Move over, Cheetozard! Another Pokémon-themed snack has captured collectors’ attention. This time, it’s an official collaboration, and the packaging is what collectors want. In one of many celebrations of the franchise’s 30th anniversary, Pokémon Pop-Tarts have made their debut at Target, and are already hitting eBay at nearly ten times their original price.

The Pop-Tarts, which are vanilla cupcake-flavored and packaged in a box featuring the franchise mascot Pikachu, are one of over 100 items in an exclusive collaboration between Pokémon and Target. The collaboration was announced on April 15, 2026, with two phases. The Pop-Tarts were part of the first phase of 65 items, which launched on May 2. The remaining 40 items will be available on June 6.

The Pop-Tarts apparently have the highest demand, with scalpers, a frequent problem with Pokémon products, snapping up boxes and listing them online. Entertainment site Dexerto has confirmed that they are reselling for up to $25 on eBay. It’s a low price compared to some Pokémon collectibles, but nearly 10 times the $2.89 cost at Target.

This isn’t the first collaboration between Pop-Tarts and Pokémon. Over 20 years ago, Pop-Tarts released promotions for Pokémon movies. An empty brown-sugar-cinnamon Pop-Tart box offering a prize toy inside, released in 2000 for Pokémon: The First Movie, is currently listed on eBay for $89.99. The listing clarifies that the toy is not included. As of this writing, it has not sold. Commentators speculate that nostalgia for the earlier promotions is part of the appeal of the current release.

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Over 70 years after the end of World War II, efforts to locate artworks stolen by the Nazis and return them to their owners’ families are still ongoing. One painting from the largest looted collection, that of Jewish art dealer Jacques Goudstikker, has been located in Goudstikker’s home country of the Netherlands.

The painting, “Portrait of a Young Girl” by Dutch modern artist Toon Kelder (1894-1973), came into the possession of Hendrik Seyffardt, a Dutch general who collaborated with the Nazis during their occupation of the Netherlands. He was killed by the Resistance in 1943, and the painting remained in his family.

After learning the truth about his family and the painting, one of Seyffardt’s descendants contacted Dutch art detective Arthur Brand through an intermediary. After months of work, Brand confirmed the story. He determined that the painting had been sold in an auction of looted art in 1940, identifying it by a label and a mark on its frame.

The descendant who approached Brand, who wished to stay anonymous, told Dutch newspaper De Telegraaf, “I feel deep shame about the family’s past and am furious about the years of silence. The painting must return to the Jewish rightful heirs.”

Other family members claim that they did not know the painting was looted; although Seyffardt’s granddaughter is said to have told relatives that she knew, and that the painting could not be sold.

Lawyers for Goudstikker’s heirs are calling for restitution, but, because of the statute of limitations, there is little that the authorities can do.

Jacques Goudstikker (1897-1940) was one of the leading art dealers in the Netherlands between the two World Wars. He started working in his father’s art gallery in Amsterdam in 1919 and eventually accumulated a celebrated collection of paintings that focused on Dutch Old Masters. When Nazi Germany invaded the Netherlands in 1940, Goudstikker escaped the country with his wife and their infant son, leaving behind his collection of over 1,000 paintings. Nazi official Hermann Göring took the entire collection.

Tragically, Goudstikker died while crossing the English Channel. After World War II ended, his widow dedicated herself to recovering the paintings, a long, difficult process. It wasn’t until 2006, a decade after her death, that 202 of the paintings, which had been given to the Dutch government after the war, were returned to the family.

Occasionally, individual paintings that belonged to Goudstikker are discovered in private collections. Last year, another one, “Portrait of a Lady” by 18th-century Italian painter Giuseppe Ghislandi, was recovered from a home in Argentina after it was spotted in a photo in a real estate listing.

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A routine morning walk through Norway’s windswept southwest countryside became an extraordinary encounter with the distant past when a local hiker uncovered a rare 1,500-year-old gold sword scabbard fitting beneath the roots of a storm-felled tree. The sixth-century artifact, found in the Austrått district near Sandnes, is one of only about 17 comparable examples known from Northern Europe—an astonishing survival from Norway’s Migration Period.

“I saw a mound in the ground under a tree and poked at it with a stick,” the hiker recalled in a statement to researchers with the University of Stavanger Archaeological Museum. “Suddenly, I saw something that glittered. I didn’t quite understand what I had found.”

