R.I.P.Jacques Rivette

Shabti of the sedjem-ash Hesymeref, worker at Deir el-Medineh, Egypt, New Kingdom, end 18th Dynasty, circa 1320 BC. Wood. Height 19 cm. Harmakhis galerie at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance:
Provenance: Collection Omar Sultan Pacha, Cairo, early 20th century

Literature:
Published : Aubert, J.-F., Les statuettes funéraires de la collection Omar Pacha in Chronique d’Egypte 50 (101), 1976, p. 62, n° 283 ; Wiese, A. B., Ägypten. Augenblicke der Ewigkeit, Mainz, 1997, pp. 191-2

Composite head of a worshipper or deity, Sumerian, 2550-2250 BC. Alabaster, lapis lazuli, and brown limestone. Height 10.8 cm. Harmakhis galerie at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: ex. collection Borowski, 1966 ; ex French private collection

Literature: Christie’s, Antiquities, New York, 6 December 2007, lot. 59

Harmakhis galerie (stand 439) - Director: Jacques Billen

A graduate in History of Art and Archaeology and Oriental Philology and History of the Université Catholique de Louvain, Jacques Billen is first and foremost a specialist in ancient Egyptian art. Nevertheless, he also offers a nice selection of classical antiques and occasionally from the Middle East. 
In parallel with his career as an antiquities dealer, Jacques Billen is also an expert in Egyptian art. As such, he provides valuable advice for a great number of collectors and institutions around the world, and also participates on various expert committees at several famous international fairs. 

Contact: Galerie Harmakhis
Rue des Minimes, 17
1000 Brussels
Belgium
T  + 32 (0)71 81 31 64
M   + 32 (0)475 65 02 85
F  + 32 (0)71 81 31 64
www.harmakhis.be
harmakhis@skynet.be 

Business hours: Thurs - Sat 2pm-6.30 pm, and by appointment.

Hemmerle. Brooch. Aluminium, white gold, sapphires, diamonds. Hemmerle at TEFAF 2016 © TEFAF Maastricht, 2015

Hemmerle. Earrings. Aluminium, bronze, white gold, demantoid garnets. Hemmerle at TEFAF 2016 © TEFAF Maastricht, 2015

Hemmerle (stand 141) - Directors: Christian Hemmerle, Sylveli Hemmerle, Stefan Hemmerle 

In today’s world where craftsmanship, individuality and authenticity are increasingly rare, Hemmerle is one of the last pillars protecting a unique family heritage of superior craftsmanship. The tradition was established in the 19th century when the brothers Joseph and Anton Hemmerle were appointed by the Bavarian Court as purveyors of medals and ornaments. In 1904 Hemmerle opened its doors on the Maximilianstrasse offering traditional designed jewellery of exceptional quality. 1971 bore witness to the re-invention of the Hemmerle brand under the direction of Joseph's grandson Stefan, a visionary with a sculpture's eye. 

Today the house remains a fourth generation family business with Stefan at the helm his wife, Sylveli, his son Christian and daughter-in-law Yasmin by his side. The entire family is involved with each intricate design and is immersed in every detail to give a unique stamp of personality to every piece that leaves the Hemmerle atelier.

Contact: Hemmerle 
Maximilianstrasse 14
80539 Munich
Germany
T  +49 89 24 22 60 0
F  +49 89 24 22 60 40
www.hemmerle.com
info@hemmerle.com 

Pierre Paulin (Paris 1927-2009 Montpellier), Cathedral table, France, 1981. Aluminum and glass, 74 H x 140 x 140 cm. Edition Arcurial. Numbered '2/30'. Only 3 were made. Demisch Danant at TEFAF 2016 © TEFAF Maastricht, 2015 

Provenance: Madame Dominique Paulin

Michel Boyer (1935-2011), Desk, France, 1970. Brushed stainless steel, walnut, 74 H x 240 x 100 cm. Demisch Danant at TEFAF 2016 © TEFAF Maastricht, 2015 

Provenance: Designed for the office of Elie de Rothschild Rothschild Bank, Paris

Demisch Danant (stand 610) - Directors: Suzanne Demisch, Stephane Danant

Demisch Danant was founded in 2005 by principals Suzanne Demisch and Stephane Danant. The gallery specializes in twentieth century French design with an emphasis on the late 1950s through the 1970s and represents the work of Maria Pergay, Pierre Paulin, Joseph André Motte, Pierre Guariche, Michel Boyer, Philippon & Lecoq and René Jean Caillette. Curated exhibitions on historical work are presented within environments that reference architecture and interiors of the era. 

The gallery also features exhibitions concerning the intersection of architecture, design and art, including the work of Sheila Hicks, Felice Varini, Krijn de Koning. 

Demisch Danant is dedicated to research and scholarship on French design and has published and authored monographs including, Antoine Philippon and Jacqueline Lecoq and Maria Pergay: Complete Works 1957-2010. Current projects include a comprehensive monograph on seminal designer Joseph André Motte.

Contact: Demisch Danant
30 West 12th St
New York, NY 10011 
United States
T  212.989.5750 
http://www.demischdanant.com
info@demischdanant.com 

Paris
France
T  +33(0)6 86 48 60 70
http://www.demischdanant.com
stephane@demischdanant.com 

Georg and Franz Hagenberg Braun, Civitates Orbis Terrarum, Cologne, circa 1572-1575. Coat-of-arms of Philipp Eduard Fugger (1546-1618) to binding
; Inscription of Paul Graf Fugger-Kirchberg-Weißenhorn (1637-1701) to upper pastedown
; (?) Dr. Werther Munich blind stamp to upper flyleaf; Otto Schäfer Stiftung, Schweinfurt, Germany. Crouch Rare Books at TEFAF 2016 © TEFAF Maastricht, 2015

Literature: Mark Häberlein, The Fuggers of Augsburg: Pursing Wealth and Honour in Renaissance Germany, Virginia, University of Virginia Press, 2012; Koeman, Atlantes Neerlandici, vol.2, 10; Van der Krogt IV 41:0 and 41:1.2M, LondonBLI; F. Donald Lach, A Century of Wonder, vol. II of Asia in the Making of Europe, Chicago, University of Chicago Press, 2010, book 1, 28; Phillips 59?; Shirley, British Library T.BRA; R.A. Skelton, Introduction to Civitates Orbis Terrarum: Facsimile of the Cologne Edition, by Georg Braun and Frans Hogenberg, Amsterdam, Theatrum Orbis Terrarum, 1965 

