Modern Art Exchange presents colorful spring sale April 25

'Day Raga,' is a spectacular 1962 oil painting by Syed Haider Raza, one of India's leading modern artists. The Modern Art Exchange images
'Day Raga,' is a spectacular 1962 oil painting by Syed Haider Raza, one of India's leading modern artists. The Modern Art Exchange images

OAKLAND, Calif. – The Modern Art Exchange Spring 2015 Modern Art Auction will be held April 25 beginning at 10 a.m. PST. This auction is loaded with outstanding works of modern art by famous, well-known and “unknown” artists. LiveAuctioneers.com will provide absentee and Internet live bidding

“In this sale we are offering works by artists from around the globe. It could be titled ‘The International Sale,’” says K.C. Seymour, founder and owner of the Modern Art Exchange.

Highly anticipated is a rare, unpublished print by Pablo Picasso.

 

A large oil painting by Lyonel Feininger is well documented.

 

 

An early oil painting by Turkish female modernist Nes’e Erdok is also a standout in the Modern Art Exchange spring auction.

 

 

This 1951 painting by Aaron Siskind is titled ‘Kentucky 7.’

 

 

Edward Weston created ‘Male Portrait’ in 1922.

 

 

This colorful but untitled work depicting flags is by Madge Knight and dates to around 1945.

 

 

This work by Raymond Jonson is titled ‘Watercolor No. 8 – 1942.’

 

The Modern Art Exchange is located at 527 23rd Avenue in Oakland, CA 94606. All works are offered for sale with no reserves. All works are guaranteed to be as described, and the buyer’s satisfaction is guaranteed. For details or viewing by appointment, call 510-350-8875 or email themodernartexchange@gmail.com.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

Morphy’s April 19 auction covers dozens of popular collecting categories

Lionel 385 steam locomotive with 1835 cast tender and 338 red observation car, est. $200-$300. Morphy Auctions image
Lionel 385 steam locomotive with 1835 cast tender and 338 red observation car, est. $200-$300. Morphy Auctions image

DENVER, Pa. – Antique signs, coin-op machines and a huge array of toys are among the dozens of categories represented in Morphy’s April 19 General Antiques & Advertising Auction. More than 600 lots will cross the auction block, with many exciting discoveries to be made. Absentee and Internet live bidding will be available through LiveAuctioneers.

The sale will start at 9 a.m. Eastern Time with early Pennsylvania beer bottles, brewery signs and stoneware jugs that once held whiskey, beer or other beverages. That section leads into other types of advertising – including Coca-Cola – and a selection of coin-op machines and gumball vendors. Also in the mix are scales, match safes, and wall-type dispensers of condoms and other products.

Handmade, handpainted sign for Wolf Run Farm, est. $100-$300. Morphy Auctions image

The ever-popular Halloween category is small but includes two real prizes: a 6-inch-tall papier-mache black cat candy container in fantastic condition, and a painted glass pumpkin-head Halloween candy basket with desirable primitive features, most noticeably a broad, toothy smile.

Papier-mache black cat candy container, 6 inches tall, excellent paint, est. $200-$400. Morphy Auctions image

Painted glass pumpkin head Halloween candy basket, est. $100-$200. Morphy Auctions image An excellent assortment of dolls ranges from German bisque-heads to cloth, composition and paper dolls. Additionally, there are dozens of vintage porcelain half dolls, which have been lotted into groups; as well as doll furniture and miniatures, clothing and accessories; and a very nice selection of bears, animals and soft toys by Steiff and other quality manufacturers.

Ideal composition Shirley Temple doll, 27 inches tall, original wig, est. $300-$500 Morphy Auctions image

Eight group lots of elegant perfume bottles will be auctioned. It’s a widely varied offering that includes beautiful colored and fancy cut-glass containers with stoppers; atomizers, and a few branded bottles.

The lineup of figural cast-iron doorstops is dominated by a full kennel of dogs. The 30+ lots contain representations of some of America’s most appealing breeds.

Figural cast-iron Dachshund doorstop, one of dozens offered in the sale that are in the form of dogs, est. $150-$250. Morphy Auctions image

Next up will be comic character toys, PEZ dispensers, puzzles and games; tin toys, and a small collection of space guns, mostly boxed.