What emerged from the soil was no ordinary relic. Measuring just over two inches wide and weighing 33 grams, the gold fitting once adorned the scabbard of an elite warrior’s sword. Richly decorated with delicate filigree and serpentine animal motifs, the object reflects exceptional craftsmanship and likely belonged to a regional leader or chieftain during a turbulent era marked by famine, plague, and climate upheaval.

“The odds of finding something like this are minimal,” said Håkon Reiersen, an archaeologist with the University of Stavanger Archaeological Museum.

Unlike many ceremonial pieces, this fitting shows clear signs of wear, suggesting it was actively used before being deliberately deposited, likely as a sacrificial offering to the gods. Archaeologists believe powerful local leaders may have buried such prestigious objects to reinforce status while seeking divine protection during the widespread societal crises of the sixth century.

“By sacrificing such magnificent objects to the gods, the leaders at Hove confirmed their status and power,” Reiersen explained.

The discovery also strengthens evidence that nearby Hove served as an important regional power center between A.D. 200 and 550, with previous finds in the area including luxury imports, gold artifacts, and ritual deposits.

For collectors and history enthusiasts alike, the find offers a vivid reminder that remarkable treasures still lie hidden beneath seemingly ordinary landscapes. Soon to be displayed at the University of Stavanger’s Archaeological Museum, this golden remnant of an ancient warrior elite adds another fascinating chapter to Scandinavia’s deep and complex history.

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Very few people wake up one morning, stretch, and say, “Today I shall become a frog collector.” Instead, it usually begins with one frog. A whimsical, smiling McCoy frog planter you picked up at a local antique store. A goofy little frog paperweight someone gave you as a joke. A frog magnet that reminded you of a trip, a person, or a feeling. You put it on a shelf and think nothing of it.

But then, it happens. Someone notices.

“Oh, you like frogs!”

Your first thought is likely, “Well, not really—I just have this one.”

But now the idea has been planted. For your next birthday? A handmade frog mug. Next holiday? A beautiful little art glass frog. And slowly, but surely, your brain begins quietly adjusting the story: I guess frogs are kind of my thing.
It has happened. You’ve crossed that invisible threshold. You no longer feel obligated to explain your frogs. You begin to choose your frogs (or they choose you) rather than simply receiving them. And then? You begin to curate them.
That’s when it becomes a collection.

And at some point, you run out of shelf space.

It’s a quiet realization at first. Your shelves are full. The kitchen counter has its designated frog(s). Even the bathroom has several keeping watch. And yet, the collection keeps growing.

So, it moves.

A frog appears on the porch. Another by the front steps. One settles in near the flowerbed, as if it had always belonged there. And just like that, the collection steps outside, and it becomes pretty clear that this is where they belong.

Outdoors, the frogs take on new forms. They’re no longer just small accents tucked onto shelves; they become part of the landscape. Some peep surreptitiously from beneath the hedge, while others strike a flamboyant pose in the middle of the rose bushes. And before long, you start to notice just how many different kinds of garden frogs there are to collect.

The Classics: Concrete and Stone Frogs

Concrete frogs are often the first to appear outdoors. After all, they’re plentiful and readily available at your local garden store, big box stores, or even antique stores if you’re looking to go vintage. Over time, they weather, develop a patina (or lichen, depending on your location), and maybe even a chip or two, but this only adds to their charm. Many, if not most, are unmarked, perhaps locally made, or passed down by your great aunt, Lucille.

Of course, not every frog is content just sitting there gathering moss. Some prefer to get involved.

Not Just Sitting Around

Frog planters have long been a favorite among collectors, particularly those drawn to mid-century pottery. Companies like McCoy produced a range of figural frog planters in the 1940s through the 1960s, often featuring rounded forms, expressive faces, and glazes in rich greens and mottled earth tones. Many depict frogs perched on or beside lily pads, reinforcing the connection between the amphibian and its environment.

Today, these pieces remain widely collected, with typical examples often selling in the $20 to $75 range, while more desirable or well-preserved pieces can climb higher depending on size, glaze, and condition.

Higher-end retail examples and curated offerings can exceed $100, especially for standout forms or pristine-condition pieces.

What makes frog planters especially appealing is their versatility. Indoors, they function as decorative pottery. Outdoors, they become part of the garden itself, holding trailing plants, herbs, or seasonal blooms.

