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An exceptional 242-carat diamond offered on sale at ALROSA Jubilee Auction #100 in Dubai

An exceptional 242-carat diamond offered on sale at ALROSA Jubilee Auction #100 in Dubai

February 26, 2021 – ALROSA, in honor of the 100th auction of large diamonds, is putting up for auction one of the largest gem-quality crystals mined by the group since 2000. The last time a lot of such significance was put up for open sale was five years ago.

The Jubilee Auction #100 will take place on March 22, 2021. The flagship of the range is a 242.31-carat gem-quality crystal with dimensions of 21.7×31.3×41.9 mm. Viewings to be held at the ALROSA sales office in Dubai from 14th to 21th March.

Evgeny Agureev, ALROSA Head of Sales: “Rough diamonds, which potentially allow for cutting a diamond larger than 100 carats, are extremely rare in nature. Even less often such gems are traded: according to the law, all rough diamonds larger than 50 carats mined in Russia undergo a state examination for redemption to the state fund. Even when it is possible to put them on sale on the market, we prefer to cut and polish the diamond in-house before. Thus, today we are especially pleased to present this exceptional lot as part of our 100th international auction”

Dubai viewings will also feature two outstanding diamonds 190.74 and 136.21 carats each and a range of notable diamonds over 10.8 carats.

Under the current legislation, ALROSA sells special-size (over 10.8 carats) rough diamonds at auctions only. The first auction of such kind was held by the United Selling Organization of ALROSA in Moscow in 2003.


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RM Sotheby’s | Private Sales – 1965 Shelby 427 S/C Cobra “CSX 4600”

1965 Shelby 427 S/C Cobra “CSX 4600”

$475,000 Lot Location: New York, New York

RM | Private Sales

Chassis No.
CSX 4600
  • Finished in hand-formed bronze
  • Hand-polished, bare-metal body with contrasting brushed stripes
  • 650 hp, 511 cu. in. “427 FE” V-8 engine with Borla Induction throttle-body fuel injection built by the Carroll Shelby Engine Company; five-speed manual transmission
  • Stainless steel side pipes, chrome roll bar, and Halibrand-style knock-off wheels
  • A dazzling interpretation of the legendary Shelby 427 S/C Cobra

When he shoehorned an American V-8 into the shapely, British-built AC Ace, Carroll Shelby knew he was creating a sports car with potent performance both on-and off-track. But he could have scarcely imagined that the first 1962 Shelby Cobra would touch off a sensation that is still going strong today. By 1965, the Cobra had been developed into what is perhaps its most iconic form: 427-cubic-inch Ford V-8-powered Mark III, which featured a new chassis to make better use of its greatly increased output, and, above it, curvy bodywork with wide, flared fenders. Conceived with competition in mind, the 427 S/C, or “semi-competition,” model was also made available for those willing to contend with the Cobra’s raw power on the street.

The enduring popularity of the Shelby Cobra is such that numerous companies supply chassis, bodies, and components, often with home construction in mind. The cost and quality of these products vary, with only the finest replica Cobras—including the “4000 Series” of continuation cars—each earning CSX chassis numbers, offered in either fiberglass or aluminum. But when it comes to building bodies for these special cars, Provo, Utah-based Kirkham Motorsports undoubtedly sits in the upper echelon of suppliers.

Since 1994, Kirkham has offered exacting Cobra replicas in a range of configurations, including street and racing variants of the original 289 and the 427. From the very start, each has featured bodywork hand-crafted by a team of artisans in Poland—an unlikely transatlantic alliance said to have been forged when company founder David Kirkham was called to help repair the damaged nose cone of a recently imported jet fighter!


Kirkham Cobra bodies are typically rendered in lightweight aluminum, but for discriminating enthusiasts in search of something exceptional, it can also create distinctive bodywork in unexpected and challenging materials like copper and, in the case of chassis CSX 4600, bronze. In addition to the eye-catching, unexpected medium, these unpainted bodies reveal any underlying flaws, making them the ultimate demonstration of the quality of Kirkham’s offerings.

CSX 4600’s gleaming bronze bodywork, hand-polished to a mirrorlike finish, is broken only by a pair of racing stripes—here cleverly brushed into the metal surface, rather than applied with paint. Stainless steel side exhaust pipes and a chromed roll bar add contrast, and the car is equipped with Halibrand-style pin-drive knock-off wheels wrapped in Goodyear Eagle “billboard” tires.

