Unveiled after nearly eighty years in the same collection, this portrait aroused passions. Boudin, Sérusier and Valtat accompanied this nod to Vermeer.
The high estimate was exceeded for this portrait of Jeune Hollandaise by Tamara de Lempicka (see Gazette no. 25), with €1 ,184 ,960 declared for this 1941 canvas. It was only right that connoisseurs should mobilize for this work : unpublished on the market, acquired in 1947 and kept by its owner’s descendants, it was exhibited at the Salon d’Automne in 1944. This portrait, of which a preparatory drawing is known, can be compared with a later version entitled La Hollandaise, executed around 1957 and now in the Lublin Museum in Poland. While referring to Johannes Vermeer’s LaLaitière (1632-1675), the artist combines classical art and modern graphics to create his own artistic language. Transposing the spirit of her time, her model is staged in cinematic fashion, with characteristic sophistication. Shortly before this painting, Tamara de Lempicka had applied the same principle to the theme of Suzanne au bain, sculptural as a classical nude but coiffed in art deco fashion, a painting she had used in 1940 to promote her style, posing alongside it for a photographic portrait. Second place on the podium went to Louis Valtat (1869-1952), with a Vase de fleurs (93 x 68 cm) painted in 1927 and fetching €74 ,704 . Three dragonflies (46 x 55 cm) by Bernard Buffet (1928-1999), painted in oil on Masonite , were listed in the archives of the Maurice Garnier gallery and fetched €68 ,264 . Another change of style came with Les Bergers (71 x 54 cm) by Paul Sérusier (1864-1927), which fetched €56 ,672 . Eugène Boudin (1824-1898) followed close behind, at €54 ,096 , with his view of Fécamp, the port in foggy weather (37.5 x 46 cm), an oil on panel that takes us back in time to 1894.
Through two landscapes, Henry Moret depicts an authentic Brittany. With his impressionistic touch, he pays tribute to a country to which he is intimately linked, inviting us to pure contemplation.
Henry Moret (1856-1913), Rivière de Pont-Aven, Finistère, 1910, huile sur toile signée et datée, 50 x 61 cm. Estimation : 70 000/90 000 €
Henry Moret’s landscapes elude anecdote and tend towards universality. Although they are almost all painted in Brittany, it is often difficult to situate them exactly. This is the case for one of the two paintings presented at this Brest sale, Gros temps, côte de Bretagne (60 x 80 cm), expected to fetch €80 ,000/100 ,000. The painter opens a “window” on nature, as the poet Henri Eon put it. Although human beings are absent from many of his panoramas, two men have a front-row seat to this maritime spectacle, observing a raging sea and a tumultuous sky. It was 1909 when Moret painted this picture. Since 1895, when he met the art dealer Durand-Ruel, he had gradually abandoned the synthétisme he had learned alongside Gauguin in Pont-Aven, and returned to Impressionism. He never completely abandoned it, however, as he exhibited regularly with the Parisian gallery owner Le Barc de Boutteville, alongside the masters of the genre and the Symbolists. Durand-Ruel acquired no less than six hundred and fifty of his paintings and devoted exhibitions to him, both in Paris and New York. Comma-shaped brushstrokes, preferred to flat areas of color, now invade his canvases and take on increasing freedom over the years. Nevertheless, his constructions are always well-balanced and directed by large diagonal lines.
Painted three years before his death, this painting stands out from the rest of his corpus, as it plunges us right into the heart of the forest, in an unspoilt, bucolic setting.
“Henry Moret is the whole of Brittany”.
Although he tended to reduce his palette to his fetish colors of pink and green, Henry Moret still knew how to make tones vibrate with each other, as demonstrated by Rivière de Pont-Aven, Finistère, where the waters play with warm and cold colors and transparency effects. The work confirms Émile Bernard’s judgment of his friend’s stylistic orientation : “He had turned from our synthetic research to Monet’s plein-air school, and that was a surprise to me. […] Far from having weakened his talent, he had strengthened it, far from theories, to life itself, to nature.” Painted three years before its author’s death, this painting stands out from the rest of his corpus, as it plunges us into the heart of the forest, in a preserved, bucolic setting. It is also a reminder of Moret’s eternal attachment to the little Breton town, which made him the painter he wanted to be. He discovered Pont-Aven as early as 1876, during his military service, and returned there after his training in Paris. He met Gauguin there in 1888, by which time he was already a regular visitor : he didn’t stay at the inn like the newcomers, but rented a studio from the harbor master M. Kerluen, with whom he often went sailing and fishing. Henry Moret was a simple, discreet man, living as close to nature as possible. Settled in Doëlan from 1896, he lived in Finistère, 20 kilometers from Lorient and 15 kilometers from Pont-Aven, making it easy for him to get to his favorite places, which he continued to depict until the end of his life, not in a regionalist or folkloric way, but with a timeless spirit of belonging. Thus, in 1959, Henry Hugault wrote in the preface to an exhibition dedicated to the painter by the Durand-Ruel gallery : “Henry Moret is all of Brittany, Brittany is all of Henry Moret.
