Limosin Léonard (vers 1505-1575), Portrait de Claude de Lorraine, duc de Guise (1496-1550), vers 1550, Limoges, émail peint. Hauteur : 0.184 m. Largeur : 0.132 m. Ecouen, musée national de la Renaissance, ECL11289;ECL11288. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / Stéphane Maréchalle

Limosin Léonard (vers 1505-1575), Portrait d'Antoinette de Bourbon, duchesse de Guise, vers 1550, Limoges, émail peint. Hauteur : 0.184 m. Largeur : 0.132 m. Ecouen, musée national de la Renaissance, ECL11289. Photo © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / Stéphane Maréchalle

Iris Van Herpen (Dutch, born 1984). Dress, spring/summer 2009, Prêt–à–Porter. Machine–sewn black synthetic knit with machine– and hand–sewn hand–cut black plastic fringe, padded and hand–finished hem. Photo © Nicholas Alan Cope. 

Iris Van Herpen (Dutch, born 1984) . Dress(detail), spring/summer 2009, Prêt–à–Porter. Machine–sewn black synthetic knit with machine– and hand–sewn hand–cut black plastic fringe, padded and hand–finished hem. Photo © Nicholas Alan Cope

Iris Van Herpen (Dutch, born 1984). Dress, autumn/winter 2013–14, Haute Couture. Machine–sewn black cotton twill, hand–painted with gray and purple polyurethane resin and iron filings, hand–sculpted with magnets. Photo © Nicholas Alan Cope. 

Iris Van Herpen (Dutch, born 1984). Dress (detail), autumn/winter 2013–14, Haute Couture. Machine–sewn black cotton twill, hand–painted with gray and purple polyurethane resin and iron filings, hand–sculpted with magnets. Photo © Nicholas Alan Cope.

Iris Van Herpen (Dutch, born 1984). Dress, spring/summer 2015, Prêt–à–Porter. Machine–sewn, laser–cut, bonded navy patent leather. Photo © Nicholas Alan Cope.

Iris Van Herpen (Dutch, born 1984). Dress (detail), spring/summer 2015, Prêt–à–Porter. Machine–sewn, laser–cut, bonded navy patent leather. Photo © Nicholas Alan Cope.

Iris van Herpen (Dutch, born 1984). Dress, autumn/winter 2013–14, Haute Couture. Dutch Silicone, cotton. The Metropolitan Museum of Art, New York, Purchase, Friends of The Costume Institute Gifts, 2015 (2016.14) Photo © Nicholas Alan Cope.

Iris van Herpen (Dutch, born 1984). Dress (detail), autumn/winter 2013–14, Haute Couture. Dutch. Silicone, cotton. The Metropolitan Museum of Art, New York, Purchase, Friends of The Costume Institute Gifts, 2015 (2016.14). Photo © Nicholas Alan Cope.

Iris Van Herpen (Dutch, born 1984). Dress, spring/summer 2016, Prêt–à–Porter. Machine–sewn, bonded nude silk twill and cotton plain weave with overlay of nude cotton lace hand–woven with laser–cut nude leather applique. Photo © Nicholas Alan Cope. 

Iris Van Herpen (Dutch, born 1984). Dress(detail), spring/summer 2016, Prêt–à–Porter. Machine–sewn, bonded nude silk twill and cotton plain weave with overlay of nude cotton lace hand–woven with laser–cut nude leather applique. Photo © Nicholas Alan Cope.

Lot 518. Important pair of 6.03 carats and 7.11 carats Mogok Burmese ruby and diamond ear clips, M. Gérard. Estimate 480,000 — 760,000 CHF. Lot sold 578,500 CHF. Photo: Sotheby's 2012

Each centring on a cushion-shaped ruby weighing 6.03 carats and 7.11 carats respectively, within borders of brilliant-cut and pear-shaped diamonds, signed M. Gérard and numbered, French assay and maker's marks.

Accompanied by SSEF report no. 36998 and Gübelin report no. 12070171 and no. 12070172, stating that the rubies are of Burmese origin, with no indications of heating, with an additional note from Gübelin stating that the stones are likely to originate from the Mogok region.