Mickey Mouse tin racecar with white rubber wheels, key included, est. $200-$400. Morphy Auctions image

From a small collection of space guns, mostly boxed, comes this tin-litho friction Mars Rifle with Double Barrel, est. $75-$175. Morphy Auctions image

The train section features many Lionel, American Flyer, Ives and other productions. Examples by Lionel include a 385 steam locomotive with 1835 cast tender and 338 red observation car, estimated at $200-$300; and a 262 loco with 262 tender, 607 Pullman coach and 608 observation car. Rounding out the railwayana section are accessory structures and tunnels; assorted kerosene lamps, oilcans, steam engines and an excellent grouping of old lanterns.

Lionel 385 steam locomotive with 1835 cast tender and 338 red observation car, est. $200-$300. Morphy Auctions image

Large-size lots of baseball cards offer an outstanding opportunity to become an instant collector or fill in the slots in an existing collection. Some of the cards are from Topps and were produced in the 1980s.

Other categories in the auction include toy soldiers, antique optical toys, art glass, clocks and paintings by Berks County (Pa.) artist Margaret Kahler (1930-2010).

From a lot of two paintings by Margaret Kahler (Berks County, Pa., 1930-2010), group estimate $100-$300. Morphy Auctions image

Morphy’s Sunday, April 19, 2015 auction will start at 9 a.m. Eastern Time. For additional information on any item in the sale, call 717-335-3435 or email info@morphyauctions.com.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

Fellows winds quarterly events into monthly ‘Watch Sale’ April 20

Omega Speedmaster chronograph wristwatch, numbered 85494721, stainless steel case fitted to a signed back fabric strap. Estimate: 1,000-1,500 pounds ($1,481-$2,221). Fellows images.
Omega Speedmaster chronograph wristwatch, numbered 85494721, stainless steel case fitted to a signed back fabric strap. Estimate: 1,000-1,500 pounds ($1,481-$2,221). Fellows images.

BIRMINGHAM, UK – Beginning with their April 20 event, Fellows Auctioneers will combine the quarterly specialist wristwatch sale and the specialist pocket watch sale, to be known as “The Watch Sale” and held monthly. This move confirms Fellows’ position as a major force in the UK watch market, holding more specialist watch sales that any other auctioneer.

LiveAuctioneers.com will provide absentee and Internet live bidding.

The Cartier Tank Americaine bracelet watch is 18K white gold with a silvered tapestry dial and diamond set bezel, estimated at 3,000-5,000 pounds ($4,394-$7,323).

A Longines men’s Flyback chronograph wrist watch from about 1964 has a medical heritage showing scales for measuring both pulse and breathing. Stamped 18K with poincon and numbered 7415 1 35, it has an estimate of 3,000-4,000 pounds.

A Chopard Mille Miglia Gran Turismo XL wristwatch, reference 16/8997, serial 1189840, in a stainless steel case, has its box and papers. Estimate: 1,600-2,200 pounds.

To participate in Fellow’s The Watch Sale, either as a vendor or a buyer, contact Conrad Cunningham at 0121 212 5506.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

UK’s NPG features Charles I’s ‘forgotten painter’ Cornelius Johnson

Charles II by Cornelius Johnson, 1639; James II by Cornelius Johnson, 1639; Mary, Princess of Orange by Cornelius Johnson, 1639. All portraits © National Portrait Gallery, London
Charles II by Cornelius Johnson, 1639; James II by Cornelius Johnson, 1639; Mary, Princess of Orange by Cornelius Johnson, 1639. All portraits © National Portrait Gallery, London

LONDON – The first ever display of works by the 17th-century artist Cornelius Johnson, forgotten court painter to Charles I, will open at the National Portrait Gallery on April 15, 2015. “Cornelius Johnson: Charles I’s Forgotten Painter” (April 15 – September 13, 2015) will include four rarely seen portraits of royal children, all from the National Portrait Gallery’s Collection, to tell the story of one of Britain’s most successful and prolific artists.

The portraits of Charles I’s three royal children the future Charles II, the future James II, and Mary, later Princess of Orange-Nassau and are poignant reminders of their tumultuous lives (partly spent in exile), while the fourth, of Mary’s son William, was painted when the boy’s position was in jeopardy. Largely neglected by both British and Dutch art historians, Johnson had the bad luck to be overshadowed as a court painter by Sir Anthony van Dyck (1599–1641), who settled in London in 1632 to work for Charles I, and then to have his own British career curtailed by the British Civil Wars.