They also represent a natural evolution for the collector. A frog that once sat on a shelf can now serve a purpose, bridging the gap between display and use. And in doing so, it becomes something more than just another piece; it becomes part of the landscape.

The Scene-Stealers

Blending in isn’t really the goal here. In contrast to more traditional garden pieces, these frogs are designed to stand out. This is where the collection really starts to show its sense of humor.

Whimsical frog figures can be found reading, lounging, playing musical instruments, or serving as transportation for a wayward pixie. These are the pieces that make people stop and smile.

Many are made from weather-resistant resin or other composite materials. Other fantastical frogs can be found hanging around in the form of hammered copper or molded aluminum.

Unlike their concrete or bronze counterparts, these frogs aren’t trying to blend in. They’re meant to be noticed, tucked along a walkway, perched near a door, or peeking out from under the delphiniums. They bring a sense of movement and personality to the garden, turning it from a static space into something a little more animated.

They’re also often the pieces that expand a collection quickly. One turns into two, then three, then a small scene begins to take shape—a frog with a book, another on a bike, or one fishing for supper in a makeshift pond. Before long, the garden isn’t just decorated. Now, it’s populated.

And the category doesn’t stop at static figures. Frog-themed wind chimes bring an added layer of movement and sound, turning a visual moment into something you hear as well as see. Whether it’s a copper frog anchoring a set of hammered copper leaves or a more delicate bell-style chime inspired by traditional forms like the Japanese furin, these pieces shift with the breeze and draw attention in different ways. They don’t just sit quietly in your garden; they are front and center.

At the higher end, the scene-stealers clean up surprisingly well. Cast in bronze or other metals, and sometimes in substantial cast stone that mimics the look of carved garden sculpture, these frogs trade in some of the exaggerated poses for a more polished presence. Over time, they develop a patina that softens the finish and settles them into your space. They may not be reading a book or serving as fairy transportation, but they don’t need the help. They get noticed anyway, because, as it turns out, even the serious ones know how to stand out.

Yet some frogs don’t just decorate the garden. They become a part of how it functions.

More Than Just a Pretty Face

At a certain point, the frogs stop just sitting around and start pulling their weight. Frog-themed fountains, pond figures, faucets, rain gauges, and thermometers all find their way into the mix, blending function with just enough personality to keep things interesting.

They mark the weather, move the water, and occasionally stare at you while doing it. It would seem that even the practical ones have opinions. A faucet becomes a conversation piece. A rain gauge feels a little less like a tool and more like happiness. Even the thermometer seems more trustworthy when there’s a frog attached to it.

Now you have a collection in which the frogs aren’t just part of the garden, they’re part of how it works. Proof, if nothing else, that these frogs aren’t just decorative, they’ve officially leapt into usefulness.

At the end of it all, whether they’re tucked into a flowerbed, keeping watch by the door, or keeping the backyard koi population happy, each frog adds something a little different to the space. Some are chosen, some are gifted, and some simply find their way in and stay.

And just think, it all started with one frog.

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A Brief History of the Hoosier State

Long before Indiana became known as the “Crossroads of America,” the region was home to Indigenous peoples whose cultures shaped the land for thousands of years. Paleo-Indians lived in the area as early as 8000 B.C. Later groups, including the Adena, Hopewell, and Mississippian cultures, constructed earthworks, such as mounds, and developed extensive trade networks. By the time Europeans arrived, Native nations such as the Miami, Shawnee, Potawatomi, and Delaware inhabited the region.

Beginning in the late 18th century and accelerating after the passage of the Indian Removal Act in 1830, Native nations in Indiana faced increasing pressure through treaties, land cessions, and forced displacement. Tribes, including the Miami, Potawatomi, and Delaware, were gradually removed from their ancestral homelands, most often under coercive circumstances, as American expansion reshaped the region. These removals profoundly altered Indiana’s cultural landscape, though Indigenous communities and their traditions remain an enduring part of the state’s history.

French explorers first entered Indiana in the late 17th century, establishing trade relationships and forts as part of New France. Control later shifted to Britain following the French and Indian War, then to the United States after the American Revolution. The Indiana Territory was created in 1800, with William Henry Harrison serving as governor. Conflict between settlers and Native peoples culminated in events such as the Battle of Tippecanoe in 1811, a significant precursor to the War of 1812.