Bartolomeo Olives, Portolan chart of Europe, Mallorqui en Napols, 1550. Pen, ink, and wash colour on vellum, 56 x 94.5 cm. Crouch Rare Books at TEFAF 2016 © TEFAF Maastricht, 2015

Literature:
Richard L. Pflederer, Census of Portolan Charts & Atlases, privately published, 2009; Pflederer, Finding Their Way at Sea: The Story of Portolan Charts, the Cartographers who Drew Them and the Mariners who Sailed by Them, Houten: Hes & De Graaf, 2012, 98

Crouch Rare Books (stand 702) - Directors: Daniel Crouch, Nick Trimming

Daniel Crouch Rare Books is a specialist dealer in antique atlases, maps, plans, sea charts and voyages dating from the fifteenth to the nineteenth centuries. Our carefully selected stock also includes a number of fine prints and globes, and a selection of cartographic reference books 

Contact: 4 Bury Street, St James's
London, SW1Y 6AB 
United Kingdom
T  +44 20 704 202 40
M   +44 77 66 75 13 91
crouchrarebooks.com
info@crouchrarebooks.com

1930 Rolls-Royce Phantom II Torpedo Sports by Barker. Estimate $2,500,000 - $3,500,000. Unsold. Courtesy of RM Sotheby’s

Chassis no. 179 XJ - Engine no. YJ45 - Registration no. GJ 11

120 bhp, 7,668 cc inline six-cylinder engine, four-speed manual transmission, front and rear semi-elliptical leaf-spring suspension, and four-wheel power-assisted drum brakes. Wheelbase: 150 in.

• An incredibly advanced and detailed early streamlined design
• Believed to have been originally delivered to Maharaja Gulab Singh of Rewa
• Formerly of the Vojta Mashek and Dr. Samuel Scher collections
• Perhaps the most sporting and dramatic Phantom II ever built

Most famous as the longstanding coachbuilder to British royalty and a favorite of Rolls-Royce Ltd., Barker frequently produced coachwork of fine quality and conservative mien. Occasionally they would throw off their razor edges and build something that was really dramatic and spectacular, most prominently for London Motor Show exhibits. The 1930 show introduced a two-passenger Phantom II, chassis number 92 GY, wearing a body that would have looked advanced 10 years in the future. By 1930 standards, it was a tremendous leap ahead and an exceptionally beautiful and interesting one as well.

Chassis number 179 XJ was subsequently ordered as a Barker two-seater sports “for Continental touring” on behalf of Andre Mertzanoff, a New York resident and chief engineer of the American Radiator Company. This car borrowed the Motor Show’s design, including rear fenders that sweep forward to hide side-mounted spares, deliciously curved pontoon-style front fenders with built-in storage compartments, and a top that disappeared smoothly under a tapered rear deck. The deck itself on the Mertzanoff car would be of plank hardwood, sanded and varnished until it gleamed like the bow of a speedboat. Echoing the body’s nautical intentions, both of the artfully designed door handles incorporated lights, as in the port and starboard markers on a yacht!

While Mertzanoff is the name recorded on the Phantom II’s build sheet, indications are that he did not take delivery of the finished project. In a letter written by the car’s second owner, A. Fillingham, and published in the October 1958 issue of Motorsport magazine, Fillingham notes that the car “was first registered 12/5/30, GJ 11…It first belonged to a foreign, titled man, and was taken in part exchange by Messrs. H.R. Owen Ltd. of 17, Berkeley Street, London, W.1.” Persistent rumor indicates that the “foreign titled man” was Gulab Singh, the Maharaja of Rewa, one of the many Indian royals who were devoted Rolls-Royce clients at the time.

Fillingham indicated to Motorsport that he became the second owner, via H.R. Owen, in 1932, and that at the time of writing in 1958, he still owned the car. “I have touched 87 m.p.h. and had quite a bit in hand,” he remarked, “so that 94 m.p.h. is quite a possibility given suitable circumstances. It is in wonderful condition and has not yet done 50,000 miles. As a ‘Fondling,’ it is a bit on the big side, yet it has always had and still gets lots of ‘cosseting.’”

Presumably the letter to Motorsport attracted the attention of the famous British old car dealer David “Bunty” Scott-Moncrief, who acquired the car in time to drive it on the Veteran & Vintage Rally at Beaulieu in 1958. Two years later, the Phantom II made its way to the United States in the hands of the well-known early U.S. enthusiast and collector of coachbuilt European automobiles Vojta F. Mashek. Importantly, Mashek’s daughter, Lyssa, also remembers the car as having been attributed to the Maharaja.

In 1962, Mashek brought his prize to the Rolls-Royce Owners Club meet at Dearborn, Michigan. The car was not entered for judging, but it attracted considerable attention, including that of Alex Tremulis. The well-known designer, most famous as the man responsible for the 1948 Tucker and for his work at Auburn Automobile Company, was at the time a Ford Advanced Design employee, creating numerous wild and advanced concepts. The Mashek Phantom II decidedly caught his fancy, to the point that he had Ford staff photograph the car extensively for further study!

Chief judge of the 1962 RROC meet in Dearborn was Dr. Samuel Scher, at the time New York City’s foremost plastic surgeon and probably the most famous East Coast car collector of his time. Undoubtedly, the car must have turned Dr. Scher’s head as well, as he purchased it from Mr. Mashek in 1965. It passed in 1969 to Harry Resnick, owner of the Ellenville Motor Museum in upstate New York, known for his superb stable of coachbuilt Rolls-Royces (including at least one of every Phantom built). Mr. Resnick, in turn, sold the car in 1972 to Samuel Schwartz of Long Island.

In 1981, the car was purchased by Michael Wilkinson of Rancho Santa Fe, California, in whose ownership it continued to be exhibited in RROC activities, now refinished in white. It was eventually passed through Russell Jackson to the well-known Michigan collectors Richard and Linda Kughn, who at the time had the largest collection of vintage Rolls-Royces in the world. It speaks highly of the car that, with so many Phantoms at hand, it was this car that the Kughns brought to the Rolls-Royce Experience at Hickory Corners, Michigan, in 1988.