Lot 516. Attractive 6.53 carats Mogok Burmese ruby and diamond necklace, M. Gérard. Estimate 265,000 — 450,000 CHF. Lot sold 362,500 CHF. Photo: Sotheby's 2012

The front set with an oval ruby weighing 6.53 carats, framed by brilliant-cut and pear-shaped diamonds, suspended from lines of gently graduated similarly cut stones, length approximately 365mm, signed M. Gérard and numbered, French assay and maker's marks, case signed M. Gérard.

Accompanied by SSEF report no. 64395 and Gübelin report no. 12080081, each stating that the ruby is of Burmese origin, with no indications of heating, together with an additional note from Gübelin indicating it is from the Mogok region.

Lot 517. 6.92 carats Burmese ruby and diamond ring, M. Gérard. Estimate 175,000 — 245,000 CHF. Lot sold 218,500 CHF. Photo: Sotheby's 2012

The oval ruby weighing 6.92 carats set within borders of brilliant-cut and pear-shaped diamonds, signed M. Gérard and numbered, French assay and maker's marks.

Accompanied by SSEF report no. 64397, dated 7th August 2012, and Gubelin report no. 0107068, dated 17th July 2001, stating that the ruby is of Burmese origin with no indications of heating. 

Chinese imperial porcelain famille rose, fencai bowl, Qianlong six-character sealmark in underglaze blue and of the period, 1736-1795. Photo Marchant.

with steep rounded side and cylindrical footrim, painted on the exterior with three pink peony flowerheads on green branches, with leaves on an opaque lemon-yellow ground surrounded by further branches with leaves, between nine blue flowerheads on a brilliant coral-red ground extending to the foot, the interior glazed white. 4 ⅜ inches, 11 cm diameter. The base with a six-character sealmark of Qianlong in underglaze blue and of the period, 1736-1795. Price on request

Lot 521. Important diamond necklace, Cartier. Estimate 335,000 — 525,000 CHF. Lot sold 410,500 CHF. Photo: Sotheby's 2012

The front designed as three tiers of brilliant-cut and baguette diamonds brought together at the centre with carré-cut stones, suspending a briolette diamond weighing 20.30 carats, the back designed as a row of brilliant-cut stones, the clasp set with a marquise-shaped diamond, length of shortest row approximately 400mm, signed Cartier Paris and numbered, French assay and maker's marks, case signed Cartier.

Accompanied by GIA report no. 2145896940, stating that the 20.30 carat diamond is W to X range Colour, SI1 Clarity. 

Lot 458. 7.46 carats F Colour, VS2 Clarity Diamond ring. Estimate 245,000 — 390,000 CHF. Lot sold 362,500 CHF. Photo: Sotheby's 2012

Accompanied by GIA report no. 1142788263, stating that the diamond is F Colour, VS2 Clarity. 

Jan van Eyck (Netherlandish, Maaseik ca. 1390–1441 Bruges), Saint Barbara, 1437. Metalpoint, brush drawing, and oil on wood; 12 3/16 × 7 1/16 in. (31 × 18 cm) Frame: 16 5/16 × 10 15/16 × 2 3/8 in. (41.5 × 27.8 × 6 cm). Koninklijk Museum voor Schone Kunsten, Antwerpen © Lukas Image Bank, Belgium

There is an ongoing debate about the nature of this refined work, signed and dated by Jan van Eyck and set within its original frame: Is it an exquisitely drawn preparation for an unfinished painting, or an unusual finished drawing with color, perhaps inspired by manuscript illumination? It depicts the early Christian Saint Barbara seated before a bustling scene that shows the building of a tower that will be her prison. The image is made up of differently weighted brush lines alongside lines made by a metal point that left shallow incisions in the wood panel. Discrete areas have been painted: the sky with its birds and moon, and the white on the traceries of the windows. It may be the work that Karel van Mander, a Flemish painter and writer, praised in the early seventeenth century as "more exactly and precisely done than the finished works of other masters ever could be."