Indiana became the 19th state on December 11, 1816. Its location quickly made it a vital transportation corridor. Canals, railroads, and later highways helped earn it the nickname “Crossroads of America.” Agriculture and manufacturing drove much of the state’s growth throughout the 19th and 20th centuries. Cities such as Indianapolis, Fort Wayne, and South Bend became important centers of commerce and innovation.

Indiana also played a notable role in national cultural and industrial development. The state became closely associated with automotive history through the Indianapolis Motor Speedway and the Indianapolis 500. Companies like Studebaker in South Bend helped define early American transportation. From frontier settlement to industrial powerhouse, Indiana’s history reflects both regional resilience and national influence.

The exact origin of “Hoosier” remains uncertain, but the nickname was widely used for Indiana residents by the 1830s. Popular theories connect it to frontier workers, river laborers, or Methodist preacher Harry Hoosier, though no single explanation has been definitively proven. Over time, the term evolved into a proud symbol of Indiana identity.

As the United States prepares to celebrate 250 years of independence, Indiana is focusing on its rich heritage as a place where transportation, industry, and community have long intersected, connecting its frontier past to its modern identity.

Honoring the 250th: Indiana’s Role in America’s Celebration

Indiana is observing America’s Semiquincentennial through statewide initiatives, local programming, and educational outreach coordinated by the Indiana Semiquincentennial Commission. Historical societies, museums, cultural organizations, and community groups across the state are working together to highlight Indiana’s contributions to the broader American story, from its Indigenous heritage and frontier settlement to its role in transportation, manufacturing, and innovation.

Material culture plays an important role in Indiana’s celebrations. Museums, historic sites, and community festivals are incorporating exhibitions, demonstrations, and educational programs that showcase the objects and traditions that define Indiana’s past, from pioneer craftsmanship and agricultural heritage to industrial innovation and automotive history.

Indiana’s identity as the “Crossroads of America” is central to many of these efforts. Transportation history, including canals, railroads, highways, and automotive achievements such as the Indianapolis Motor Speedway, provides a distinctive lens through which the state interprets its role in national development.

Across Indiana, communities are marking the anniversary through festivals, heritage events, public art, and educational initiatives that reflect the state’s diverse cultural influences. These efforts emphasize not only preservation, but participation, encouraging residents and visitors alike to explore the people, places, and objects that continue to shape Indiana’s legacy.

Indiana’s Industrial and Cultural Heritage

Indiana’s strong manufacturing legacy and regional craftsmanship have created a rich landscape for collectors. The state’s industrial history is reflected in everything from transportation and automotive memorabilia to pressed steel toys, glassware, and decorative arts, while its agricultural roots and small-town traditions remain visible in handmade furniture, textiles, and folk crafts.

Indiana is perhaps best known in collector circles for its transportation heritage. South Bend’s Studebaker legacy remains a major draw for automotive enthusiasts, while Indianapolis’ deep ties to racing culture, particularly the Indianapolis Motor Speedway and Indianapolis 500, have made automotive memorabilia a significant collecting category. Signs, promotional materials, model cars, and racing souvenirs all reflect Indiana’s role in shaping American transportation history.

Beyond industry, Indiana has a notable tradition in decorative arts. Hoosier cabinets, prized for their practicality and design, remain one of the state’s most recognizable contributions to American furniture history. Indiana glass manufacturers, including companies producing pressed and decorative glass, also contribute to the state’s broad material culture.

Indiana’s cultural legacy is deeply tied to craftsmanship, particularly through the iconic Hoosier cabinet, one of the state’s most recognizable contributions to American domestic design. Originating in Indiana in the late 19th and early 20th centuries, these freestanding kitchen cabinets were produced by companies such as the Hoosier Manufacturing Company of New Castle and became prized for their efficiency, built-in storage, and innovative workspace features before modern fitted kitchens became common. Available in a variety of styles, from simple utilitarian models to more decorative versions with flour sifters, enamel work surfaces, spice racks, and specialized compartments, Hoosier cabinets remain highly sought after by collectors today. Alongside the state’s historic architecture, Arts & Crafts influences, and longstanding woodworking traditions, they reflect Indiana’s ability to blend industrial innovation with everyday practicality.