Highlights: Wonder Woman #1 comic book, Gil Kane and Brian Bolland original cover art, 1929 autographed Babe Ruth baseball card, rare GI Joe and Masters of the Universe sets, Star Wars
YORK, Pa. – Hake’s July 29-30 online-only auction offers collectors a top-notch mix of pop culture rarities crossing literally hundreds of categories. Highlighted by exceptional pieces from long-held collections of every imaginable type, the 1,562-lot selection, with its tremendous variety, makes it possible for everyone to discover and bid on something exciting and special. From original comic art, GI Joe and Star Wars figures to early Disney toys, sports and political memorabilia, the all-inclusive pop culture mix covers all the bases.
In the DC comics domain, the big three are Superman, Batman and Wonder Woman, but to own a copy of Action Comics #1 or Detective Comics #27 – the books in which the Man of Steel and Caped Crusader first appeared, respectively – would be cost-prohibitive for many. That leaves one of the strongest superheroes of all time: Diana Prince, aka Wonder Woman. While she first appeared in All Star Comics #8 in 1941, she earned her own comic book title in summer of 1942. A CGC 3.0 Good/VG example of Wonder Woman No. 1, which retells the origin story of the Amazonian demigoddess and includes the first appearance of her main foe Ares, is a highlight of Hake’s July sale. Written by William Moulton Marston with art by HG Peter. Its auction estimate is set at $20,000-$35,000.
Several outstanding pieces of original comic book art are likely to land in the top 10. First, there’s Brian Bolland’s signed original pen and ink cover art from an early run of 2000 AD, Issue 197, featuring Judge Dredd. The book was released by Fleetway Publications on January 31, 1981, and its cover features an amazing image of Judge Dredd being blown from his Lawmaster motorcycle as an atomic bomb explodes. It is particularly desirable because not all issues of 2000 AD depict the lead character, nor were they all created by Bolland, the British artist most closely associated with Dredd. To many Americans, this issue would have been their first exposure to the futuristic law enforcer from Mega-City One. Estimate: $35,000-$50,000
Next up is Gil Kane’s (1926-2000) original art for the cover of Star Wars Weekly #8 from Marvel UK’s 12-issue comic series that reprinted their American counterpart’s 6-issue Star Wars series. This art is unique to the UK because there was never a US version of this cover, which portrays a fight between Darth Vader and Obi-Wan Kenobi, with C-3PO and R2-D2 in the background and Luke Skywalker, Han Solo and Chewbacca looking on. Fresh to the market from a private collection, it is only the second cover artwork from a Marvel UK adaptation issue ever to come to auction. Estimate: $20,000-$35,000
More than a century after he first stepped onto a pro baseball diamond, the immortal Hall of Famer Babe Ruth is still widely regarded as the greatest baseball player who ever lived. In ESPN’s 2025 Hall of 100, the “Bambino” still holds the #1 spot, followed by such legends as Willie Mays and Ted Williams. In their July auction, Hake’s includes a wonderful collectible from Ruth’s storied career – a 1929 R316 Kashin Publications baseball card clearly autographed (in 1932) by the home run king himself. The card shows Ruth in his Yankees uniform ready to swing at a pitch. PSA-graded 2 (MK) with a PSA/DNA 7 autograph grade, it has an open estimate and has already surpassed its required starting bid of $10,000.
Every Hake’s pop culture auction includes stellar political memorabilia. The July event is no exception. One of the rarest pieces in the entire sale is an Abraham Lincoln and Andrew Johnson 1864 “National Union Ticket” fabric broadside with a 26-star American Flag and the names of 26 electors who represented the Commonwealth of Pennsylvania that year. One of only three examples known to Hake’s political experts, this important broadside was formerly in the collection of legendary collectors Rex and Patti Stark. Estimate: $10,000-$20,000
Three consecutive lots comprise the ultimate Kenner Star Wars Early Bird trio. A Kenner 1978 Star Wars Early Bird Special Early Bird Certificate Package store display, graded AFA 70 EX+, is constructed of thin cardboard similar to the type used for the backdrop of Sears’ Cantina Adventure Playset. It was designed to hold stiff illustrated cardboard envelopes, each containing a sealed kit available for a limited time to mail-order the first set of four action figures (Luke Skywalker, Princess Leia, Chewbacca and R2-D2). This is the only example of its type ever to come to auction in any grade. The first and the best, it’s offered with an open estimate. It is followed in the auction by a 1977 Star Wars Early Bird Certificate Package ($10,000-$20,000) and 1978 Star Wars Early Bird Mail-Way Kit with figures including a Double-Telescoping Luke Skywalker ($20,000-$35,000). All three lots have high grades and are unique in their own way.