Having been trained in the Netherlands, and having painted Charles I and the elite of the period, many of whom were soon to be engulfed in the Civil Wars, Johnson was a chronicler of a doomed generation, on the edge of war. At the age of 50, after civil war had broken out, Johnson emigrated to the Netherlands, where he re-invented himself as a Dutch portraitist, and succeeded against the odds in the tough Dutch art market, dying there a prosperous man.

Johnson is particularly admired for his skillful rendering of his sitters’ rich lace collars and sumptuous textiles and dress. He seems frequently to have been commissioned to paint children. He is also thought to be the first English-born artist to sign and date his paintings as a matter of course, something he probably learned from his training in the Netherlands.

Johnson worked in every scale, from the group-portrait (including his largest surviving English painting, The Capel Family, in the Collection of the National Portrait Gallery and also included in the new display) to the tiny miniature.

The Gallery’s display will contain eight painted portraits and six prints, from the National Portrait Gallery’s primary and archive collections, most of them rarely seen, and three paintings from Tate which have never been previously displayed together.

This will be the first show ever on this artist’s work and it will be accompanied by a publication, Cornelius Johnson, which will be the first book solely focused on Johnson and contains much new research on his life and career.

Karen Hearn, the curator of “Cornelius Johnson: Charles I’s Forgotten Painter,” says: “Cornelius Johnson’s portraits are not grand Baroque constructs. On the contrary, they have a delicacy, a dignity and a humanity that speak directly to present-day viewers. Although he has been for so long in the shadows of art history, it seems that, with the Gallery’s display and the accompanying publication, at last Cornelius Johnson’s time has come.”

Learn more about the exhibition online at npg.org.uk.

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America Is Hard to See opens May 1 at new Whitney

Edward Ruscha (b. 1937), 'Large Trademark with Eight Spotlights,' 1962. Oil, house paint, ink, and graphite pencil on canvas, Overall: 66 15/16 × 133 1/8in. (170 × 338.1 cm). Whitney Museum of American Art, New York; purchase, with funds from the Mrs. Percy Uris Purchase Fund 85.41 © Ed Ruscha
Edward Ruscha (b. 1937), 'Large Trademark with Eight Spotlights,' 1962. Oil, house paint, ink, and graphite pencil on canvas, Overall: 66 15/16 × 133 1/8in. (170 × 338.1 cm). Whitney Museum of American Art, New York; purchase, with funds from the Mrs. Percy Uris Purchase Fund 85.41 © Ed Ruscha

NEW YORK – The Whitney Museum of American Art will open its new Renzo Piano–designed home at 99 Gansevoort Street between Washington and West Streets on May 1, 2015, with an ambitious exhibition that reexamines the history of American art from 1900 to today.

“America Is Hard to See” presents new perspectives on the Whitney’s collection, reflecting on art in the United States with more than 600 works by some 400 artists.

The exhibition—its title taken from a Robert Frost poem that was also used by the filmmaker Emile de Antonio for one of his political documentaries—is the most extensive display to date of the Whitney’s collection. Drawn from the Whitney’s holdings, “America Is Hard to See” examines the themes, ideas, beliefs, visions, and passions that have preoccupied and galvanized American artists over the past 115 years.

Works of art across all media will be displayed together, acknowledging the ways in which artists have engaged various modes of production and broken the boundaries between them. Numerous pieces that have rarely, if ever, been shown will appear alongside familiar icons, in a conscious effort to challenge assumptions about the American art canon.

One of the featured artwork’s is Ed Ruscha’s 1962 work titled “Large Trademark with Eight Spotlights.

(INSERT ARTWORK)

For additional information, visit The Whitney online at www.whitney.org.

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Gaza police seize disputed Banksy ‘weeping goddess’ painting

The Banksy artwork on the door of a destroyed home in Gaza shows the Greek goddess Niobe weeping. Image courtesy of banksy.co.uk
The Banksy artwork on the door of a destroyed home in Gaza shows the Greek goddess Niobe weeping. Image courtesy of banksy.co.uk

GAZA CITY, Palestinian Territories (AFP) – Gaza police have seized a work by famed street artist Banksy from a man who bought it for $200 from a family that later said it was duped, both sides told AFP.