The car’s cockpit is suitably minimalistic, featuring tinted sun visors, period-style black leather bucket seats, and a leather-covered dashboard equipped with a suite of Speedhut performance gauges, with the speedometer and tachometer bearing Carroll Shelby’s signature; the center emblem of the wood-rimmed steering wheel is also engraved with Shelby’s signature. The bottle for the onboard fire-suppression system sits below the dash.

This Cobra’s spectacular appearance is matched by its mechanical specification. An impressive aluminum-block 427 FE V-8, built by the Carroll Shelby Engine Company and stroked and bored to 511 cubic inches of displacement, is to be found underneath the hood. Breathing through eight 58-milimeter Borla Induction throttle bodies, this fuel-injected engine produces over 650 horsepower and over 670 pound-feet of torque (as accompanying dynamometer data attests). It is mated to a five-speed manual transmission, which sends power to the rear wheels via a 3.54:1 differential.

Nearly six decades after it first appeared, the Shelby Cobra still makes a powerful statement anywhere it goes—something that is doubly true of this spectacular Cobra 427 S/C “4000 Series.” Crafted in bronze by Kirkham Motorsports, CSX 4600’s dazzling hand-formed body and powerful fuel-injected 427 FE V-8 would make it a prized addition to any collection celebrating American sports car performance.

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Muscle Car Museum Is auction More Than 200 American Classics

A Florida Muscle Car Museum Is auction More Than 200 American Classics

at No Reserve

Florida construction and real estate developer Rick Treworgy’s first love was automobiles. He started wheeling and dealing at age 14, and although his career was in a different area, he never lost his passion. That passion would become the Muscle Car City Museum, one of the largest collections of American classics in the world, with over 200 cars in what was once a Walmart building. The pandemic has claimed the museum which will cease operations on January 17th, with all the cars being auctioned by Mecum. From rare GM muscle cars like two COPO Camaros to a plethora of Corvettes and Cadillacs, there’s something for everyone when the auction starts January 22nd.

Rick Treworgy bought his first car when he was 14 in the mid-60s. He was buying and selling cars in high school; eventually, his side hustle became a habit, and over time he amassed hundreds of cars. In an exclusive interview with The Drive, Treworgy told me that having a museum was always a dream of his, and he opened Muscle Car City 14 years ago. On January 22 and 23, his whole collection will be sold by Mecum Auctions at the museum in Punta Gorda, Florida, which is about 100 miles south of Tampa.

Considered one of the best collections of General Motors cars in the world, Treworgy’s collection is centered on Chevrolet, including 80 Corvettes of every generation. Even a 2020 C8 is on the block with less than 300 miles on the odometer; he says he has his eye on a 2022 Z06, which is expected to have a 5.5-liter V8 and a Ferrari-like flat-plane crank. He knows the 2020 model will fetch a solid price and he figured he would have traded it in for the Z06 anyway.

While he was planning to retire and sell his museum collection next year, the coronavirus slowed his traffic to a trickle and his friend Dana Mecum suggested that the time to sell was sooner than later. Just about everything in his massive building–which used to be a supermarket–will be sold, including a collection of high-performance Chevelles, Camaros, El Caminos, 442s, and GTOs.

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Worldwide auctioneers. -1979 Chevrolet ‘A-Team’ Van

1979 Chevrolet ‘A-Team’ Van

1 of 6 officially licensed vans by Universal Studios, Used to promote ‘A-Team ‘TV series in the U.S. and Canada, One of the most recognizable TV series vehicles, Accepted at shows and events everywhere

Offered Without Reserve

1979 Chevrolet ‘A-Team’ Van

  • 1 of 6 officially licensed vans by Universal Studios
  • Used to promote ‘A-Team ‘TV series in the U.S. and Canada
  • One of the most recognizable TV series vehicles
  • Accepted at shows and events everywhere

VIN # CGL2590138307

In 1983, this A-Team Van was one of six (6) Vans that were officially licensed by Universal Studios to Hollywood Productions, Inc. for exhibition and promotional tours throughout the U.S. and Canada. It was used topromote the A-Team TV series from 1983 to 1987. Although this vehicle was never seen or used in the A-Team TV series it was one of the most popular attractions while touring the auto shows.