Star Wars collectors love the esoteric, and one auction lot that certainly lives up to that description is an extremely rare, factory-sealed 1983 CBS/Fox Home Video VHS tape for George Lucas’ original 1977 sci-fi epic Star Wars. Designed as a drawer box with a fitted inner tray, and retaining its slip case, this obscure tape is one of fewer than five known sealed copies of the 1983 release. Its pre-sale estimate is $10,000-$20,000.
A strong auction performance is expected for a Mattel Masters of the Universe 1983 Battle For Eternia Series 2 window-box gift set, graded AFA 60 Y-EX. The set consists of 5.5-inch-tall figures of both Skeletor and Man-E-Faces with weapons and a 9.5-inch-long Panthor mount. Only two examples of this specific type of gift set have been graded by AFA (both AFA 60Y, none higher), and this marks the first time such a set has ever come to auction. Because of its great rarity and no available comparables from prior auctions, it has an open estimate.
Sometimes it’s good to take a break from politics and world news to reflect on carefree childhood memories, especially those connected with a favorite toy. To many boys and girls of the 1980s, it would have been a dream come true to own a Transformers 1986 Series 3 – Trypticon (Decepticon Dinosaur/City/Battle Station) with its transforming mini-car Full-Tilt and tank named Brunt. However, not many youngsters got their wish.
“It was a giant, expensive toy, so if some other kid in the neighborhood had one, that’s where everyone would congregate,” said Alex Winter, president of Hake’s Auctions. “Few toys have had the staying power of Trypticon – it’s hard to beat a dinosaur-robot combination. Hasbro is still producing Trypticons, and the nostalgia for the earliest versions is huge.” The set in the auction is an especially-rare first-release version that only saw limited production and did not come with a poster, as later versions did. Graded AFA 80 Q-NM, it is one of only four examples of its type to be graded by AFA and the only one in its high grade. The July 29-30 auction marks the first time a set of its exact type will have appeared at auction. Estimate: $10,000-$20,000
Another large and costly toy that relatively few parents could have afforded 40 years ago was Hasbro’s GI Joe Hovercraft (Killer W.H.A.L.E.) Series 3 vehicle, released in 1984. Hake’s July 29-30 auction offers a golden opportunity for Joe fans to own one, factory-sealed and AFA-graded 85 NM+. “Among GI Joe collectors, it’s considered iconic because of its appearances in comic books, TV commercials, on trading cards and in the GI Joe cartoon. It’s one of the toys they clamor for. There was a lot of excitement about it at the GI Joe convention where we promoted it last month,” Winter said. Auction estimate: $10,000-$20,000
From the golden era of toy production comes a rare 1930s (Japan) Mickey Mouse and Betty Boop “Time Is Gold” celluloid wind-up toy, complete with its elusive original cardboard box with pictorial label. The toy’s design includes a smiling pie-eyed Mickey standing beside a simulated clock with movable hands. The only known example retaining its original box, the toy’s line of provenance includes the collections of Thom Carchedi, Monique Knowlton, and Carl Lobel. It is one of the rarest of all Mickey and Betty toys and carries a $10,000-$20,000 estimate.
Hake’s July 29-30, 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 or +1 717-434-1600; or email [email protected]. View the online catalog and sign up to bid at https://hakes.com/.
Rock and roll debuted in the mid-1950s and was an immediate sensation. Starting in the 1960s, the production of merchandise, posters and publications, pins, t-shirts, and other materials related to performers, concerts, and bands launched as its own industry– one that is still thriving six decades later. Today, vintage to modern rock and roll souvenirs are highly sought by collectors. Rock Legends LTD of Las Vegas, NV is presenting its 826-lot Rock Legends Summer Auction on July 13, 2025. The sale includes a fine selection of rock and roll ephemera and other concert materials from little-known to superstar status bands and performers. Here are some fine-tuned auction highlights from this sale.
Lot # 0503A, a gold lame jacket owned and worn by Prince, is estimated at $15,000 to $20,000. Image courtesy of Rock Legends LTD.
The top lot in this sale is # 0503A, a gold lame jacket owned and worn by American singer-songwriter and actor Prince (1958 – 2016), which is estimated at USD 15,000 to $20,000. It is decorated with miniature records made from black felt circles with gold sequin centers. This casual blazer was designed by Andre Van Pier. Prince wore it for a Rolling Stone magazine photo shoot. It comes with a certificate of authenticity and was previously sold in London at Bonhams’ December 2011 Entertainment Memorabilia sale.
Andre Van Pier (1950 – 2008) was a popular American fashion designer best known for garments that featured extensive beadwork and other hand-finished detailing. He also invented a proprietary process that converted gold dust into silken fabrics. His customer list read like a “who’s who” of famous late 20th-century celebrities, and included Princess Diana, Michael Jackson, Prince, Liza Minnelli, and many others.
Lot #0121, a poster promoting a concert given by Boy George, is estimated at $100 to $150. Image courtesy of Rock Legends LTD.