Bilal Khaled, accused of buying the work painted on a door belonging to the Darduna family without telling them its real value, said Friday “the police seized it yesterday under a court order.”

The now homeless family in the impoverished Islamist-run Palestinian enclave says they were “tricked” into parting with the valuable collector’s item.

At the end of February, the artist, who chooses to remain anonymous, released an online video showing three works he painted on the walls of Gaza homes destroyed in Israeli air strikes.

The disputed graffiti shows Greek goddess Niobe weeping on a metal doorway which was all that remained standing of the Darduna family home.

Khaled said it “will be stored at Khan Yunes public library until this issue is resolved.”

Rabie Darduna confirmed this to AFP, adding that the family “has filed a complaint against Bilal Khaled for fraud and to demand justice in retrieving the graffiti.”

Khaled countered: “I’m going to exercise my rights over this graffiti because I have the paperwork to prove that I own it.”

The elusive Banksy produced the artwork during a secret visit to Gaza that was blasted in a summer war last year between Israel and the Hamas movement that runs the territory.

It is now the focus of an increasingly bitter dispute between the Dardunas and Khaled.

Rabieh Darduna, 33, earlier told AFP he had been approached by a young man calling himself Bilal Khaled and claiming to be a news agency photographer and 
journalist.

“He said it was his agency that had painted the graffiti on the door and other doors, and that they now wanted to recover them,” Darduna said.

“He gave me 700 shekels ($180, 165 euros) and went off with the door.”

Darduna said he later felt cheated for letting the door go for so little when collectors have paid more than a million dollars for a Banksy.

The artist’s works were seen as a damning critique of Israel’s bombardment of Gaza as it battled Hamas, destroying or damaging more than 100,000 homes and killing nearly 2,200 Palestinians, most of them civilians.

Banksy’s murals also include a giant cat painted on the last remaining wall
 of a Gaza home playing with a ball of twisted metal.

The artist’s online video about his trip to Gaza was entitled “Make this the year YOU discover a new destination.”

Banksy is believed to have started out as a graffiti artist in London, although his identity remains shrouded in mystery.

His murals have been chiseled out of walls and sold for large sums in the past.

Giant cave replica in France mirrors earliest paintings

Replica of the painting from the Chauvet cave, in the Anthropos museum, Brno. Image courtesy of Wikimedia Commons.
Replica of the painting from the Chauvet cave, in the Anthropos museum, Brno. Image courtesy of Wikimedia Commons.

VALLON-PONT-D’ARC, France (AFP) – French President Francois Hollande on Friday stepped 36,000 years back in time into a darkened, cool cave to admire the earliest known figurative paintings of hands, bears, rhinos and panthers.

But he was actually above ground, inaugurating a giant, millimetre-by-millimetre exact replica of the closely guarded Grotte Chauvet in southern France, unearthed by chance in 1994 by a group of speleologists who discovered hundreds of paintings by our prehistoric ancestors.

Nestled deep in a limestone cliff that hangs over the meandering Ardeche River, the cave is closed to the public so scientists and artists toiled for years to build the 55-million-euro ($58-million) replica down to cloning even the stalactites and stalagmites that pepper the real cavern.

The giant cave reproduction, which from the sky is shaped like a bear’s paw, stands on a lush hill close to the small town of Vallon-Pont-d’Arc, just one kilometre from the real deal, which last year became a UNESCO World Heritage site.

The visitor walks down a long ramp to get into the building housing the replica, entering a darkened, cool and humid place that mirrors conditions in
the grotto.

Then just like in the real cave, people stick to a walkway that takes them past replica bones and the skull of an Alpine ibex, a species of wild goat.

The drawings reveal themselves as the visitors walk further into the fake cave, a total of 1,000 paintings including 425 animals – among them bears, rhinos, big cats and owls.

These have been reproduced using charcoal, just like our Aurignacian ancestors did some 36,000 years ago.

The paintings are more than twice as old as those in the famed Lascaux caves also in southern France and more discoveries could be found in remote parts of the cave as yet unexplored.

Using ultra-modern techniques such as 3D imaging, engineers, sculptors, painters and visual artists faithfully reproduced the paintings.