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El Huer Mónaco de Steve Mcqueen alcanza los 2,2 millones de dolares en la subasta de Phillips “Racing Pulse”





El último ejemplar conocido del Heuer Mónaco propiedad de McQueen y regalado por él a su mecánico personal, se subastó en la emblemática subasta de relojes de Nueva York por Phillips en asociación con Bacs & Russo, convirtiéndose en el reloj de pulsera Heuer más caro jamás vendido.



Nueva York, 12 de diciembre de 2020. El último Heuer Monaco conocido, que Steve McQueen usó mientras rodaba su icónica película de carreras Le Mans (1971), batió el récord de 2.208.000 dólares en la subasta Phillips RACING PULSE en la ciudad de Nueva York. Este reloj es el reloj de pulsera Heuer más importante de todos los tiempos, y uno de los más célebres del siglo XX. El Heuer Monaco, situado en el Lote 20 fue una de las estrellas de la subasta, transmitida en directo desde la ciudad de Nueva York con una asistencia récord en línea.

El reloj, que originalmente figuraba como “estimado a pedido”, abrió con una oferta de 200.000 dólares. Después de una guerra de pujas de 7 minutos, el reloj se vendió finalmente a un postor en línea por 1.800.000 dólares antes de la prima del comprador, marcando un récord de precio para un Heuer en la subasta, y convirtiéndose en el reloj de pulsera Heuer más caro jamás vendido. Los entusiastas de los relojes de todo el mundo siguieron este momento histórico en línea y por teléfono.



Frédéric Arnault, Director General de TAG Heuer, compartió: “El Heuer Mónaco de Steve McQueen no sólo se convirtió en uno de los relojes más reconocidos y celebrados del siglo pasado, sino que comenzó a formar parte de la cultura de TAG Heuer. Nos hemos sentido emocionados por el entusiasmo mostrado por la comunidad relojera durante la subasta, y este resultado récord es un testamento de la importancia histórica y el legado continuado de este reloj TAG Heuer”. Paul Boutros, Jefe de las Américas de Phillips Watches, y el Vicepresidente Senior compartieron:

“Fue un gran honor que se le confiara la venta de este Heuer Monaco en nombre del Sr. Alltounian. Habiendo generado un tremendo interés por parte de coleccionistas y entusiastas de todo el mundo, estamos encantados con este resultado de récord mundial. Este reloj histórico siempre estará asociado al glamour y la emoción de las carreras automovilísticas, y puede considerarse sin duda uno de los relojes de pulsera Heuer más importantes de todos los tiempos”.

Introducido en 1969, el Mónaco de Heuer fue un cambio de juego. Fue el primer reloj de pulsera de cronógrafo de cuerda automática cuadrado e impermeable (caja Piquerez) del mundo, impulsado por el movimiento Calibre 11, identificado por una masa oscilante de microrotor y la inusual colocación de la corona en el lado izquierdo de la caja del reloj. Hoy en día, la referencia Mónaco 1133 es un icono entre los aficionados a los cronógrafos con un legado perdurable en la industria relojera.

Diseñado por Jack Heuer, el reloj recibió el nombre del famoso circuito de Fórmula Uno y fue elegido por Steve McQueen como el cronógrafo elegido cuando se inició el rodaje en Le Mans en 1970. El reloj fue regalado al mecánico jefe de la película y al mecánico personal de McQueen, Haig Alltounian, por Steve McQueen al final del rodaje. Enviado directamente por Alltounian, la caja del reloj tiene el grabado “TO HAIG Le MANS 1970”, dedicado a él por McQueen.

Contemporary Art Evening AuctionDarin Schnabel © 2020 RM Sothebys
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RM | Sotheby’s – Alfa Romeo Berlina Aerodinamica Tecnica 5-7-9d

Alfa Romeo Berlina Aerodinamica Tecnica 5-7-9d

$14,000,000 – $20,000,000

Contemporary Art Evening AuctionDarin Schnabel © 2020 RM Sothebys

Contemporary Art Evening AuctionDarin Schnabel © 2020 RM Sothebys


 An Automotive Triptych of Unparalleled Significance

Unconstrained by the limitations of budget and the realities of manufacturing, concept cars afford talented designers the opportunity to explore their wildest and most progressive ideas. At their best, these dazzling, artistic creations invite us to totally reimagine what the automobile can be.