This auction offers a fine selection of late 20th and early 21st-century rock and roll promotional posters. Lot #0121, a concert tour poster advertising a concert given by English DJ and singer-songwriter Boy George (b. George Alan O’Dowd, 1961), is estimated at $100 to $150. This 13-inch by nine-inch first printing example was designed by artist Reuben Rude and illustrated with a colorful peacock wearing a top hat. The show was held at The Fillmore music venue in San Francisco, CA on April 28, 2014.
Reuben Rude was born in San Francisco and resides there today with his family. A lifetime artist, he spent most of his childhood waking hours painting and drawing. He graduated from San Francisco’s Academy of Art College in 1992. He has worked as a freelance painter and illustrator for clients including Disney, Nickelodeon, Sprite, Lipton’s Tea, Smirnoff Vodka, Corona, and Dos Equis. Rude also worked for The Fillmore music venue, designing some of their promotional posters. He created at least 35 of them during his tenure there, including this example for Boy George.
Lot #0534, a concert handbill for a performance by Rod Stewart, is estimated at $275 to $300. Image courtesy of Rock Legends LTD.
Promotional handbills are another premier category in this summer event. Lot #0534, a 2004 concert handbill for a performance by British rock and pop singer-songwriter Rod Stewart (b. 1945), is estimated at $275 to $300. This full-color piece is illustrated with two images of Stewart as a younger man in the background and an image of him as he appeared in 2004 in the foreground. This show was held at the Toyota Center in Houston, TX on April 11, 2004.
Unlike larger concert promotional posters– which were designed to hang on a flat, public surface– concert handbills were designed literally as “handouts” for distribution at music stores, event venues, and other community places where music fans congregated. These were often produced inexpensively and in large numbers for efficient concert marketing. Their ephemeral nature and small scale make them easy to display and collect.
Lot #0583A, a backstage pass from Taylor Swift’s 2009 Fearless Tour, is estimated at $35 to $50. Image courtesy of Rock Legends LTD.
Also on offer in this sale is a wide-ranging and decade-spanning selection of concert backstage passes. Lot #0583A, a backstage pass from Taylor Swift’s (b. 1989) 2009 Fearless Tour, is estimated at $35 to $50. This unused backstage pass is dated October 9, 2009. It is decorated with a black and white headshot of the performer against a swirling green background.
Backstage passes began to take on meaningful cultural significance and reflect social status starting in the 1970s. The earliest ones were simple in design and format; over time, they evolved to reflect each band’s specific branding, logo, image, or concert theme. Today, it is not uncommon to find different levels of concert or performance backstage passes, including All Access, which usually enables unlimited access, and VIP passes for meet-and-greets or other fan-based happenings.
Lot #0727, an unused ticket for a 2006 concert given by Ziggy Marley, is estimated at $35 to $50. Image courtesy of Rock Legends LTD.
This sale rounds out with tickets, photographs, and other associated rock and roll touring ephemera. Lot #0727, an unused ticket for a 2006 concert given by Jamaican musician Ziggy Marley, is estimated at $35 to $50. This general admission ticket granted complimentary admission to the show held on November 21, 2006 at the Coca-Cola Roxy Theatre in Atlanta, GA.
For more information on Rock Legends LTD’s Rock Legends Summer Auction and to place a bid, visit LiveAuctioneers.
Find the latest auction world news, previews, and results on Auction Daily.
In a sale dedicated to the Second Empire, this canvas (145 x 90 cm) painted in 1847 should not leave anyone indifferent. Estimated at €5,000/7,000, Portrait d’une élégante, possibly Lucile Ursule Lemachois (1817-1849), wife of Levavasseur, is magnified by an exuberant stuccoed and gilded wooden frame with neo-rocaille decoration…
In a sale dedicated to the Second Empire, this canvas (145 x 90 cm) painted in 1847 should not leave anyone indifferent. Estimated at €5,000/7,000, Portrait d’une élégante, possibly Lucile Ursule Lemachois (1817-1849), wife of Levavasseur, is magnified by an exuberant stuccoed and gilded wooden frame with neo-rocaille decoration of garlands of roses and pomegranates. The young woman, portrayed here two years before her death at the age of 32, was related by marriage to Édouard-Louis Dubufe (1819-1883). Indeed, the composer Charles Gounod (1818-1893), whose first cousin she was, had married Anna Zimmermann, the sister of the painter’s wife, the sculptor Juliette Zimmermann.
Initially ahistory painter trained by his father and Paul Delaroche, Dubufe made a name for himself as a society portraitist, becoming one of the most prominent painters of the Second Empire, and the great “rival” of Franz-Xaver Winterhalter. His most famous portraits are of Napoleon III (1853, Musée des Avelines), Empress Eugénie (1854, Château de Versailles), Madame F. (1850-1851, Musée d’Orsay) and Rosa Bonheur (circa 1857, Versailles).