Indiana’s agricultural heritage includes one of its most distinctive architectural traditions: the round barn. Once home to more round barns than any other state, Indiana earned the title of the “Round Barn Capital of the World,” with these unusual structures symbolizing early 20th-century innovation in farm design. Built for efficiency and visual appeal, round barns remain prized today as rare examples of rural craftsmanship, preserving an important part of the Hoosier State’s farming and architectural legacy.

Collectors exploring Indiana’s heritage will find a state whose history is preserved not only in its landmarks and institutions, but also in the objects that reflect its role as both an industrial powerhouse and a center of American craftsmanship.

Looking Ahead: America250 Indiana Calendar Highlights

Throughout 2026 – America250 Indiana Statewide Programming: Educational initiatives, exhibitions, and community events marking the nation’s 250th anniversary across Illinois.

Throughout 2026 – America250 Directory of Indiana County Events: Events are laid out by county and date, with clickable event page information.

July 3, 2026 — Two Lights for Tomorrow: A nationwide commemorative moment observed in Indiana communities as part of the Semiquincentennial.

July 4, 2026—Statewide America250 Celebrations: Communities across Indiana will mark Independence Day with enhanced programming, including public readings of the Declaration of Independence, historical reenactments, and local Semiquincentennial festivals.

July 4, 2026—Fourth of July Celebration: 250th anniversary celebration on July 4, 2026, at the Indiana War Memorial in Indianapolis.

July 8, 2026 — Simultaneous Reading of the Declaration of Independence: A coordinated national observance bringing communities together through shared civic reflection.

July 30-Aug 2, 2026: Dubois County Jasper Strassen Fest: 4-day German-themed festival embracing America’s 250th birthday.

Most of Indiana’s events are listed specifically to the host county. Visit the website, https://www.in.gov/usa250/, for more information.

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Collect.com. Connecting collectors to what matters. Search our collector’s database for services, events, resources, and articles about the collectibles you love.

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Never-before-seen archive of Monroe letters, wardrobe, artwork, and deeply personal effects emerges after more than 60 years.

DALLAS, Texas – Heritage Auctions will present one of the most intimate and consequential Marilyn Monroe archives ever to reach the public: The Marilyn Monroe Collection from the Estate of Norman and Hedda Rosten, offered in the June 1 Hollywood/Signature^® Auction.

Timed to the 100th anniversary of Monroe’s birth, this extraordinary trove—unseen for more than six decades—spans 1955–1962 and reveals a profoundly personal portrait of the woman behind the legend. The collection includes handwritten letters, private notes, poetry, watercolors, documents, and personal effects—many previously unknown and never before offered at auction.

These materials capture Monroe in her own voice: candid, searching, witty, and vulnerable. Her writings reflect deeply on love and loss, including her devotion to Arthur Miller and heartbreak following her marriage to Joe DiMaggio. She confronts subjects ranging from a lost pregnancy to emotional fragility and mortality, while also revealing her creative life through poetry, artwork, humor, and intimate correspondence.

For collectors and historians, this archive represents a rare primary source—an unfiltered window into one of the 20th century’s most mythologized figures—forming a powerful narrative of Monroe’s final years in her own words.

The collection, presented in partnership with The Fine Art Group, also includes correspondence from Arthur Miller, offering insight into the emotional complexities of their marriage, and a previously unseen letter from Monroe’s psychiatrist, Dr. Ralph Greenson, detailing the day leading up to her death and its immediate aftermath—an account of exceptional historical importance.

“Marilyn Monroe remains one of the most enduring and influential figures in American popular culture, a presence that has shaped generations and continues to captivate us today,” says Joe Maddalena, Executive Vice President of Heritage Auctions. “While her image and story have been revisited time and again, opportunities to encounter her in such a direct and unfiltered way are exceedingly rare. The extraordinary letters and notes preserved through her intimate and trusting relationship with Norman and Hedda Rosten reveal a side of Monroe that has remained largely unseen—deeply personal, searching and profoundly human. This is not simply a collection of familiar artifacts, but a remarkable archive of primary material that offers fresh insight into her inner world and a true once-in-a-lifetime opportunity for collectors, scholars and admirers alike.”

Monroe met Norman and Hedda Rosten in 1955 through photographer Sam Shaw, forming a close and enduring friendship. The Rostens became part of her inner circle, spending time together in New York, Connecticut, and London, and were among the last to speak with her in her final days.