This work is exhibited in the “Unfinished: Thoughts Left Invisible” exhibition, on view through September 4th, 2016. #MetBreuer

Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Salvator Mundi, ca. 1505. Oil on linden, 22 7/8 x 18 1/2in. (58.1 x 47cm). The Friedsam Collection, Bequest of Michael Friedsam, 1931; 32.100.64 © 2000–2016 The Metropolitan Museum of Art. 

Following its sale by the artist's sister to a private collector, this great work was described as "the Salvator, not quite finished by Albrecht Dürer." We can see the meticulously worked underdrawing in many areas, including in the unfinished globe or orb (the appearance of some areas of the surface is due to old restorations). Dürer may have left the panel incomplete when, in 1505, he fled Nuremberg for Venice at the outbreak of plague, but it is not clear why he did not complete it upon his return. It is possible that he retained it as a showpiece in his studio to impress students and clients with his skill.

This work is exhibited in the “Unfinished: Thoughts Left Invisible” exhibition, on view through September 4th, 2016. #MetBreuer

Lot 478. Gem set and diamond clip, Cartier, 1930s. Estimate 56,000 — 85,000 CHF. Lot sold 314,500 CHF. Photo: Sotheby's 2012

Suspending fringes of barrel-shaped carved emeralds, ruby beads, seed pearls, single-, circular- and brilliant-cut diamonds, enhanced with black enamel, signed Cartier Paris and numbered, French assay and maker's marks. 

Lot 410. 7.04 carats sapphire, 4.47 carats ruby and 11.48 carats E Colour, VS2 Clarity diamond pendent necklace. Estimate 260,000 — 325,000 CHF. Lot sold 314,500 CHF. Photo: Sotheby's 2012

The detachable pendant designed as an articulated line set with a cushion-shaped purple sapphire weighing 7.04 carats, a similarly cut ruby weighing 4.47 carats, and a modified kite portrait-cut diamond weighing 11.48 carats, each framed and bordered by a triple row of brilliant-cut stones, to a necklace composed of alternating brilliant-cut and baguette diamonds, length approximately 520mm. 

Accompanied by three GIA reports:
No. 2145778783, stating that the 7.04 carat natural sapphire is purple, natural colour, with no indications of heating.
No. 2145778811, stating that the 4.47 carat natural ruby is purplish red, natural colour, with no indications of heating.
No. 5111369001, stating that the 11.48 carat diamond is E Colour, VS2 Clarity.

Follower of Giovanni Battista Cima da Conegliano (Italian, Conegliano ca. 1459–1517/18 Venice or Conegliano),  The Virgin and Child with Saint Andrew and Saint Peter (unfinished), Late 15th or early 16th century. Oil on wood, 21 7/8 × 18 9/16 in. (55.6 × 47.2 cm) Framed: 24 11/16 in. × 21 3/8 in. × 3 3/16 in. (62.7 × 54.3 × 8.1 cm). Scottish National Gallery, Edinburgh © National Galleries of Scotland, Edinburgh

The unidentified Venetian artist who painted this panel closely followed Cima da Conegliano’s compositional ideas. The work was left incomplete for unknown reasons, offering us important insight into artistic practice at the turn of the sixteenth century. We see the various layers of the painting simultaneously, from the white gesso covering the panel and the brush underdrawing to the piecemeal painting of heads and other flesh tones, drapery, and landscape forms (the blue in the sky is a later addition). All areas would have been brought up to a more vivid appearance in its completed state. To the modern eye, the ghostly unpainted path and city on the hill, and the juxtaposition of realized and unrealized, are highly suggestive. 

This work is exhibited in the “Unfinished: Thoughts Left Invisible” exhibition, on view through September 4th, 2016. #MetBreuer

Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Sketches for the Virgin Adoring the Christ Child (recto), 1480–85. Silverpoint, partly reworked by the artist with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso), 7 5/8 x 6 3/8 in. (19.3 x 16.2 cm). Rogers Fund, 1917; 17.142.1 © 2000–2016 The Metropolitan Museum of Art.