Icon of Christ Pantocrator, Cloisonne Enamel Silver Oklad
SOUTH SAN FRANCISCO, CA, July 7, 2025 – Turner Auctions + Appraisals is very pleased to present the Gladyne K. Mitchell Estate on Saturday, July 19, 2025, at 10:30 am PDT. Featuring items mostly from the 17th-20th centuries, the auction features a wide array of fine art; decorative arts; silver; furniture; ancient Greek
and Roman coins; vintage collectibles and toys; and more from the personal collection and residence of the
well-known San Francisco philanthropist and socialite. A few lots from other estates round out the auction.
Gladyne K. Mitchell’s collection of artworks in various media such as oil, watercolor, and gouache includes works by Margaret Keane, Mark Stork, Adrienne Sherman, Rembrandt Van Rijn, Abel Dominique Boye, and other noted artists. The extensive selection of decorative arts is diverse, with religious and devotional items, painted miniatures, Native American and tribal works, boxes of various types, vintage textiles, Asian arts, Murano figures and vases, Royal Doulton jugs, Majolica pieces, and candlesticks and prickets. Among the many silver items, most of them sterling, are tableware, serving ware, and silverware. Furniture lots include small tables, a mirror, slipper chairs, and a child’s rocking chair. Groupings of vintage lots offer cameras, liquors, games, toys, dolls, books, and cookie jars. Some vintage watches, buckles, and jewelry complete the sale.
About Gladyne K. Mitchell
Born and bred in San Francisco, Gladyne Kenderdine Mitchell (1940-2024) was the daughter of Mitchel and Emma Mitchell, a hardworking, industrious, and successful family whose efforts have contributed meaningfully to the betterment of San Francisco and beyond. Educated in the United States, Switzerland, and Italy, Gladyne graduated with degrees in art history and music. Returning to the U.S., she taught kindergarten for several years. Subsequently, following in her family’s real estate footsteps, she worked for her father in property management, then managed her properties after her parents’ deaths.
Gladyne enjoyed traveling and learning other languages, fine dining and wine, and helping others. Well-known in San Francisco society, she was a patron of the arts and a generous benefactor of many charities and organizations, saying “I give to things that I love.” Among those in San Francisco who were recipients of her largesse were the symphony, opera, museums, hospitals, historical preservation, educating underprivileged children, and feeding the hungry in San Francisco.
According to her devoted family and friends, Gladyne was a “class act” who loved art, jewelry, antiques, and beautiful things; these included sumptuous fine jewelry, refined clothing, and chic accessories, many by celebrated designers. The upcoming July 19 sale now opens the doors to her gracious San Francisco home, and invites others to view, acquire, and enjoy her tasteful possessions.
Here below are some highlights of the upcoming online sale (please see lot details in the online catalog):
Lot 137: Artist: Margaret (Hawkins) Keane (1927-2022). Title/Description: “Quiet Redhead.” Signature: Signed lower right. Date: 2004. Medium: Mixed media on board: oils, graphite, possibly pastels. Size: 10 1/4″ x 8 1/4″ (frame 13 3/4″ x 11 3/4″). Good condition. Estimate $3,000-$5,000.
Lot 246: Icon of Christ Pantocrator, Cloisonne Enamel Silver Oklad. Russia, circa late 19th Century. The icon of Christ Pantocrator with ornate cloisonné and champlevé enamel silver oklad, gilt to the inner border and repoussé garment; marked 88 silver; AK (for Antip Kuzmichev, Moscow, circa 1847-1898). Approx. 10″ x 8″. In a church-form giltwood kiot/shadowbox frame (approx. 32″ x 6 1/2″). Appears to be in good condition (not examined out of frame). Estimate $3,000-$5,000.
Lot 143: Artist: Margaret (Hawkins) Keane (1927-2022). Title/Description: Curly-haired woman with a rose. Signature: Signed and dated lower right. Date: 1979. Medium: Oil on canvas. Size: 36″ x 24″ (frame 41″ x 26″). Good condition. Estimate $6,000-$8,000.
Lot 250: Artist: Rembrandt Van Rijn (1606-1669). Title/Description: The blind hurdy-gurdy player and family receiving alms. Signature: Signed in the plate, lower right. Date: 1648. Medium: Etching (Third State). Size:
7″ x 5 3/8″. Condition: light spotting; dampstain lower right margin; slight edge/margin creasing. Estimate $2,000-$3,000.
Lot 92: German Singing Bird Gilt Enamel Music Box. Early 20th Century. The gilt and enamel metal automaton singing bird music box is decorated with 18th-century style figures and castle landscapes. Stamped on base EB, and Made in Germany. 1 3/4″ x 4″ x 2 1/2″. Estimate $1,000-$2,000.
Lot 257: Artist: School of Ignacio de Ries (1602-1665). Title/Description: Saint Margaret of Antioch as a shepherdess. Medium: Oil on canvas. Size: 70″ x 38 3/4″; carved wood frame 79″ x 48 1/4″. Condition: Relined, with allover old restorations. Estimate $2,000-$4,000.