Monroe shared a particularly meaningful bond with Norman Rosten through their mutual love of poetry, reflected in previously unseen works that reveal a striking dimension of her artistic voice. Hedda later served as Monroe’s assistant, accompanying her to film sets, including The Prince and the Showgirl in London.

Reflecting this closeness, the collection includes Monroe’s personal wardrobe, jewelry, and effects, all gifted to Hedda. Highlights include a Christian Dior wool skirt suit worn during her honeymoon with Joe DiMaggio and jewelry seen in iconic photographs. A circa 1961 phonebook offers a glimpse into her inner circle, listing contacts such as DiMaggio, Miller, Frank Sinatra, Montgomery Clift, Gene Kelly, Carl Sandburg, Sam Shaw, and Lee and Paula Strasberg.

Monroe also formed a close bond with the Rostens’ daughter, Patricia, reflected in keepsakes preserved by the family, including an antique Fabergé clock by Henrik Wigström.

Preserved for more than 60 years, this collection represents a once-in-a-lifetime opportunity to acquire some of the most intimate and previously unseen materials from Monroe’s life, offering a deeply personal narrative of her final years. Whereas Marilyn was so often beset by scandal and sexualization in the public eye, these documents—and the love she shared with the Rostens—offer a more intimate and revealing portrait of the actress than ever offered before: deeply caring, loyal, emotionally rich and complex, creative, expressive, funny, charming, misunderstood, and above all else, deeply human.

Images and information about all lots in the auction, as well as preview information, can be found here.

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www.civilwarshop.com

Email: civilwarshop@gmail.com

3910 Highway 70 East, New Bern, NC 28560

Phone: 252-636-3039

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Astrolabes are considered the supercomputers or smartphones of antiquity. Consisting essentially of a marked disc and a movable pointer, they were used to perform complex calculations to determine latitude, time, elevation, the positions of stars, and more. This made them important tools for astronomy, navigation, and surveying. Many antique astrolabes were as beautiful as they were functional. A remarkable brass astrolabe from the Mughal empire, a stunning example of the craftsmanship and scientific achievements of the time, recently sold for a record price of over £2 million ($2.75 million) at a Sotheby’s auction in London.

The astrolabe sold in the Arts of the Islamic World & India auction on April 29, following an exhibit at Sotheby’s London galleries, its first-ever public appearance. It is an exceptionally large piece, measuring nearly a foot in diameter (29.5 cm, or about 11.6 in) and weighing 8.2 kg (18 pounds). It was commissioned by Mughal nobleman Aqa Afzal and made by brothers Qa’im Muhammad and Muhammad Muqim in May 1612. The brothers were accomplished makers of scientific instruments, but this is only one of two known astrolabes they worked on together.

The skillful brass casting and engraving make the astrolabe a work of art as well as a scientific instrument. What appears to be a layer of graceful arabesques is the rete, a rotating framework with pointers that point to the brightest stars. The kursi, the top crest, is inscribed in nasta’liq, a form of calligraphy used for Persian and Arabic writing, identifying the patron and makers and dating the astrolabe according to the Islamic calendar.

The inscription on the front proclaims it “a perfect astrolabe.” This is not just a reference to the exceptional craftsmanship; it means a complete astrolabe that accounts for all possible altitudes in the sky. The inscription on the reverse identifies the makers, who humbly call themselves “two of the weakest servants [of God],” despite their impressive lineage as “the two sons of Mulla ‘Isa, the son of Allahdad of Lahore, the astrolabe maker of [the Emperor] Humayun.” As the inscription says, making scientific instruments was a family business. It started with Shiekh Ilah-dad, royal astronomer to Humayun, the second Mughal Emperor. His son, ‘Isa, also made astronomical instruments. Qa’im Muhammad and Muhammad Muqim raised their respective sons in the same trade.

The family lived and worked in Lahore, one of the most important cities in the Mughal empire. Today, it is still one of the largest cities in Pakistan. Lahore was a center for art and science. Mughal rulers and nobility were great patrons of both, and the two were intertwined. Mughal architecture, like the famous Taj Mahal, demonstrated skill in engineering as well as an eye for aesthetics. Realistic botanical designs were a favorite for decorative arts, reflecting a fascination with the natural world. And, of course, scientific instruments could also be objects of great beauty.

