes to auction with a Valentino luggage tag, a dust bag, care instructions, and extra thread. 

This modern purse belongs to Valentino’s iconic Rockstud collection. First introduced in 2010, Rockstud shoes and purses are adorned with sharp metallic details inspired by the rusticated masonry of Rome. The resulting style offers an elegant yet subversive fashion statement. Valentino has also produced a line of these embroidered Rockstud bags, which contrast the blocky hardware with effusive, organic embroidery. 

A 14-karat gold money clip mounted with an Indian head coin. Image courtesy of Everard Auctions & Appraisals.
A 14-karat gold money clip mounted with an Indian head coin. Image courtesy of Everard Auctions & Appraisals. 

Money Clip with Indian Head Coin

Other collectible luxury items in this sale include a 14-karat yellow gold money clip mounted with a 1914 Indian Head gold piece (lot #740; estimate: $600 – $800). This unusual clip is textured along diagonal stripes and stamped “14K” on the reverse. The money clip displays the coin’s front, depicting a Native American man wearing a headdress and shown in profile.

American coinage has long featured Native American iconography, which long appeared on Indian Head pennies. These were produced by the United States Mint from 1859 to 1909. Efforts to beautify American coinage by President Theodore Roosevelt in the early 1900s led to the redesign of many pieces. The classic Indian Head pattern was reinvented by sculptor Bela Lyon Pratt for quarter eagle (two and a half dollars) and half eagle (five dollar) coins in 1908. These gold coins were produced until 1929 and are rare collectibles today.

Everard Auctions & Appraisals’ February Jewelry and Couture Auction will begin at 10:00 AM EST on February 27, 2025. To find more information on each of these lots and to register to bid, visit Bidsquare. 

Find additional coverage of this sale– and other auction world news– on Auction Daily. 

Chanel Tweed Jacket and Krugerrand Gold Coin Pendant Lead Everard Auctions and Appraisals’ Upcoming Sale

In the latest Jewelry and Couture Auction from Everard Auctions and Appraisals, nearly 450 quality lots will come under the hammer. The auction features fashion, jewelry, and accessories from the world’s top luxury brands and more. The event will begin on February 27, 2025. Online bidding and the full catalog are available on Bidsquare. 

Chanel 2018 Blue Gold Owl Lesage Fantasy Tweed Jackt
Chanel 2018 Blue Gold Owl Lesage Fantasy Tweed Jackt

Among the top lots of this event is a blue-gold Lesage Fantasy tweed jacket from Chanel (lot #957; estimate: USD 1,000 – $1,500). This intricately crafted tweed features tulle and lace in blues and whites, inspired by the Mediterranean. Ancient Greek coin motifs adorn the gold buttons, bringing history and elegance to the design. This 2018 dress has a cropped top with 3/4 sleeves, patch pockets, and owl buttons.

Chanel 2018 Paris-Greece Coat, Size 36
Chanel 2018 Paris-Greece Coat, Size 36

Another notable lot from Chanel in this sale is a Paris-Greece coat (lot #959; estimate: $1,000 – $1,500). In 2018, Chanel presented the Paris-Greece coat as part of its Cruise 2018 collection, designed by Karl Lagerfeld. Ancient Greece was the inspiration for the collection. The offered coat features diamond-eyed owl buttons, front pockets, and side slits.

Rolex Orchid 18K Gold and Diamond Ladies? Watch
Rolex Orchid 18K Gold and Diamond Ladies Watch

Several luxury timepieces are on offer, including a Rolex Orchid gold and diamond watch for women (lot #778; estimate: $2,000 – $3,000). The Rolex Orchid collection reveals the Swiss watch brand’s dressier side in contrast to its more popular sports models. This version is mounted in an 18-karat gold bracelet with 20 diamonds and a gold-tone dial.

1977 Kruegerrand Mounted in 14K as a Pendant
1977 Kruegerrand Mounted in 14K as a Pendant

Collectors of fine jewelry can consider a 14-karat Krugerrand gold coin pendant (lot #742; estimate: $2,500 – $3,500). This is a South African gold coin that has been set inside a rope-twisted 14-karat yellow gold frame, making it wearable. The piece bears a 14K mark on the back of the surround and weighs 45.3 grams in total. This Krugerrand piece has a pure gold content of one ounce. The pendant features Krugerrand’s iconic design, a springbok antelope in its mount, while the pendant includes a loop for attaching to a chain.

Additional lots of interest include: 

  • A men’s belt with a gold buckle from Gucci (lot #945; estimate: $200 – $300)
  • A spring 2017 purple/pink tweed and Velcro jacket from Chanel (lot #965; estimate: $800 – $1,200)
  • A pair of Louis Vuitton monogrammed snowball boots (lot #966; estimate: $500 – $800)
  • A pair of Chanel 18-karat gold Camelia earrings (lot #737; estimate: $400 – $600)
  • A women’s18-karat gold and diamond watch from Cartier (lot #768; estimate: $10,000 – $15,000)

As an auction house and appraisal company, Everard Auctions and Appraisals is located in Savannah, Georgia. The house conducts auctions featuring a wide range of items, such as fine art, jewelry, and furniture. Besides appraisals, it also offers services related to fine art and antiques. The auction house provides a full range of services through its online auction house. These include conducting an appraisal of the fine art and antiques of a property. Currently, Amanda Everard serves as president of Everard Auctions and Appraisals. She has over 30 years of experience in the antique, fine art, and collectibles field, including as an appraiser on the PBS series Antiques Roadshow. Aside from providing individualized service, Everard Auctions boasts extensive market expertise. Additionally, they provide trusted advice during challenging times for the client.  Everard Auctions and Appraisals’ Jewelry and Couture Auction will begin at 10:00 AM EST on February 27, 2025. Browse the complete catalog and register to place an online bid by visiting Bidsquare.