Lot 139: Artist: Mark Stock (1951-2014). Title: “The Butler’s In Love [#83].” Signature: Signed and dated verso. Date Created: 1998. Medium: Oil on canvas. Size: 30″ x 24″ (frame 32 3/4″ x 26 3/4″). Condition good. Provenance: Modernism, San Francisco, gallery label. Estimate $2,000-$3,000.
Lot 222: Set of Capodimonte Porcelain Tableware, 19th Century. The Italian hand-painted porcelains with Capodimonte marks; the pieces with relief decoration of classical and mythological figures. The set includes 10 demitasse cups and saucers, with a lidded sugar bowl; 12 gilt scalloped rim dessert plates with assorted central armorial crests (diam. 8 3/8″); a tureen with horned Bacchus head handles (6 3/4″ x 12 1/2″ x 8 1/2″); and a pair of putti candlesticks (9 3/4″). Together with an associated cavorting putti compote, marked Italy (4 1/8″ x 5 5/8″). Condition: overall very good; several of the cups with tiny rim/surface chips. Estimate $800-$1,200.
Lot 260: Artist: Fausto Giusto (1867 – 1941). Title/Description: Venice Canal scene. Signature: Signed lower left; and on second stretcher. Medium: Oil on canvas. Size: 13 1/2″ x 29″ (frame 27″ 43″). Good condition. Estimate $800-$1,200.
Lot 14: Georgian Irish Sterling Floral Teapot. Hallmarks for Stephen Bergin, Dublin, 1828. The large ornate floral repousse teapot with scrolling handle, and flower finial hinged lid. A cartouche with a worn device/Latin text. Approx. 8 3/4″ tall x 12 1/2″ wide (spout to handle). Approx. 1086 grams. Estimate $700-$900.
Lot 152: Chinese Export Gilt Lacquer Tea Caddy, 19th Century. The rectangular canted-corner tea caddy with intricate gilt decoration of palace and garden scenes, the lid with a central border of dragons, the sides with ornate geometric floral decoration; with brass handles and gilt-metal feet, and chased pewter lidded inserts. 6 1/2″ x 11 1/2″ x 9″. Condition: overall good; wear to gilt (mostly to lid); some corner cracks to lacquer inside lid. Estimate $400-$600.
Lot 256: Artist: Louis Pisani (18th/19th Century) Grand Tour art, After Carlo Dolci (1616-1686). Title/Subject: The Poetry (Allegory). Inscribed verso: “The Poetry by Carlo Dolci, a copy made by Louis Pisani, Louis Pisani’s Picture Gallery, Borgo Ognissanti Second Floor, Florence.” Medium: Oil on canvas. Size: 22″ x 17″; four surrounding portraits on frame 4 1/2″ (frame 41 3/4″ x 36 1/2″). Condition: losses to frame. Provenance: (Label verso) Golden Gate Park Memorial Museum, San Francisco; Louis Pisani after Carlo Dolci; Owner C. P. Huntington, Date of Gift April 20, 1897. Estimate $600-$800.
Lot 205: A Group of Cultured Pearl, Silver and 14k Gold Jewelry. With blue baroque and mabe cultured pearls, including 14k white gold stud earrings, and silver necklaces, earrings and a ring; gross weight approximately 126.09 grams. Estimate $300-$500.
Lot 300: Vintage German Schuco Windup Donald Duck with Box. An original Schuco, Western Germany, windup painted metal Donald Duck with felt coat and hat; with box. Copyright Walt Disney Productions. 6″ tall. Estimate $150-$250.
###
ABOUT TURNER AUCTIONS + APPRAISALS
Based in South San Francisco, Turner Auctions + Appraisals was founded by Stephen Turner to expand and complement the capabilities of Stephen G. Turner Associates,an auction and appraisal consulting firm founded in 2004.Turner Auctions + Appraisals presents online auctions in diverse categories of personal property (www.turnerauctionsonline.com). Among them are Fine Arts, Decorative Arts, Asian Arts, Toys, Jewelry, Militaria, Ethnic Arts, and others. The company offers a range of auction and appraisal services for buyers, sellers, and collectors. Online auctions are held several times a month. Working with leading live and online auction houses on the West Coast since 1991, Turner is a professional appraiser of personal property and seasoned auctioneer. His areas of expertise include fine art, decorative arts, antiques & residential contents.
The company welcomes consignments and appraisals.
For more information about the company, please contact:
Stephen Turner, President
Turner Auctions + Appraisals, 461 Littlefield Avenue, South San Francisco, CA 94080
Like an ode to nature, these airy brooches from Van Cleef & Arpels will be featured in the high jewelry sale orchestrated by Tajan in Paris, which will also feature an imposing historicist necklace attributed to Lucien Falize.