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GameStop’s reported unsolicited $56 billion bid to acquire eBay may sound like an unlikely pairing, but for collectors, dealers, and hobbyists, the implications could be significant. As one of the world’s largest marketplaces for coins, trading cards, antiques, and collectibles, eBay plays a central role in the secondary market. A major ownership shift could reshape everything from seller fees to authentication services, potentially altering how collectors buy and sell.

eBay’s Role in Collectibles Commerce

For decades, eBay has served as one of the backbone marketplaces of the global collectibles trade. From rare coins and paper money to sports cards, Pokémon, comics, antiques, vintage toys, and more, eBay’s reach has made it a dominant force for both casual collectors and professional dealers. Its auction-style roots helped shape modern online collecting culture, while fixed-price listings, authentication guarantees, and category-specific protections expanded its credibility.

For buyers, collectors, and sellers alike, eBay functions not only as a marketplace but also as a real-time pricing barometer. Sold listings often help establish market trends, comparable values, and shifts in collectibles demand. Any disruption to eBay’s operational structure, fee systems, or trust mechanisms could ripple across multiple collecting industries. For longtime users, the biggest uncertainty may be whether eBay’s broad marketplace identity would remain intact or evolve toward a more corporate, category-driven ecosystem.

GameStop’s Growing Push Into Collectibles

Since its inception and subsequent takeover of EB Games, GameStop has been primarily associated with the video game retail marketplace. However, GameStop has spent recent years repositioning itself within the broader collectibles and enthusiast markets. Under CEO Ryan Cohen, the company has increasingly leaned into trading cards, graded collectibles, and pop culture merchandise, seeking higher-margin opportunities beyond traditional game sales.

GameStop now actively buys and sells PSA-graded trading cards, including Pokémon and sports cards, positioning itself more directly in secondary collectibles markets. This expansion reflects recognition that collectibles, particularly graded and authenticated items, are a growing retail segment.

An acquisition of eBay, while ambitious, could theoretically give GameStop immediate access to one of the world’s largest collectibles ecosystems. This begs the question, what would the pairing of its physical retail footprint with eBay’s online infrastructure look like?

Investors are Skeptical

Despite the headline-grabbing nature of a reported $56 billion offer, investors and analysts have raised serious doubts about its feasibility. GameStop’s available capital and long-term financial stability make financing a deal of this scale questionable.

“We are offering half cash, half stock, and we have the ability to issue stock in order to get the deal done,” GameStop CEO Ryan Cohen said in a CNBC interview. Cohen also acknowledged that he had not yet initiated any conversations with eBay’s management.

Cohen’s CNBC appearance left some analysts unconvinced, as questions surrounding financing specifics and the absence of formal discussions with eBay leadership raised further doubts about the bid’s seriousness.

Many observers view the move as either an aggressive strategic posture or a speculative maneuver rather than an immediately realistic acquisition path. eBay’s entrenched corporate structure and valuation create substantial barriers to standard acquisition tactics.

For collectors, this skepticism matters because while a takeover may be improbable, even speculation can influence corporate priorities and stock valuations, ultimately affecting marketplace users.

The Takeaway?

Whether or not GameStop’s bid materializes into an actual sale, the proposal underscores the growing importance of collectibles as serious commerce. As gaming companies expand further into graded cards and online marketplaces, collectibles are increasingly being treated as major commercial sectors rather than niche hobbies. That shift raises important questions about the independent sellers, small businesses, and specialty dealers who have long served as the backbone of platforms like eBay and the broader antiques and collectibles trade. As corporate influence grows, many wonder whether these foundational players will continue to survive or risk being overshadowed in an evolving marketplace.

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“The sculpture garden is a dynamic art,” explains English landscape historian John Dixon Hunt in the book, Thinking the Sculpture Garden: Art, Plant, Landscape. “It changes through time moment by moment, weather system by weather system, season by season, year by year. The plants grow, mature, and die. Eventually, so do what we normally consider as works of art, but on a different time scale…”

Although these spaces offer the opportunity to view art, as Dixon Hunt points out in his text, they are also spaces where walking occurs. “A garden is seen in and through motion. A freestanding sculpture is to be seen (at least ideally) from all directions, so we need to walk around it, as we do in even a smallish garden.” Viewing and moving, while also embracing natural scenery, is the essence of sculptural gardens. They are places where space appears unlimited, perhaps sky’s the limit, for meditative viewing, sketching, and learning, but also activities outside of art, such as exercising and picnics.