Acquired for its current owner’s collection in the early 1990s, the car has been restored in a brilliant scarlet, accentuated by the magnificent and authentic plank decking of the rear deck and a tan leather interior. It retains the original “GJ 11” British registration plates and its authentic original features, such as the concealed “dickey seat” that swings up out of the rear deck, the beautifully detailed fender lamps and lighted door handles, and those spectacular flowing fenders.

The car is offered with copies of its original build and historical information from the Rolls-Royce Foundation, as well as additional research performed into its ownership history. It is featured in Automobile Quarterly, volume 27, number 2 (p.192), and in the well-known reference work of Lawrence Dalton, The Derby Phantoms (p. 204).

Phantom IIs are all unique automobiles, and many aspired to reach beyond the elegant to the sporty. Few succeeded as well as this absolutely dashing motor car, a dramatic conveyance for two or four that dramatically announces the arrival of the streamlined age—in silence.

RM Sotheby’s, ARIZONA, 28-29 January 2016

1931 Bugatti Type 49 Roadster by Gangloff. Sold for $852,500. Courtesy of RM Sotheby’s

Chassis no. 49431 - Engine no. 275 - Gearbox no. 277 - Body no. 393 - Rear axle no. 277

Body Style 2787. 85 hp, 3,257 cc SOHC inline eight-cylinder engine, four-speed manual transmission, front semi-elliptical leaf-spring suspension, live rear axle with three-quarter-elliptical inverted suspension, and four-wheel mechanical brakes. Wheelbase: 122.8 in. 

• A desirable and rare short-wheelbase Type 49
• Original chassis, engine, and body
• Formerly owned by Jess Pourret and Nicolas Seydoux
• Recent uncovered history by Bugatti historian Kees Jansen

The last of the early overhead-cam eight-cylinder Bugattis, the Type 49 was described in a contemporary report as a successful blend of comfortable carriage and lively sports car—something that still aptly describes the rare survivors today. A mere 470 examples were built between 1930 and 1934, of which the example offered here, chassis number 49431, is the rare and dashing short-wheelbase variant.

This car was one of two identical examples ordered at the same time by Bugatti agent Antonin Joly et Frères of Tunis, and it was sent to Alsatian coachbuilders Gangloff, that great favorite of the Bugatti factory, for their especially lovely roadster body with a “dickey” seat, folding windshield, and artfully flowing fenders. It is important to note that this very sporty coachwork actually predates the similar design credited to Jean Bugatti for the later Type 55! With body number 393 installed, the car was subsequently delivered by Joly to a client who wished to register it in France.

The history of this Type 49 picks up in 1955 in Paris, where, still very original and intact, it was registered as 579 DW 75. Several years later, the attractive little roadster participated in the 1958 International Bugatti Rally, organized by the Dutch Bugatti Club, which included stops at Château d’Ermenonville, the home of Ettore’s daughter Lydia, as well as Le Mans. It also appeared the same year in a French film, La Chronique Provenciale.

In 1967, the Type 49 came up for sale at Henri Novo’s garage in Montrouge, Paris, and was subsequently sold to Jess Pourret, the well-known collector and historian famous for his works on Ferrari. Monsieur Pourret reported the car to Bugatti historian Hugh Conway as 49431, with engine number 275, in 1974, indicating that it had retained both its original identity and engine up to this point. He participated with the car in a Bugatti rally at Bec Hellouin in 1968 and at a Bugatti Owners Club meeting at Prescott in 1969. Later, the Bugatti became one of many wonderful automobiles owned by the noted French collector Michel Seydoux, before its eventual sale through well-known broker Edgar Bensoussan.

At some point, the Type 49 gained the serial number tag 49122, however, in studying the Bugatti and its components, there is no question that this is actually 49431. Aside from the replacement of the original carburetor with a Weber unit and the addition of an auxiliary radiator under the chassis, there is no evidence of major changes made to the car during its long history. 

The woodwork in the body bears the Gangloff number 393, and the drivetrain appears to be completely matching with engine number 275, transmission number 277, and rear axle number 277. The internal frame number is 1179, which, at a glance, appears to be a late Type 44 number, however, Jansen notes that, by the time of this car’s production in late 1931, the short-wheelbase Type 49 was available only by special order. Rather than manufacture a new frame, the factory would use one of the leftover stock of the Type 44 chassis, which were of the same dimensions and virtually identical, so this last major component appears to be original to 49431 as well.

A lovely and honest Type 49, this car is among the few short-wheelbase examples to have been made publically available and awaits a new home where it can be driven and enjoyed, as its designer intended, or restored to modern concours standards. It will most certainly have exceptional presence wherever it is shown.

RM Sotheby’s, ARIZONA, 28-29 January 2016

1965 Shelby 427 Competition Cobra. Sold for $2,255,000. Courtesy of RM Sotheby’s

Chassis no. CSX 3010

620 bhp, 427 cu. in. OHV V-8 engine with a single Holley carburetor, four-speed manual transmission, four-wheel coil-spring independent suspension with rack-and-pinion steering and four-wheel disc brakes. Wheelbase: 90 in. 

• One of just 23 Competition 427 Cobras produced
• Winner of the 1968 U.S. SCCA A Production Championship and the 1971 Eastern Canadian Endurance Championship
• Veteran of many historic racing events and 1,000-mile tours

With the gap closing between the 289 Cobra and its competitors, Shelby was looking to keep the Cobras firmly ahead of the competition for the 1965 season. In Ken Miles’ opinion, what the Cobra needed was a larger, more powerful engine. Luckily enough, Ford had the perfect engine for the job: the new 427–cubic inch V-8. Supported with a brand-new chassis with coil springs at all four wheels, the new 427 Cobra was sure to be just what was needed to keep Ferraris and Corvettes at bay on racetracks at home and abroad. 