These quick sketches of the Virgin, the Christ Child, and the Infant Saint John the Baptist offer insight into Leonardo's artistic practice. He approached the execution of his paintings as works in progress, and such sketches were the first of many stages that continually changed over a long period of time. This particular sheet can be related to Leonardo's altarpieces known as the Virgin of the Rocks (Musée du Louvre, Paris; National Gallery, London) and shows the artist focusing on the dynamic poses, the fall of light, and the gestures that indicate the psychological presence of the figures. Given the number of major works that the artist left incomplete, it is clear that he found it difficult to bring to a conclusion the process of evolution that so inspired him. 

This work is exhibited in the “Unfinished: Thoughts Left Invisible” exhibition, on view through September 4th, 2016. #MetBreuer

Lot 12. 1964 PORSCHE 356C 1600 Coupe. Coachwork by Karmann. Chassis no. 216729. Engine no. 712046. Estimate US$ 70,000 - 90,000 (€63,000 - 81,000). Photo: Bonhams.

 Lot 12. 1964 PORSCHE 356C 1600 Coupe. Coachwork by Karmann. Chassis no. 216729. Engine no. 712046. Estimate US$ 70,000 - 90,000 (€63,000 - 81,000). Photo: Bonhams.

THE PORSCHE 356C 

Porsche's Type 356, introduced in 1948, is acknowledged to be one of the world's greatest sports cars. Over a 15-year production run, the handsome and durable 356 evolved from a streamlined little aluminum-bodied coupe powered by a VW-derived, 46hp 1100cc air-cooled flat four to a powerful autobahnburner carrying a complex, two-liter four-cam boxer Carrera engine of 130 horsepower. Its steady development brought not only coupes, but luxurious cabriolets and more spartan Speedsters and Roadsters; more than 76,000 examples in all by the time production ceased in 1965.  

Lot 12. 1964 PORSCHE 356C 1600 Coupe. Coachwork by Karmann. Chassis no. 216729. Engine no. 712046. Estimate US$ 70,000 - 90,000 (€63,000 - 81,000). Photo: Bonhams.

The Motorcar Offered

This potent 356 Coupe first emerged on January 17th, 1964, clad in the stunning combination of black paint over a bright red leatherette interior. Shortly thereafter, this sinister-looking 356 made its way to to its first owner, a Biomedical engineer in California. After 51 years in the US, this 356 was purchased in Maryland and promptly shipped to Canada to embark on a sixteen-month project to transform this 356 into its current beautiful condition. 

The well-documented restoration included refurbishment of the numbers-matching engine and carburetors and the rebuilding of the chassis to restore the legendary performance of this lithe German Coupe. Cosmetically, the body was stripped to be sorted and repainted in its original handsome Black (6413), leading to this particular 356's powerful presence. Inside, the interior received similar attention, with the existing upholstery replaced with new Red Leatherette to match the original specification.  

The brightwork accenting the deep black paintwork was tended to as well, with many parts receiving re-plating and careful polishing to restore their original lustrous shine. By the time of its completion in May 2016, over $100,000 was invested into returning this iconic Porsche to its original specification and condition. With negligible mileage since its restoration, this fresh 356 presents itself beautifully, with incredible presence for a small car thanks to its intense black paintwork and red interior.  

Various accessories are included in the sale of this striking Porsche, including its tool roll, jack, owner's manual, a detailed restoration file, and a Porsche Certificate of Authenticity. 

Bonham's. QUAIL LODGE AUCTION, 11:00 PDT - CARMEL, QUAIL LODGE & GOLF CLUB

Lot 44. 1955 LANCIA AURELIA B24S SPIDER AMERICA. Coachwork by Pinin Farina. Chassis no. B24S-1094. Engine no. 1116. Estimate US$ 1.2 million - 1.5 million (€1.1 million - 1.3 million). Photo: Bonhams.