A team of 10 people in Paris also worked for four years to reproduce stalactites, stalagmites and other formations present in the Grotte Chauvet itself.

Authorities hope that the giant replica will attract some 350,000 visitors a year when it opens to the public on April 25.

 

‘Earliest known drawings’

Hollande spent about an hour on the winding path through the replica and gushed enthusiastically afterwards.

“This is where man invented painting … here, with a single handprint, they invented self-portraits … and when they played with shadow and light, they invented cinema,” said the president.

“I will never stop saying it wherever I go in the world: You want to know where you come from? Come to the cave at Pont d’Arc and you’ll be right at home.”

Archeologist Jean-Michel Geneste told AFP: “The path through the replica is
exactly the same as in the original cave, for the very reason that the original cave is laid out with a sort of progression.”
”The visitor to the replica gets the same impressions and in the same order.”

In June, UNESCO awarded the cave its prestigious World Heritage Status, saying it contained “the earliest and best-preserved expressions of artistic creation of the Aurignacian people, which are also the earliest known figurative drawings in the world.”

The opening of the cave, located about 25 meters underground, was closed off by a rockfall 23,000 years ago.

It lay undisturbed until it was found by three French cave experts and almost immediately declared a protected heritage site in France.

“Its state of preservation and authenticity is exceptional as a result of its concealment over 23 millennia,” UNESCO said.

Artifacts lost in 1824 shipwreck returned to Hawaii


Portrait of King Kamehameha II of Hawaii attributed to John Hayter, 1824, Iolani Palace. Image courtesy of Wikimedia Commons.
Portrait of King Kamehameha II of Hawaii attributed to John Hayter, 1824, Iolani Palace. Image courtesy of Wikimedia Commons.

LIHUE, Hawaii (AP) – A museum in Hawaii is preparing to open a treasure trove of artifacts from the shipwreck of a royal yacht sunk off the coast of Kauai 191 years ago.

Richard Rogers, a Hawaii shipwreck chaser, worked with scientists from the Smithsonian Institution to dredge up the findings from the ship owned by King Kamehameha II, aka Liholiho, the second king of Hawaii.

“We found gold, silver, Hawaiian poi pounders, gemstones, a boat whistle, knives, forks, mica, things from all over the world, high- and low-end European stuff. Every bit of it is royal treasure,” Rogers said.

Rogers volunteered his time aboard his research vessel, the Pilialoha, over a five year period in four-week intervals from 1995 to 2001 to pull up the treasures.

“It’s all pickled and nice and ready to be displayed,” Rogers said. “There are over a thousand artifacts. We did our homework and this find is invaluable because it all belonged to the king. It is a fabulous window into the 1820s.” Rogers said the king’s belongings were buried in 10 feet of water and 10 feet of sand. His favorite discovery was a trumpet shell.

“I found it under a bunch of sand and carried it onto the deck. This was in 1999. I blew it and it made the most beautiful sound going out over Hanalei Bay,” Rogers recalled. “I thought about how it hadn’t been blown in over 170 years.”

Kamehameha II purchased the yacht from George Crowninshield II, who named it “Cleopatra’s Barge” in 1816. According to historian and Kauai Museum volunteer Zenon Wong, it cost $50,000 to build the 192-ton yacht. Rogers said it was the first luxury ocean-going yacht built in the United States.

Wong said reports were conflicting about the condition of the crew of the 83-foot long ship, which had been renamed Haaheo o Hawaii (“Pride of Hawaii”). Some documents indicate everyone on board was drunk April 6, 1824, when the ship went aground on a shallow reef. Other historical accounts report everyone was intoxicated except the captain. The cause of the wreck is unfounded but speculation shows it may have been the combination of an unexpected wind gale and a snapped anchor cable.

There are no reports that anyone died aboard the ship, which was crewed entirely by Hawaiians. The principal value of the artifacts is historical, said Paul F. Johnston, Ph.D., Curator of Maritime History at the National Museum of American History Smithsonian Institution. They represent the only known objects from the short but intense reign of Kamehameha II, the man who abolished the Hawaiian kapu (taboo) socio-cultural system and allowed Christian missionaries into the kingdom.

“He only reigned from 1819-1824, but Old Hawaii changed forever and irrevocably from the changes he put into place during that short period. He was an important member of our nation’s only authentic royalty,” Johnston said.