A COBRA FOR THE GOVERNOR’S SON 

The Cobra presented here, chassis number CSX 3010, is the 10th chassis number of only 23 427 Competition Cobras built by Shelby, which are considered by many to be some of the most desirable Cobras in existence. It was built in early 1965 and invoiced to its first owner, Don Russell Jr. of Colombia, South Carolina, son of the state’s then-Governor, Donald S. Russell. According to the fourth edition of the World Registry of Cobras and GT40s, CSX 3010 was fitted with a less aggressive exhaust for street use, a shoulder harness, and road lights.

Fulfilling a desire to run his Comp 427 on both the street and the track, the car reportedly appeared in two local speed events with Russell. However, Russell determined that the car was too wild for his street use and decided to sell. CSX 3010 was purchased by George Butler of New London, Connecticut, just two months after it had been delivered to the Governor’s son. Records show that while Butler failed to finish in its first outing at the Garden State Cup at New Jersey’s Vineland on June 13, 1965, he took home first place in the A Production class at the SCCA regional event at Connecticut’s Thompson Speedway on October 10th. 

CSX 3010: THE ONLY 427 COBRA TO WIN CHAMPIONSHIPS IN TWO COUNTRIES!

Staying in the Northeast, the Cobra was sold to Peter Consiglio of Worcester, Massachusetts, in 1967. Consiglio raced the car in regional SCCA events with mild success that year before deciding to step up to SCCA National competition in 1968. Gus Zuidema, also in Worcester, prepared the car for competition, including black paint with actual gold leaf stripes. Though odds were stacked against him in his rookie season, Consiglio proved to be a highly successful competitor behind the wheel of CSX 3010. He was on the podium for all but three of no less than 11 SCCA races that season while besting the 1966 champion CSX 3009 in divisional standings. Qualifying for the SCCA’s American Road Race of Champions (ARRC) at Riverside, Consiglio and CSX 3010 won the A Production championship, beating out the 1967 champion CSX 3035 driven by Dick Smith and the 1965 champion CSX 3008 driven by Hal Keck, as well as the 427 Competition Cobras CSX 3028 and CSX 3020, of Jack Hurt and Dave Dralle respectively. For a rookie year in SCCA National competition, this was an incredible result!

Following his very successful season, Consiglio sold CSX 3010 to John Risley of Halifax, Nova Scotia, who continued to race the car, primarily in the Canadian Endurance Championship Series. Risley and co-driver David Fram saw similar success to Consiglio and often found themselves on the podium. Unfortunately, the fourth and final round of the Championship at Circuit Ste-Croix in October of 1971 was not only the last race of the season for Risley and Fram but also the last race of CSX 3010’s period racing career. Following repairs to a broken axle early in the race, the car suffered brake failure that caused a rollover and took them out of the race. Despite this result, Risley and Fram still finished first overall for the season in the Eastern Canadian Endurance Championship due to their previous finishes! 

After the accident, the car was sold unrepaired and without an engine to Andrew Davidson in 1971 and then to Pat Price and Marc Hefte. The gentleman who is the car’s current custodian acquired it in 1978. With plans to take the Cobra back to the racetrack, finding that the chassis was straight and that the car’s body had taken the majority of the damage in the accident, he had CSX 3010 fully rebuilt by Stewart Hall. The completed car was shown and took 1st at the 1982 Palo Alto Concours d’Elegance. Over the next few years, the Cobra was driven and vintage raced, including at the 1983 Monterey Historics. It was offered for sale at the first Monterey Vintage Sports and Race Car auction in 1986, where it hammered sold at $138,000, making it the most expensive Cobra ever sold at that time. Shortly thereafter, it was purchased by Steve Prewitt, who toured and vintage raced the car over the next 25 years.

RETURNED TO A FAMILIAR HOME

Following Steve Prewitt’s passing in 2007, the gentleman who sold the car in 1986 followed his longtime passion for CSX 3010 and re-purchased it in 2011 from Prewitt’s estate. As the car had been sitting for a few years, he refurbished the car once again over the next few years in preparation for further vintage racing and touring. The suspension and transmission were rebuilt, while the interior was freshened and the black paint with famous gold leaf stripes restored. A fresh engine was installed in 2014.

Producing over 600 brake horsepower, this Cobra is not confined to the garage or the concours field; it has been driven and enjoyed on a regular basis by its current owner. In a recent conversation with RM Sotheby’s Research Department, the owner commented that he has been on at least seven tours with the car, the most recent being the Cobra 1000 Invitational in Idaho and Wyoming in September of 2015. In addition to touring, it has raced at the Monterey Historics multiple times. While it has been toured more frequently than raced, it can easily be converted to race-spec with minimal effort for serious track-day outings. Receiving high praise for its dual purpose as a vintage racer and comfortable high-speed tourer from its current owner, there is seemingly little that this Cobra cannot do. Included with CSX 3010 is its original front clip, street and race equipment, and a file of documentation from throughout its life. With 620 brake horsepower from a true 427 cubic inches and a race weight of 2,420 lbs., the weight-to-power ratio is an incredible 3.9 horsepower per pound! 

CSX 3010 exhibits all of the over 100 factory modifications for Competition 427s, beyond the obvious roll bar, quick jack pads, magnesium Halibrand wheels, side pipes, and scoops for air and oil. Other factory upgrades include a remote oil filter, an Aviaid oil pan, a “turkey pan” air box, vented inner panels, a 42-gallon fuel tank, dual Stewart Warner electric fuel pumps, an FIA “suitcase bump,” competition brakes, a reinforced suspension, 1965 date-coded Koni shocks, a riveted leading edge of the hood, dual aircraft batteries, a differential oil cooler with electric pumps, and a 3.73 differential.

The 427 Competition Cobras have always been the most desirable Cobras ever built, and ownership of one of these true 427 Competition Cobras is a dream of many Shelby enthusiasts. With an unmatched competition history and offered in its current state as a dual-purpose vintage racer and grand tourer, CSX 3010 is indeed the ultimate enthusiast’s Cobra. 