As in the world of fashion, however, car design evolves quickly; it is unusual to find a concept that remains relevant after its allotted time in the spotlight comes to an end, let alone one that is still compelling over six decades after its debut. Rarer still is the concept that transcends its role as a design exercise to embody the sculptural potential of the automotive form. And when it comes to a trilogy of concepts that effortlessly achieves both feats, there is but one spectacular example: The Alfa Romeo Berlina Aerodinamica Tecnica series by Franco Scaglione.

Whether considered the ultimate three-movement concerto of automobile design or the only true automotive triptych ever produced, few will contest the greatness of the B.A.T. 5, 7, and 9d concepts. Hand-built by the storied Carrozzeria Bertone of Turin, Italy and introduced in 1953, 1954, and 1955, respectively, these cars were pioneering in their use of aerodynamics. With flamboyant aesthetics that simultaneously minimized drag for optimal performance, the B.A.T. cars were immediately and enthusiastically embraced by press and public alike.

Individually, each of the B.A.T.s is, without exaggeration, among the most important automotive concepts ever built. Presented collectively, their significance deepens: Uniquely in the automotive world, the B.A.T.s are best understood as variations on a singular theme, a complete work in three parts. Like a Francis Bacon triptych, examining one car in the context of the other two reveals new aspects of their forms, as well as the captivating details incorporated into the hand-shaped bodywork of each.

Put simply, since the inception of the internal combustion engine, no one vehicle—let alone an interwoven trilogy—has so compellingly explored the concept of the automobile as pure kinetic sculpture as the Alfa Romeo B.A.T. 5, 7, and 9d.


The greatest cars in the world, and indeed, the ones that completely re-write the course of automotive history, are the products of brilliant creative minds—engineers who rethink what is possible in terms of performance, captains of industry who envision a new paradigm of transport, and more often than not, designers whose sketches and clay models are years ahead of their time.

The world’s very best car designers are legends of the industry, from Harley Earl to Ian Callum, whose pencil strokes are immediately recognizable in the finished product. Franco Scaglione was one such iconic designer.

Franco Scaglione was born on 26 September 1916 in Florence, Italy, to Vittorio Scaglione, a chief army doctor, and Giovanna Fabbri, captain of the Italian Red Cross service. Franco would ultimately follow in his parents’ footsteps and join the military ranks at the outbreak of World War II. At War’s end, in early 1948, Franco travelled to Bologna in pursuit of work, with his mind set on becoming a car stylist in Italy’s rebuilding auto industry.

Initially he spent his time sketching clothing for various fashion houses. Though the work turned out to be lucrative, it did not fulfil his passion for working in automotive design. Looking toward the major coachbuilding firms, he relocated to Torino in 1951 where he reached out to Battista “Pinin” Farina, though a collaboration never materialized. Shortly thereafter, however, Franco met the great Giuseppe “Nuccio” Bertone, and a partnership was born.


At the dawn of the 1950s, Nuccio Bertone’s carrozzeria, the design house and coachbuilder responsible for penning and constructing hand-made car bodies, was struggling in the face of postwar recovery. One-off commissions for wealthy clients, once the lifeblood of the coachbuilding trade, represented a decreasingly viable business strategy. Meanwhile, the idea of a concept car—an automobile built primarily to push the limits of creativity, rather than to closely preview a future product—was far from widespread.

That began to change when Franco Scaglione entered the picture. The 1951 hiring of a then-largely unknown designer with a background in aeronautics soon resulted in the some of the firm’s most celebrated works, catapulting both Scaglione and Bertone to enduring fame.

Following the success of the Scaglione-designed and Bertone-built Abarth 1500 Biposto in 1952, Alfa Romeo expressed interest in exploring a technical proposal into aerodynamics. Bertone chose the modern 1900 platform as a testbed for this research, and Scaglione relished the opportunity to combine his interests in science and mathematics with his aesthetic leanings. He later wrote of the vehicle’s guiding manifesto in a 1954 article in Auto Italiana, arguing that aerodynamic considerations accounted for as much as 85 percent of a car’s efficiency, and concluding “the entry form must give a smooth penetration.”