Van Cleef & Arpels, broches paon, échassier et canard en vol, année 1921, platine, onyx et diamants, 8 x 2,4 x 1,4 cm (paon), 6,7 x 3,3 cm (échassier), 6 x 5,2 cm (canard). Estimation : 35 000/60 000 € chaque
From its foundation in 1906, the jewelry house quickly demonstrated a pronounced interest in flora and fauna. While flowers initially dominated the repertoire of creations, birds would later establish themselves as an essential motif. By the 1910s, birds were landing on the lapels of jackets, and feathers were invading hats. Seagulls, hummingbirds, swallows or kingfishers – no species escaped. They are a subtle evocation of the seaside resorts that were very much in vogue during the Belle Époque, when Van Cleef opened several boutiques. The bird in flight with its wings outstretched was an immediate success, and was magnified by the use of platinum – which reached its peak during the Art Deco period – enabling meticulous rendering of the graceful bodies, as well as the feathers and legs with their skilfully studied positions.
The three brooches featuring a peacock, a wader and a duck in flight, all dated 1921 and each estimated at €35,000/60,000, perfectly reveal this craze. Represented in volume on several planes, the birds, entirely paved with rose-cut diamonds, are worked in a very fine pearl setting on a platinum mount, with an onyx cabochon taking the place of an eye. These models are part of a larger series, composing an aviary of “marvelous birds from distant lands” – as the 1922 Van Cleef & Arpels catalog puts it – and species living in France. While a stylization of form is already present, heralding the arrival of Art Deco, the anatomy of the animal and its size remain respected thanks to the setting system, which gives the jewel a sense of movement and suppleness.
Historicist jewelry
In a completely different style, this Diane de Poitiers necklace in yellow gold, polychrome enamel and diamonds, attributed to Alexis Falize, should be one of the sensations of the sale, at €20,000/30,000. The jewel is centered on a rectangular enamel medallion featuring the profile of the great patron of the arts and favorite of Henry II, whose emblems we can identify with her two interlaced DDs and the crescent moon, here diamonds. The necklace is reminiscent of an honorary decoration, mainly due to its three-row neckband composed of floret links held by two enameled round motifs.
This opulent creation is part of the historicist wave that flourished in the decorative arts in the last third of the 19th century, first under the Second Empire and then at the beginning of the Third Republic. In our case, we’re talking about the neo-Renaissance style, mastered to perfection by Alexis Falize. He particularly excelled in reusing techniques used in earlier times to work with gold and enamel. To maintain this high standard, he called on goldsmith Émile Taburet, who specialized in pieces inspired by the great styles of the 16th to 18th centuries.
Attributed to Lucien Falize (1839-1897), Diane de Poitiers necklace, circa 1880, yellow gold, polychrome enamel, diamonds, pearl, numbered 83, gross weight 51.01 g. Estimate: €20,000/30,000
Closely linked with the 18th century, it bears the indelible imprint of the Jouy-en-Josas factory. But the name covers a broad range of painted calicoes and an equally huge collection of colorful motifs.
Indoor jacket decorated with Indian flowers and butterflies, woodblock-printed and glazed in six colors on a tobacco background in toile de Jouy by Christophe-Philippe Oberkampf, c. 1780-1790. June 13, 2016, room 5 – Drouot-Richelieu. Coutau-Bégarie auction house. Messrs Maraval-Hutin and Vuille. Result: €37,497
The success of patterned calicoes, imported from India in the late 16th century and imitated in Europe from the 17th century onwards, was due not to the printing on the fabric so much as the patterns’ resistance to washing. Since antiquity, India has been a past master in producing cotton, whose woven yarn provides a light, strong cloth that can hold almost indelible colors “dyed in the wool”, so to speak. The printing technique, similar to xylography, involves applying a series of wooden blocks to the textile. The relief pattern on the block is first coated with mordants: metallic salts that impregnate the fabric with a solution designed to trap the colored pigments. The wooden relief is then impregnated with color and pressed against the fabric. Polychrome motifs are divided between different blocks, one for each color in the design, and applied to the fabric in turn. In India, and later in Europe, madder red and indigo blue were the most commonly used shades before chemical colors were invented in the 19th century. The print might be combined with pre-dyed fabrics, either fully or reserve dyed, and enhanced with hand-painted brush details. The number of colors and complexity of the techniques used determined the value of a cloth, whether produced in India or Europe. In the second half of the 18th century, Europe broke new ground with the development of copperplate intaglio engraving for patterns that were finer but in monochrome only. In France, in 1803, plates became rollers and printed the patterns continuously, first eliminating clumsy matches and then gradually replacing hand-printing based on woodblocks or copper plates.
The Jouy factory was disrupted by the French Revolution, but found a second wind under the Empire.
Despite these innovations, European painted calicoes were still dependent on imported raw materials, mainly cotton and indigo, until the 20th century. Cotton was undoubtedly the cornerstone of this textile revolution. Before it, the only colored patterns in Europe were achieved with embroidery or weaving. But the colors, the lightness and soon the price of cottons directly threatened French silk and wool factories. In 1686, to protect national production, the Treaty of Louvois decreed a total ban on printed Indian cottons in the kingdom. It was now forbidden to import, manufacture or wear these fabrics. France’s neighbors reacted to this competition less stringently. Contraband in both Indian and European painted cloth began to flourish: an activity supported chiefly by Switzerland and Germany, as well as in Marseille, which was exempted from the ban in 1703. The vital raw materials passed through its port and supplied local factories. Until the prohibition ended in 1759, Marseille was the only place in France where printed calicoes could be found.