RM Sotheby’s, ARIZONA, 28-29 January 2016

1960 Ferrari 250 GT Cabriolet Series II by Pinin Farina. Sold for $1,650,000. Courtesy of RM Sotheby’s

Chassis no. 2153 GT - Engine no. 2153 GT - Body no. 29798

240 bhp, 2,953 cc SOHC 60-degree V-12 engine with three Weber 36 DCS two-barrel downdraught carburetors, four-speed synchromesh manual transmission with overdrive, independent front suspension with unequal-length upper and lower A-arms, coil springs, an anti-roll bar, and Koni hydraulic shocks, solid rear axle with semi-elliptical leaf springs, trailing arms, and Koni hydraulic shocks, and four-wheel Dunlop hydraulic disc brakes. Wheelbase: 102.4 in. 

• The 98th of 200 examples produced
• Recently restored in its original color combination
• Includes desirable matching hardtop
• Original matching-numbers engine

Intended for a different customer and style of driving than Ferrari’s other open-top offering, the 250 GT California Spider, the 250 GT Cabriolet was not intended to channel the emotions and driving style of Ferrari’s thoroughbred racers. This was a true gentleman’s Ferrari designed for high-speed touring in comfort. With the performance one would expect from Maranello’s finest, the 250 GT Cabriolet gave no concessions to luxury and was exquisitely trimmed and appointed to please Ferrari’s demanding clientele. With a spacious boot that could hold more than enough luggage for two for a long-weekend trip, this was the ideal touring car for the California coast or the south of France. 

A second-series cabriolet was first debuted at the 1959 Paris Motor Show and showcased a number of stylistic and mechanical updates over its predecessor. Visually, these cars featured open headlamps with a slightly more rounded nose and rear fenders with elongated tail-lamp lenses. Slightly more interior space was added to provide both the driver and passenger with more comfort, and the trunk was made slightly larger as well. 

With the 250 GT Cabriolet Series II, Ferrari took the opportunity not only to upgrade the car’s looks but also to improve the overall driving experience. Now fitted with all-wheel disc brakes, Ferrari installed their latest iteration of the Colombo V-12 engine, designated Tipo 128F. The spark plugs were relocated to the V-12’s outside surfaces (rather than in between the V as in prior iterations), and the coil-valve springs were substituted for hairpins. This new architecture allowed for more head studs per cylinder and non-siamesed porting. This resulted in a better breathing engine with improved torque and reliability. To boot, the 128F also facilitated far easier and quicker changing of the plugs, to the enduring relief of both mechanics and owners alike. By the end of production in mid-1962, 200 examples of the 250 GT Cabriolet Series II had been constructed, far outselling the first series of 250 GT Cabriolets.

CHASSIS NUMBER 2153 GT

Chassis number 2153 GT was the 98th cabriolet series II built. It was finished in the highly attractive color combination of Bleu Sera (16439 MM) over a Pelle Naturale (VM 3309) leather interior. The car was delivered new to Garage Francorchamps, Ferrari’s official distributor in Brussels, Belgium, on October 29, 1960, and was sold to its first Belgian owner later that year. 

Chassis number 2153 GT spent a short amount of time in Belgium and was soon imported to the United States in the 1960s or early 1970s, where it has resided ever since. By 1975, the car was noted as residing in Oklahoma before it moved to Texas in the 1980s. It was later sold to David Kehl of San Antonio, and at that time, it was noted as sporting green paint with a tan interior. By 1989, the car had moved to California, where it was offered for sale by the MDR Car Collection of Marina Del Rey, and it was restored to red with a tan interior. The car remained in California until 1993, when it was sold to Dan Eaton of Arizona.

By the year 2000, the car was noted as residing in Pennsylvania but had returned to California in 2002. In 2003, the car was sold to well-known collector David E. Walters of Kaua’i, Hawaii, and registered on Hawaiian plates “250 GT.” Walters kept the car until his passing in October of 2009, and the car remained with his estate until 2012 when it was brought to California to be fully restored in its original livery. 

This Cabriolet Series II, retaining its original engine, was then entrusted by its current owner to Fast Cars Ltd. of Redondo Beach, California, in 2013. The car was fully dismantled and every component was brought back to as-new condition. No stone was left unturned in bringing this car to an award-winning standard, and the current owner was very diligent in the restoration process, visiting the car in restoration at least once a week to observe its progress. Refinished in its original Blue Sera over Pelle Naturale, the restoration was completed in the spring of 2015. Since then, the car has been driven less than 300 miles by its current owner to ensure everything is in working order. Today, it remains in spectacular condition, ready for its next custodian in all regards.

Often overlooked for the more aggressive California Spiders, the 250 GT Series II Cabriolet is a wonderful car in its own right, stately, sophisticated, and full of character. Excellently restored, chassis number 2153 GT is an exceptional example of its breed. It would not only be an excellent concours entrant but would also surely perform well on the open road. In the minds of many enthusiasts, nothing can provide a better driving experience than an open-top, front-engined V-12 Ferrari, and this example surely will not disappoint.

RM Sotheby’s, ARIZONA, 28-29 January 2016

1957 Mercedes-Benz 300 SL Roadster. Sold for $935,000. Courtesy of RM Sotheby’s

Chassis no. 198.042.7500128 - Engine no. 198.980.7500144 - Body no. 198.042.7500156

215 bhp (DIN), 240 hp (SAE), 2,996 cc overhead-camshaft inline six-cylinder engine, four-speed manual transmission, coil-spring independent front suspension and coil-spring single-point swing-axle rear suspension, and servo-assisted four-wheel drum brakes. Wheelbase: 94.5 in. 

• An early-production 300 SL Roadster
• Desirable “Euro” headlights and removable hardtop
• Recent engine rebuild
• One of the most desirable modern sporting cars

It goes without saying that Mercedes-Benz’s 300 SL was a hugely important automobile. It started as the brainchild of American Mercedes-Benz importer Max Hoffman, who was convinced that a road-legal version of the successful W194 racer would be profitable in the United States and that his clients would beg for the chance to own an automobile with such brilliant performance and styling.

After lobbying the top brass at Mercedes-Benz to develop such a car, Hoffman’s wish was granted, and the car that resulted exceeded even his wildest dreams. The 300 SL utilized a chassis that had been developed from lessons learned in racing, and it was the first production automobile to use fuel injection as opposed to carburation, which was a technological advancement that allowed it to become the fastest street-legal car of its day. The public fell in love with its styling at the 1954 New York Auto Show where it premiered, and they were mesmerized by its use of roof-hinged “gullwing” doors. The car became such a design icon that it would even catch the eye of Andy Warhol in 1986, who featured it in a painting entitled Cars, which was commissioned by German art dealer Hans Meyer. 