From this relatively simple principle, Scaglione would derive the three automotive jewels that would make up the revolutionary Berlina Aerodinamica Tecnica series.

B.A.T. 5 (1953)

With firm ideas about the minimization of drag by shaping laminar airflow and stability with the car’s exterior form in mind, Scaglione progressively worked through four full-size models before proceeding to the fifth and final stage, the actual metalwork for the car. When completed, the concept car was appropriately dubbed the Berlina Aerodinamica Tecnica 5, or B.A.T. 5.

Instantly striking to even a casual observer, the B.A.T. 5’s protruding pontoon fenders and rounded center nose ducted airflow over the swept hood, whose low profile was accommodated by an engine modified with side-draft carburetors. Frontal air was channeled into dual nose vents with horizontal slots that directly fed the radiator core. Topside airflow was ducted over a slippery teardrop-shaped wraparound-glass cockpit, and over rear shoulders enclosed by leaning tailfins. The fins gently curved together toward the tapered rear, with airflow further stabilized by a central rear spine. Rear wheel skirts were fitted to reduce reverse airflow from the wheel’s topside, and large side vents provided exhaust for the front brakes.

Notably, and despite its radical looks, Scaglione designed the B.A.T. 5 and its successors with road-legal drivability (if not comfortable, practical long-distance touring) in mind. Over the years, many have claimed, incorrectly, that Scaglione’s dogged pursuit of aerodynamic efficiency meant that the car did away from headlamps. The headlamps are in fact designed to swing away and into the fenders when not required—one of many demonstrations of Scaglione’s ability to skillfully incorporate functional engineering solutions into what might have otherwise been a visually indulgent flight of fancy.

In addition to its arresting appearance and jet-age character, Scaglione’s coachwork was remarkable for its advanced aerodynamics. Figures vary slightly (analytical methods of the time were primitive by today’s standards) but the B.A.T. 5 is said to have achieved a coefficient of drag of roughly 0.23 at nearly 94 mph, all at a low power output of under 43 horsepower. The top speed was tested at 123.6 mph, an impressive metric given the era and the car’s relatively small four-cylinder engine.

The B.A.T. 5 made its public debut at the Turin Auto Salon in May 1953, drawing rapturous coverage from the international motoring press. In October 1953, Bertone sold the concept car to American importer Stanley “Wacky” Arnolt, and it was then displayed in the United States at Herb Shriner’s auto shows. After repainting the car a darker silver, Arnolt drove it personally for several years while displaying it at his Hoosier International Motors showroom in Warsaw, Indiana.

In 1956 Arnolt sold the Alfa Romeo to his friend Joe Prysak of South Bend, and he devised a way to hang the car from the rafters of his specialty shop, where it was displayed for many years. After 30 years of ownership, Prysak finally offered the B.A.T. 5 for sale in 1987, and it was then purchased by Said Marouf of La Jolla, California. Following a year-long restoration to the original color configuration, the important concept car was shown at the Pebble Beach Concours d’Elegance in August 1988, winning a class award. It would return a year later for something even more spectacular.

B.A.T. 7 (1954)

As is often the case with concept cars, the B.A.T. 5 was essentially mothballed after the 1953 show season as work commenced on an updated version, soon to be known as the B.A.T. 7. Running gear would once again be sourced from the Alfa Romeo 1900, but given the first car’s success, Scaglione was encouraged to emphasize various characteristics of the original. He obliged by narrowing the front air intakes, lowering the hood by over two inches, and lengthening the tailfins while adding increased angular pitch to the extremities. The rear wheel skirts and pronounced side vents remained.

Again, however, Scaglione judiciously avoided the trap of self-indulgence. Granted license to create a more extreme design, he also created one that was more extreme in terms of aerodynamics as well: The B.A.T. 7’s coefficient of drag was, at 0.19, even more remarkable than that of its predecessor. Consider that a Toyota Prius and a Tesla Model S, two paragons of modern efficiency, achieve a 0.24 Cd; Scaglione soundly bested both in an era without widespread wind tunnel testing or computer-aided design. Weight was reduced as well, from the B.A.T. 5’s roughly 2,400 pounds to just 2,200 pounds.