Oberkampf’s Success
In 1760, Christophe-Philippe Oberkampf (1738-1815) began producing printed calicoes in Jouy-en-Josas. He was not alone: cotton print factories also developed in Mulhouse, Nantes, Orange, Lyon and Rouen, but they were no competition for the factory that soon conquered Versailles. This was because Oberkampf’s brilliant technical skills and a gift for innovation and communication made him highly successful at court. At first, he produced luxurious polychrome chintzes for clothing and furnishings, many of them designed by Mademoiselle Jouanon and inspired by Indian palampores. By offering a wide range of graded qualities, he catered to all classes of society. After that, copperplate printing led to the birth of a new style influenced by English figurative scenes and Rousseauist ideas. Mainly intended for the bourgeoisie, these designs were the work of the Academician painter Jean-Baptiste Huet, who began working with the factory when it was awarded royal status in 1783. With their pastoral, hunting and everyday scenes, animal and antique motifs, scientific and cultural novelties, “toiles de Jouy” reflected current events and fashions, like wallpapers, which they complemented as “meubles à personnages”: furnishing materials depicting narrative scenes, which were used in armchairs, beds and curtains. Oberkampf cleverly adapted his calicoes to suit regional tastes, such as flowers on a dark background known as “ramoneur”’ (“chimney sweep”), or the rural decor of “Bonnes Herbes” for his Provençal clientele. However, woodblock printing was still used for royal commissions, like the ”Great Pineapple” fabric in Marie-Antoinette’s private chambers at Versailles.
Posterity: A Style More Than a Factory
The Jouy factory was disrupted by the French Revolution, but found a second wind under the Empire, despite the blockades and wars that made the supply of raw materials problematic. Stripes and mignonettes (characteristic small repetitive patterns in one, two or three colors) arose from the innovation of roller printing. The brand-new solid green Jouy invented in 1806 did away with the laborious process of brushing yellow onto blue. As modern tastes were extremely varied, the charming figurative motifs created in the previous century were still printed. They went out of fashion under the Restoration, but made a comeback with the historicist trend of the Second Empire. Initially intended for the bourgeoisie, they were later incorporated into princely interiors and became iconic examples of painted calico. From then on, “toile de Jouy” became more of a style than a production method, and its influence is still seen today in fashion and furniture.
The auction is currently open for bidding and is showing a strong demand on its silver collectibles from designers like. Buccelati, Tiffany & Co, Theodore B Starr, Georg Jensen, Cartier, Japanese Silver, Gorham, Kirk, Barbour
A Rare Mario Buccellati Sterling Silver Pair of Candlestick Made in Italy
Estimated $7500-$8500
Georg Jensen Sterling Silver Parallel Flatware set of 96pcs
Estimated $14000- $15000
Buccellati Sterling Silver Tall Pair of Ostrich Birds
Estimated $12000- $14000
Kirk Sterling Silver 11 OZ Tea Service
Estimated $4500 -$5000
Gorham Chantilly Bowl With Underplate
Estimated $1800 – $2400
Many more rare lots to browse including Jewelry, Scarves, Swarovski, Baccarat and Toys
Pre-Columbian Red Pottery Standing Dog-form Vessel, Colima, Mexico ($600-900)
New Braunfels, TX — Lark Mason Associates is please to announce that bidding is now open for Pre-Columbian Art and Other Works of Art from a Private Texas Collector, a summer auction featuring over 100 distinctive lots. The sale, online at iGavelAuctions.com, runs through July 15th.
A third of the 106 offerings spotlight a vibrant selection of Pre-Columbian pottery from Mexico, Costa Rica, and Peru, with accessible estimates ranging from $200 to $1,200. These evocative works—rooted in ancient ritual and daily life—present a compelling opportunity for both seasoned and emerging collectors. Complementing the collection are fourteen intricately carved and painted African masks (estimates range from $300–700 each); five traditional ceremonial fetishes, including a striking N’Kisi Nail Fetish (estimate: $700–1,000); and a Chinese bronze covered food vessel, dating from the 3rd to 5th century BCE (estimate: $1,200–1,800).
Adding a contemporary dimension to the sale are three watercolors—Double Portrait, Dancer, and La Mujer—by the acclaimed Mexican artist Francisco Toledo, each estimated between $5,000 and $7,000. Also featured are a large leather rhinoceros by British designer Dimitri Omersa (estimate: $800–1,200), a gouache on paper by German artist Horst Antes (estimate: $2,000–3,000), and a ceramic architectural sculpture by American artist John Brickels (estimate: $500–800).
Says Lark Mason: “This is a focused sale filled with character and cultural resonance. With low reserves and inviting estimates, this is a great opportunity for collectors to acquire pieces of historical and aesthetic significance.”