Hoffman, not keen on settling with a closed version of the 300 SL, also desired a convertible variant of the world’s most desirable sports car, and the roadster was introduced in short order in 1957. Since the 300 SL would lose its top, engineers reinforced and modified the space-frame chassis to fit conventionally hinged doors, which simultaneously allowed for greater ease of entry by lowering the height of the chassis at the door line. At the same time, the design team also made a handful of slight changes to the 300 SL’s body, including a smaller grille opening and dual chrome strips on the side sills, which gave the car a more streamlined and glamorous look. 

Of course, Mercedes-Benz would not allow performance to be compromised due to the 300 SL’s lack of a roof, and all roadsters were offered with the more sporting NSL engine of the coupe as standard equipment. This made the roadster capable of top speeds that ranged from 133 to 155 mph, depending on the final drive ratio specified.

CHASSIS NUMBER 198.042.7500128

The 300 SL Roadster offered here is an early-production model, hailing from the beginning of the 1957 production run. It is equipped with some of the most desirable features of this model, such as a body-color removable hardtop (with soft-top delete) and the European-specification headlights, which are widely considered more attractive than the sealed-beam units used on U.S.-delivery cars.

The car is an older cosmetic restoration, with the body finished in Silver (DB) with a beautiful Red leather interior. Consistent in its presentation, it shows only minor age and use throughout, with the interior showing wear from driving that appears charming rather than as a detriment; similarly, the steering wheel appears to have worn many pairs of hands. It displayed 66,353 miles at the time of cataloguing. Under the hood is consistently gently patinated. The engine is stamped with the proper engine number but is missing the original number plate, while the serial number plate on the firewall appears original, as do the chassis number stamping and plate. The owner notes that the engine was rebuilt by his professional in-house mechanic to factory specification within the last several years.

A nice driver that would be entertaining for Arizona desert roads, this beautiful early 300 SL Roadster would be a happy addition to any collection of sporting automobiles. 

RM Sotheby’s, ARIZONA, 28-29 January 2016

1939 SS 100 Jaguar 2½-Litre Roadster by Van den Plas. Sold for $1,402,500. Courtesy of RM Sotheby’s

Chassis no. 49064 

102 bhp, 2,663 cc OHV inline six-cylinder engine with dual SU carburetors, four-speed manual transmission, independent front and solid-axle rear suspension with semi-elliptical leaf springs and friction shock absorbers, and four-wheel mechanical drum brakes. Wheelbase: 104 in.

• Believed to be the final 1939 SS 100 2½-Litre chassis built
• One-off Figoni-inspired bodywork by Belgium’s finest coachbuilder
• Displayed at the 1948 Brussels Motor Show
• Offered from long-term ownership
• A unique coachbuilt SS 100 of considerable flair!

The name Vanden Plas is most frequently seen in conjunction with Bentleys and, yes, Jaguars, but the Jaguar offered here is a “Vanden Plas” of another country. It was bodied not by the famous British coachbuilder but by its Belgian ancestor, Carrosserie Van den Plas of Antwerp, originally established in 1870 to build carriage axles and wheels. Eventually, the firm had progressed to the building of entire carriages and, by the 1930s, was reigning supreme as Belgium’s foremost builder of custom automobile bodies that, in the words of The Times of London, “had an air of distinction lacking in many of the products around them.”

Yet, World War II had its effect on the firm, as it did with all other European coachbuilders. Van den Plas would survive through its own strong will and lived long enough after the war to build several further interesting bodies, with the fuller-figured curves and broad chrome embellishments that were coming into style. Evidence from these designs shows that Van den Plas looked for inspiration in this period to France, particularly the “teardrop” creations of Figoni et Falaschi, which had set the styling world on its ear in the late 1930s.

According to history that has long accompanied this car, SS 100 Jaguar chassis number 49064, the last 2½-Litre chassis built in 1939 per the Jaguar Daimler Heritage Trust, was purchased by Van den Plas as a basis for a custom body prior to World War II. The war prevented the project from continuing, and the chassis managed to survive the conflict. Thus, when it came time for Van den Plas to return to coachbuilding, they looked to the only chassis they had readily on hand as the basis for their first show car, an all-important creation that would hopefully attract new business during the lean immediate post-war period.

However, post-war plans were that Jaguar would assemble automobiles in Belgium using part of the Van den Plas works, indicative of an increasing partnership between the two firms. This was one of two Van den Plas–bodied Jaguars displayed at the 1948 Brussels Motor Show, the other of which was even used on the back of the Belgian Jaguar distributor’s brochure for the Mark IV in 1948. Rather than chosen because it was the only chassis available, the SS 100 was likely a conscious choice, designed by the coachbuilder to show the British automaker what amazing (and highly profitable) things could come from a Jaguar and Van den Plas partnership.

The completed creation nonetheless shows the juxtaposition of post-war expediency and lavish pre-war Figoni-inspired design. Sweeping fenders follow the original basic lines of the factory SS 100’s lavish curves but are fully and deeply skirted, wrapping down to the chassis frame. Broad sweeps of chrome trim reach from the front bumper up around the arches of the wheels, drip seductively down into the fenders, and then extend back to a flared droplet-shaped embellishment on the rear-wheel spat. Further delicate bright metal trim surrounds the steeply raked windshield and the upper beltline of the body; indeed, the stunning effect of the brightwork is derived from its judicious application throughout the car rather than being focused on a few moldings.

Yet, close examination shows that both the SS’s original headlamps and radiator shell remain intact. They have simply been blended into the lines of the body so successfully that they look as if they were always meant to be there.

As previously mentioned, Van den Plas displayed their completed creation, with considerable pride, it can be imagined, at the Brussels Motor Show of 1948, an appearance which merited mention in the February 20, 1948, issue of Autocar (p. 167) and the February 18, 1948, issue of The Motor (p. 66). The latter writer described the car as being “a really remarkable example of fine lines and good proportion. The aluminum facia [sic] panel was engine-turned in traditional style.” An interesting comment in the same Motor article reiterates the news of the planned Jaguar and Van den Plas partnership that the car was intended to signal.