Scheduled to be unveiled at the Turin Salon in April 1954, the B.A.T. 7 required feverish preparation to complete, and it was finished so late that Nuccio Bertone and Franco Scaglione personally drove the car to Turin. Response at the show was unequivocally positive, as the B.A.T. 7 received even more enthusiastic praise from the media than its predecessor, making the cover of Swiss magazine Automobil Revue.

Following the 1954 show season, the B.A.T. 7 was acquired by Alfa Romeo in January 1955 and shipped to the United States for display by the manufacturer at the New York and Chicago Auto Shows. Shortly thereafter the car was purchased by the well-known San Francisco-based importer Charles Rezzaghi on behalf of Alfa Romeo enthusiast Al Williams, a flamboyant restaurateur whose Fairmont Hotel penthouse establishment hosted many of the day’s A-list celebrities. The B.A.T. 7 was soon transported to Southern California to run the SCCA races at Palm Springs in March 1955, and afterwards it was displayed at Bill Doheny’s Ferrari sales office in Los Angeles.

After returning to San Francisco, the B.A.T. 7 was modified with the removal of the fins; while this decision is no doubt shocking to a modern observer, it must be noted that these dramatic design features obstructed rear visibility and therefore made street use exceedingly difficult. Acquired then by Ken Shaff, the Alfa Romeo was repainted in Rolls-Royce sand and black, and presented at the 1958 Pebble Beach Concours d’Elegance.

Passing to collector Col. James Sorrell, the B.A.T. 7 was entrusted to the Van Nuys shop of Sal di Natale, then one of the West Coast’s most respected Italian car specialists. After undergoing a sympathetic freshening, the Alfa Romeo sat uncollected for some time, prompting di Natale to eventually put a lien on it and assume ownership around 1969. The mechanic went on to retain possession for 17 years, eventually selling the car in 1986 to a private collector, at which time a two-year refurbishment was conducted of the coachwork, including reinstallation of the fins, to its original configuration.

B.A.T. 9d (1955)

Following the B.A.T. 7’s show season of 1954, Scaglione began work on a third concept for 1955. Perhaps sensing some missed opportunity—as popular as the prior B.A.T.s were, they looked utterly unlike anything sold by Alfa Romeo—Alfa Romeo’s mandate for the final B.A.T concept was to “make it more practical for road use.”

Thus, for his third act, Scaglione explored a roadworthy gran turismo interpretation of the B.A.T theme. The fins were reduced in size to improve rear visibility, and the rear wheel skirts were eliminated. A pronounced beltline was added toward the rear, while a standard production triangular Alfa Romeo Giulietta grille, including the famed Milano crest, was fitted to the front grille, highlighting the car’s identity as an Alfa Romeo. And, of course, the mechanical components were once again drawn from the Alfa Romeo 1900.

The Turin Salon was again chosen to unveil the new concept car, and the B.A.T. 9d was unsurprisingly lavished with high praise, completing one of the most important automotive triptychs ever devised. After the 1955 show season, this final concept car was sold into American ownership, and it next surfaced in the parking lot of the Sebring endurance race in March 1956. The B.A.T. 9d was discovered there by Chicago dealer Harry Woodnorth, and he, along with Tom Barrett, arranged a purchase after patiently waiting for the car’s owners to return.

Barrett later sold his share of the car to Woodnorth, and in 1958 Woodnorth in turn sold the Alfa Romeo to Ed Beseler of Lansing, Michigan, who repainted the body red. After Beseler’s passing a few years later, the B.A.T. 9d was purchased by Arlen Regis at an estate sale, and he prominently displayed the car at the dealership he managed, Chapin Motors of Greenville, Michigan. In 1962, 16-year-old Gary Kaberle spotted the car at the dealership and began relentlessly hounding Regis to sell it to him, eventually emptying a gym bag of cash onto the dealer’s desk to trigger a transaction.

Kaberle retained the B.A.T. 9d for 28 years, and it served as his transport while he earned his D.D.S. Continually maintaining the Alfa Romeo, he presented the car at the Henry Ford Museum’s annual Sports Cars in Review in the late 1960s. After receiving an invitation to display the car at the Meadow Brook Concours d’Elegance in 1987, Dr. Kaberle arranged to refinish the aging exterior, opting to repaint it in silver.