The United States is home to many famous sculptural gardens that feature grand sculptures made by artists both within and outside the country, contemporary pieces, and those sourced from the past. Alongside their year-round displays, many of these parks also host community events and artist sales.

Brookgreen Gardens — Murrells Inlet, South Carolina

Although originally purchased with the intention of being a tuberculosis retreat, the land that sculptor Anna Hyatt Huntington and her wealthy husband, Archer Huntington, bought in South Carolina in 1930 would become what is considered America’s first sculpture garden park.

Still standing today after 96 years and open to visitors, Brookgreen Gardens holds over 2,000 works of art by 430 artists in its permanent collection, often presented through special exhibitions. On view includes the work of historically significant sculptors such as Daniel Chester French, Frederic Remington, Laura Gardin Fraser, and Augustus Saint-Gaudens, alongside more contemporary names like Glenna Goodacre, Herb Mignery, and Sandy Scott. Also included are the sculptures of Brookgreen’s founder, Anna Hyatt Huntington. Outside of art, the park preserves plants from the American southeast and cares for exotic animals at its Lowcountry Zoo. brookgreen.org

Frederik Meijer Gardens & Sculpture Park — Grand Rapids, Michigan

Frequently ranked as one of the best sculpture parks in the nation, the Frederik Meijer Gardens & Sculpture Park offers over 200 sculptures within its northern Midwestern scenery. Alongside its permanent collection are rotating exhibitions that highlight other forms of sculptural garden art, including the recent debut of the Chihuly at Meijer Gardens show, on view until November 1.

Alongside its artistic offerings, which range from Auguste Rodin to Ai Weiwei, nature is a part of the organization’s mission, as its towering artwork stands near waterways, walkways, and meadows. Meijer Gardens also hosts multiple events around Grand Rapids, including master lectures and plant show series, as well as the international art competition and cultural festival, ArtPrize. meijergardens.org

Calder Gardens — Philadelphia, Pennsylvania

Unlike other sculptural art parks, Calder Gardens is dedicated to one artist: Philadelphian sculptor Alexander Calder. Nestled in the heart of Philadelphia on the Benjamin Franklin Parkway, Calder Gardens offers a quiet space where the acclaimed artist’s metal kinetic mobiles sit amongst a vast garden of 37,000 perennials of over 195 varieties, 150 types of trees and shrubs, and 15 kinds of climbers. In and outside its 18,000-square-foot interior space by Herzog & de Meuron, there is a range of Calder’s small hanging pieces to multi-ton sculptures that trace the artist’s 50-year career through rotating installations. caldergardens.org

San Juan Islands Sculpture Park — Harbor, Washington

Upon arriving on San Juan Island, visitors will find the San Juan Islands Sculpture Park. On view are over 150 sculptures from around 90 well-known and up-and-coming artists, including pieces by Lucy Congdon-Hanson, Pokey Park, and Gerry Newcomb. Art lookers can walk five of the 20-acre park’s dog-friendly trails that embrace the beauty of the Pacific Northwest. The park was created in 1998 by Kay Kammerzel as a nonprofit and was formerly a farm and orchard, with many fruit trees and some fence posts from its former life still standing. sjisculpturepark.com

Benson Sculpture Garden — Loveland, Colorado

In the open air of Loveland, Colorado, stands the art of the Benson Sculpture Garden. On display in the 10-acre park is a permanent collection of 188 sculptures, ranging from Western to surrealist styles. Surrounding the sculptures is greenery and colorful garden displays, some of which are maintained by volunteers through an adopt-a-garden program.

Often featured in rankings as a significant modern and contemporary art site, the park attracts thousands of visitors worldwide through its Sculpture in the Park event. Hosted by the Loveland High Plains Arts Council each summer, this year will be its 42nd celebration with an art show and sale occurring from August 7–9. bensonsculpturegarden.org

Storm King Art Center — New Windsor, New York

Originally founded in 1960 by Ralph E. Ogden for Hudson River School painting, the Storm King Art Center reopened in April after closing for the winter season. The New York Hudson Valley 500-acre outdoor museum provides visitors the opportunity to view site-specific commissions, temporary exhibitions, and permanent large-scale acquisitions by artists such as Alicja Kwade, Maya Lin, and George Sugarman within a landscape that includes farmed fields, woodlands, wetlands, and water. stormking.org

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