The SS 100 is believed to have subsequently been displayed in at least one post-war concours d’elegance, most probably in France, as a surviving black-and-white photograph shows it with an entry number taped to the front bumper. It was listed in the SS 100 Register as being with a Mr. S. Falise of Brussels, Belgium. Falise’s ownership was certainly in the ’80s and for some unknown period prior, as it is known that the Jaguar was owned by Frans van den Heuvel, who had the car for three or four years before it migrated to the United States. Photos on file taken at that time show it appearing to be largely original, although by that time, the body had been two-toned to better showcase the dramatic styling.

Subsequently, the Jaguar made its way to the United States and was restored in the early 1990s by the late and well-respected California restorer Mike Fennel, in its present stunning scarlet and ebony livery, with a red leather interior and black cloth roadster top. It was displayed at the Pebble Beach Concours d’Elegance in 1991 as an exhibition-only entrant, which is believed to have been its most recent show appearance. It has been maintained since in the climate-controlled facility of its long-term owner and, today, presents as a well-kept older restoration, still spectacular in its details and in its fierce and ambitious curves.

One of the most significant surviving examples of Belgian coachbuilding, the Van den Plas SS 100 is joyfully something more. It was the announcement at the end of war that glorious new things were to come, carried out in sporting engineering and fluid curves.

RM Sotheby’s, ARIZONA, 28-29 January 2016

1964 Shelby 289 Cobra. Sold for $1,072,500. Courtesy of RM Sotheby’s

Chassis no. CSX 2561 

271 bhp, 289 cu. in. OHV V-8 engine with four-barrel carburetor, four-speed manual transmission, independent front and rear suspension with A-arms, transverse leaf springs and tubular shock absorbers, rack-and-pinion steering, and four-wheel hydraulic disc brakes. Wheelbase: 90 in. 

• An original 289-powered Cobra
• Well-documented history in the SAAC World Registry
• Recently sorted and driven successfully on the Copperstate 1000
• A factory demonstrator with numerous correct accessories

The notion of producing a hybrid sports car in the 1960s was, at its core, quite simple. While British manufacturers retained the edge in styling, road holding, and superb braking, American firms held a distinct horsepower advantage. This “best of both worlds” concept was, of course, nothing new. Post-war Allards, Cunninghams, and Nash-Healeys used the same basic premise. Carroll Shelby, however, considered chassis from Austin-Healey, Jensen, and Bristol before settling on AC, after hearing that the builders of the stylish and sturdy Ace had lost their engine supplier when Bristol ceased production.

Attractive, lightweight, and proven, the AC Ace could, by Shelby’s thinking, be turned into a successful production racer by replacing its aging six-cylinder engine with a powerful, deep-breathing V-8. In September 1961, Shelby wrote Charles Hurlock, of AC Cars, to propose a hybrid car using the AC sports car body and chassis. “I’m interested,” wrote Hurlock, “if a suitable V-8 could be found.” Shelby moved quickly when Ray Brock, Editor of Hot Rod magazine, told him of Ford’s new, lightweight small-block V-8. Soon after, Shelby had an early 221–cubic inch example installed in a stock AC Ace. In fact, the V-8 weighed just slightly more than the six-cylinder Bristol.

Ford engineer Dave Evans then offered Shelby an even better solution. A high-performance 260–cubic inch small-block V-8 was already in production for Ford’s Falcon, and two engines would be on the way to him soon. They were immediately sent by airfreight overseas, and on February 1, 1962, Carroll Shelby flew to England to test drive the new Shelby “Cobra.” The rest, as they say, is history.

This Shelby 289 Cobra, chassis CSX 2561, was originally billed to Shelby American on August 25, 1964, and was shipped to Los Angeles aboard the SS Alblasserdyk. It was originally finished as it appears today, in white with a red interior, and equipped with Class “A” accessories (whitewall tires and a luggage rack) and the very uncommon C4 automatic transmission, a feature reportedly fitted to fewer than 20 Cobras by the factory. The transmission was fitted to the Cobra using a floor linkage, modified from the one created for the Ford Mustang, keeping the car’s sporty pretensions intact.

The car was initially used by Shelby American as a demonstrator and then invoiced to Hayward Ford Motors of Hayward, California, on January 27, 1965. It was sold new as a “Factory Demonstrator” at the sizable price of $5,250 to Edwin Ovilice of Oakland, California. It later passed to another Oakland resident, Jim McCarthy, in the late ’70s and then to Morn Sinai of Hayward in the early 1980s.

After two further short-term owners, the Cobra was acquired in 1983 by Jim Yancey of Paris, Texas, who retained ownership of the car for 10 years. In 1993, it was acquired from him by Guy Eavers of Staunton, Virginia, with whom it was listed in the most recent Shelby American Automobile Club World Registry of Cobras & GT40s. Later, it was part of a prominent sports car collection in California before joining its consignor’s notable stable on the East Coast.

The Cobra has never been wrecked and retains the vast majority of its original components, as well as its original aluminum body, and is finished in the correct colors. Overall fit and finish of the body, paint, upholstery, and engine bay is outstanding, and the interior, with its black dashboard and Stewart Warner gauges, is stunning and purposeful. As a “road-going” Cobra, the car is equipped with virtually all available factory accessories, including chromed wire wheels, a soft top, a spare wire wheel, a front grille guard and rear bumper, a chrome air cleaner, aluminum Cobra valve covers, adjustable “wind wings,” tinted sun visors, competition seat belts, chrome exhaust pipe tips, and an outside rear-view mirror.

In its current ownership, the car has been sorted considerably, with numerous corrections made throughout to bring it back to proper authenticity, including a new rear filler cap and proper trunk finishes. Following completion of the work, for which invoices remain on file in excess of $38,000, it was driven enthusiastically on the Copperstate 1000 in 2014, completing the event successfully. It is further equipped with a proper all-aluminum Borg-Warner four-speed T-10 transmission, although the parts for the automatic transmission do remain with the car. Not only is the current transmission thrilling to drive, the rarity of the automatic transmission must not be underestimated. As such, the car’s current specification offers the best of both worlds.