2,451cc OHV All-Alloy V6 Engine
Single Dual-Throat Weber Carburetor
118bhp at 5,300rpm 
4-Speed Manual Transaxle
4-Wheel Independent Suspension 
4-Wheel Drum Brakes – Inboard at the Rear

*Exquisitely restored example of the legendary Spider America
*Just five private owners and less than 63,000 miles from new
*Displayed and awarded at numerous regional concours d'elegance
*An outstanding Lancia ready for top events such as the Mille Miglia Storica

Lot 44. 1955 LANCIA AURELIA B24S SPIDER AMERICA. Coachwork by Pinin Farina. Chassis no. B24S-1094. Engine no. 1116. Estimate US$ 1.2 million - 1.5 million (€1.1 million - 1.3 million). Photo: Bonhams.

The Lancia Spider America

Race developed V6 engine, superlative handling and sensational Pinin Farina styling: these are the ingredients of a sports car classic and the Lancia Aurelia B24S Spider America has them all.

Lancia's classic Aurelia, the first car ever to employ a V6 engine, was launched at the 1950 Turin Motor Show. An advanced unitary construction design, the 1.7-liter Aurelia featured all-independent suspension and a combined gearbox/rear transaxle on which were mounted the inboard brakes. 

The sedan was joined the following year by the Pinin Farina-styled B20 Coupé, a fastback '2+2' on a shortened wheelbase which, with its combination of sports car performance and sedan-like practicality, can be said to have introduced the Gran Turismo concept to the world. Introduced in 1953, the 3rd and subsequent series B20s were powered by a 2,451cc, 118bhp version of the OHV V6, and this was adopted for the B24 Spider, also called the 'America', launched in 1954.

Acknowledged as one of Pinin Farina's masterpieces, the Aurelia B24 Spider combined sporting characteristics with an elegance that presaged another of the Torinese carrozzeria's great works, the Alfa Romeo Giulietta Spider of 1955. For the B24 Spider the Aurelia B20 chassis was further shortened and came with a floor-mounted gear-change as standard. Its performance equaled that of the B20 Coupe, top speed being in the region of 115mph (185km/h). 

Unusually clean lines enabled the Spider to achieve what was an exceptional performance for an open car of the period, being unencumbered by external door handles (there were internal pull-cords) and benefiting from a gracefully curved wraparound windscreen, and the model's signature styling feature, split bumpers front and rear. Only 240 B24 Spiders were manufactured during 1954/55, and today the model is one of the most sought-after of post-war Lancias. 

Lot 44. 1955 LANCIA AURELIA B24S SPIDER AMERICA. Coachwork by Pinin Farina. Chassis no. B24S-1094. Engine no. 1116. Estimate US$ 1.2 million - 1.5 million (€1.1 million - 1.3 million). Photo: Bonhams.

El Greco (Domenikos Theotokopoulos) (Greek, Iráklion (Candia) 1540/41–1614 Toledo), The Vision of Saint John, ca. 1609–14. Oil on canvas, 87 1/2 x 76in. (222.3 x 193cm); with added strips 88 1/2 x 78 1/2 in. (224.8 x 199.4 cm) [top truncated]. Rogers Fund, 1956; 56.48 © 2000–2016 The Metropolitan Museum of Art.

This now fragmentary canvas was one of three altarpieces commissioned for a hospital outside Toledo that were left unfinished at the artist's death. Two were completed by the artist's son, but this work remained incomplete. Here, the unfinished sky and foreground, against which the figures seem to float, add to the altarpiece's mesmerizing quality. The scene depicts the opening of the fifth seal, as described in the Book of Revelation: Saint John looks up ecstatically, having seen the "souls of them that were slain for the word of God." The upper portion of the painting, almost certainly very damaged, was cut off in the 1880s.
 
This work had an enormous impact on 20th-century artists from Picasso, who saw it in a studio in Paris in 1905, to Thomas Hart Benton and Jackson Pollock. All were inspired by the power of its weightless forms and highly charged atmosphere.

This work is exhibited in the “Unfinished: Thoughts Left Invisible” exhibition, on view through September 4th, 2016. #MetBreuer