The State of Hawaii owns the artifacts and loaned them to the Smithsonian for conservation and study. The findings were in the custody of the Smithsonian from the time of their recovery, with the exception of some artifacts going to the Underwater Conservation Lab at Texas A&M University. Those objects were returned to the Smithsonian after cataloging, conservation and stabilization. Several years ago a sampling of the artifacts were displayed at the Smithsonian. Four crates of recovered artifacts weighing nearly 1,200 pounds were delivered to the Kauai Museum in March. Two to three additional crates are scheduled for delivery and will complete the collection.

Kauai Museum Director Jane Gray said she expects to open the the crates soon and unveil the contents to the public after everything has been carefully unpacked.

Copyright 2015 Associated Press.

All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-09-15 1256GMT

Morphy’s Las Vegas Automobile Auction debut set for April 25

Rosso Corsa 1986 Ferrari 328 GTS with beige interior, 3.2-liter V8 engine and 16,000 original miles. Est. $85,000-$110,000. Morphy Auctions image

LAS VEGAS, Nev. – More than 40 fresh-to-the-market classic cars are lined up and ready to take the spotlight at Morphy’s inaugural West Coast Automobile Auction, April 25th in Las Vegas. Rare Porsches, Jaguars, ’60s muscle cars and other top-notch vehicles will be offered, each hand-chosen for the boutique event by Morphy’s uncompromising automotive experts, with quality and originality in mind. Absentee and Internet live bidding will be available through LiveAuctioneers.

At Morphy’s first automotive auction, held at the company’s flagship Pennsylvania showroom in October 2014, 40 premier vehicles were sold, including a 1987 Ferrari Testarossa that realized $85,800; a 1952 Jaguar XK120 that reached $88,000; and a 1955 Porsche Speedster that commanded $198,000. 

The April Las Vegas auction will follow — and likely exceed — that success, with featured lots such as an extremely rare 1948 Pontiac Silver Streak “Woody” wagon, outfitted with nearly all available options for its model year, including Hydramatic transmission. Additionally, the Woody retains its original canvas top, wood panels, interior details and floor mats, as well as original books and advertising brochures.

“There isn’t a beach in California where this beauty wouldn’t turn heads. It’s quite likely the finest known original example of a standard-model 1948 Pontiac Silver Streak Woody and has only 35,000 original miles on its odometer,” said Bill Windham, VP of Morphy’s Automobile division. But as desirable as this car might be to well-heeled surfers and Malibu millionaires, it has never been used to haul longboards. It has had only two owners, the first being a wealthy family from Cleveland who traveled round trip in the classy station wagon to their summer home in the Catskills. The second owner is the person who has consigned the car to Morphy’s April 25 auction.

“It wasn’t an everyday car by any means, and undoubtedly it was stored in a climate-controlled garage, because it’s in fantastic condition,” said Windham. “It looks brand new.” The Woody is estimated at $150,000-$175,000.

Another standout in the auction is a blue 1955 Porsche 356 Pre-A 1600 Speedster, with a 1964 Porsche 356C motor and vintage livery from its participation in the La Carrera Classic. Held by the same owner since 1975, this rare model has 40 years of maintenance records, rally history, and a factory COA. Estimate: $250,000-$275,000.

This 1951 Chevy 3100 pick-up truck is fully restored to the highest standard with rare options, estimate $40,000-$50,000.

The auction also features several unique motorcycles, including a jaw-dropping, custom-built, 2009 Big Bear Choppers Criss Angel “Believe” tribute motorcycle, powered by an S&S Cycle X-Wedge 114-CID engine, with a dramatic black-and-red-flame paint job and only 25 original miles. It’s entered with a $25,000-$30,000 estimate.

For speed and Italian style, you can’t beat this iconic Rosso Corsa 1986 Ferrari 328 GTS with beige interior, 3.2-liter V8 engine and only 16,000 original miles, estimate $85,000-$110,000.

Morphy’s April 25 Las Vegas Automobile Auction will start at 12 noon Pacific Time / 3 p.m. Eastern Time, with absentee and Internet live bidding available through LiveAuctioneers. For additional information on any automobile or motorcycle in the auction, call Bill Windham at 717-335-3435; email bill.windham@morphyauctions.com.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.