Quick, comfortable, tight, and a fine driver, this superbly equipped Cobra is all that one would want in a high-performance machine. No doubt Carroll Shelby would be proud. 

RM Sotheby’s, ARIZONA, 28-29 January 2016

1958 Mercedes-Benz 300 SL Roadster. Sold for $1,265,000. Courtesy of RM Sotheby’s

Chassis no. 198.042.8500154 - Engine no. 198.980.8500131 - Body no. 198.042.8500153

215 bhp (DIN), 240 hp (SAE), 2,996 cc overhead-cam inline six-cylinder engine, four-speed manual transmission, coil-spring independent front suspension and coil-spring single-point swing-axle rear suspension, and servo-assisted drum brakes. Wheelbase: 94.5 in. 

• Recently restored by renowned marque specialists Rudi & Company
• Desirable and beautiful color combination; includes matching luggage
• Original matching-numbers engine
• An exquisitely presented 300 SL Roadster

To say that the Mercedes-Benz 300 SL was ahead of its time would be an understatement. The 300 SL heralded a new era for Mercedes-Benz road cars; it utilized an innovative space-frame chassis coupled with a race-bred, fuel-injected engine, the first of its kind fitted to a production car, and was clothed in breathtaking bodywork. 

It was conceived by American Mercedes-Benz importer Max Hoffman, who believed that a road-legal version of the successful W194 racer would be profitable in the United States and that the power and styling of such a car would appeal to the American market. Mercedes-Benz took Hoffman up on his idea, and it was only natural that the new 300 SL would premiere at the New York Auto Show in 1954. The 300 SL coupe quickly earned the nickname “Gullwing” for its distinctive roof-hinged doors, and the public fell in love with the car, not only for its breathtaking design but also for its earth-shattering performance.

Of course, the best way to keep customers coming back to Mercedes-Benz was to create a drop-top version of the 300 SL. A prototype model of a convertible 300 SL was first spotted by the German magazine Auto, Motor und Sport in 1956, and the production version would first be shown at the Geneva Motor Show one year later. By the end of 1957, the final Gullwings had left the production line, and production began on the 300 SL Roadster.

The roadster offered a host of improvements over its gull-winged predecessor. In an effort to improve entrance and egress, Mercedes-Benz lowered the central section of its space-frame, crafted smaller sills, and fitted larger doors to the car. Strength was maintained, nonetheless, with the addition of diagonal struts, which braced the lowered side sections to the rear tubular members. Engineers also revised the suspension to create a more comfortable ride and improve handling. At the rear, the spare tire was repositioned below the trunk floor, necessitating a smaller fuel tank but also maintaining reasonable luggage space. These revisions to the roadster added some 250 pounds to the total weight of the car, mostly due to the convertible top. However, the car remained quite quick nevertheless and boasted a factory-claimed top speed of 137 mph.

Following the lead of the coupe, the 300 SL roadster proved to be just as popular with the well-to-do as its predecessor. Ownership of a 300 SL implied an exquisite taste in engineering and aesthetics, and it was the ultimate automotive statement. Naturally, many found homes in the garages of celebrities, racing drivers, and other successful individuals with an appreciation for fine automobiles. At an $11,000 list price, it was worth every penny.

CHASSIS NUMBER 198.042.8500154

According to its Mercedes-Benz build sheet, a copy of which is on file, chassis number 198.042.8500154 was originally ordered through the U.K. distributor in London, England, finished in a dramatic combination of Light Blue (DB 334) with Red leather interior. Owned in the U.K. as late as 1981, it later made its way to the United States, where it was acquired by Arizona resident John Wenaas and subsequently by communications entrepreneur and renowned collector Jim Rogers of Las Vegas, Nevada. Mr. Rogers had the car re-trimmed in white leather with whitewall tires, and it became known among roadster cognoscenti as “Liberace,” for obvious reasons! It remained a favorite within the Rogers Collection for several years.

In 2013, the car underwent mechanical work by the famed Richardson Restoration and Machine Werks in Phoenix, Arizona. Engine work included a new gasket valve over, intake and exhaust guides, and new cam bearings. More recently, the car received a sympathetic cosmetic restoration by the famed West Coast 300 SL restoration facility Rudi & Company of British Columbia. As part of the complete restoration, its color scheme was changed to the more subtle Anthracite with Grey interior, which is a rare combination and very desirable in 300 SL roadster circles, and it received all-new chrome and glass in addition to its new interior and bare-metal repaint. The car retains its original U.S.-specification sealed-beam headlights, windshield washers, and Becker Mexico radio with automatic antenna and dual speakers, all of which are mentioned on the build sheet, as well as an optional Talbot mirror on the driver’s side.

An attractive and elegant 300 SL roadster, with interesting history and in one of the best imaginable liveries, this car would take pride of place in any collection of modern sports cars. It is certain to be as thrilling to drive as it is to look at! 

RM Sotheby’s, ARIZONA, 28-29 January 2016

Spanish matador José María Manzanares by Nico for El País Semanal

Jan van Scorel (1495-1522), Marie-Madeleine (détail), vers 1530, huile sur panneau, 66,3 × 76 cm. Amsterdam, Rijksmuseum Amsterdam.

Benedetto Gennari (Cento, 1633 - Bologne, 1715), Marie Anne, née Mancini, Duchesse de Bouillon, detail, 1672-1673, National Portrait Gallery, London

Benedetto Gennari (Cento, 1633 - Bologne, 1715), Marie Anne, née Mancini, Duchesse de Bouillon, 1672-1673, National Portrait Gallery, London

Bartholomeus van der Helst (1613-1670), Portrait of Abraham del Court and his wife Maria de Keerssegieter, detail, 1654. Museum Boijmans Van Beuningen, Rotterdam

Bartholomeus van der Helst (1613-1670), Portrait of Abraham del Court and his wife Maria de Keerssegieter, detail, 1654. Museum Boijmans Van Beuningen, Rotterdam

Bartholomeus van der Helst (1613-1670), Portrait of Abraham del Court and his wife Maria de Keerssegieter, 1654. Museum Boijmans Van Beuningen, Rotterdam