Study the histories of these three concepts and a surprising fact emerges: Despite their individual popularity and collective significance, the B.A.T.s were never displayed together when new. But as each of the three B.A.T. cars came to the attention of collectors in 1987, concours organizers began to dream of assembling all three in one exhibitive setting.

The precipitating event was Nuccio Bertone’s visit to Pasadena, California’s Art Center College of Design in 1989 to receive an honorary degree. Seizing the opportunity, organizers of the Pebble Beach Concours d’Elegance invited the three owners of the B.A.T.s to the 1989 show, and the elder coachbuilder was encouraged to travel up the coast for the occasion. With the three cars displayed together for the first time in their history, Nuccio Bertone shared nostalgic anecdotes of his experiences with Franco Scaglione.

Recognizing the unique appeal of keeping all three B.A.T.s together, a private collector made an offer to each of the three owners, and the cars became united in ownership as well. Together, the B.A.T.s traveled to Europe during the early 1990s, being shown at the Genoa Autostory in February 1992, the 80th Anniversary of Bertone held in Turin, the Centre International de l’Automobile in Pantin, Paris, and Rétromobile held in Versailles in February 1993.

The concept cars were then sent to the Blackhawk Museum in Danville, California, where they had been on display for over a decade. Exhibition during this period included a trip to the Museum of Science in South Kensington, London, and presentation at Coys International Historic Festival in July 1994. In August 2005, the three B.A.T.s returned to Pebble Beach, and in 2009 they were presented at Concorso Italiano.

The important cars have also been exhibited at world-class motoring events such as the Cartier Style et Luxe at Goodwood, the Louis Vuitton Bagatelle Concours d‘Elegance, and the Villa d’Este Concorso d’Eleganza. Underscoring their broad appeal and significance as objects of mechanical art, the three B.A.T.s were shown alongside a carefully curated collection of significant Italian cars at the Frist Center for the Visual Arts in Nashville, Tennessee in 2016.

Aerodynamically advanced, visually arresting, and hugely influential, Franco Scaglione’s Alfa Romeo B.A.T. 5, 7, and 9d occupy an intriguing space between driveable automobiles and pure kinetic sculpture. It is incredibly unique for three such concept cars to have been collectively owned and maintained for so long. Offered together, this rare and exciting opportunity affords discerning collectors a chance to acquire perhaps the most celebrated trio of series-conceived concept cars in automotive history—a triptych in which form and function strike a perfect, compelling balance.

Welcome at the most prestigious international concours d’elegance and design exhibitions worldwide, this striking trio would be a crowning achievement of any collection of cars and art.

1953 Alfa Romeo B.A.T. 5
Chassis no. AR1900 01396

1954 Alfa Romeo B.A.T. 7
Chassis no. AR1900C 01485

1955 Alfa Romeo B.A.T. 9d
Chassis no. AR1900 01600

Coachwork by Carrozzeria Bertone
Design by Franco Scaglione

Ron Kimball © 2020 RM Sothebys


Christie’s Auctions | The life and times of STAN – one of the most complete T. Rex skeletons ever found

‘This is one of the best specimens discovered,’ says James Hyslop, head of Christie’s Science & Natural History department. Unearthed in 1987, less than a century after the existence of Tyrannosaurus rex had first become known, STAN — named after his discoverer Stan Sacrison — represents one of the most complete fossil skeletons of the most famous dinosaur species ever to have lived.

6–8 October 2020

Found in 1987 and one of the most complete fossils of its kind, Stan is going up for sale Oct. 6. $6,000,000+.

Christie’s Auctions | The life and times of STAN — one of the most complete T. Rex skeletons ever found

Human beings have only been aware of T. rex since the dawn of the 20th century, after remains were first documented by the legendary palaeontologist, Barnum Brown.

In 1900 and 1902, ‘Mr Bones’, as the then assistant curator of the American Museum of Natural History was known, found partial skeletons in Wyoming and on the Montana side of the Hell Creek Formation. (The same landscape of Upper Cretaceous rocks where STAN was found across the border in South Dakota.)


T. rex, soon after dubbed ‘the prizefighter of antiquity’, has been a subject of global fascination ever since — a fusion of science, history and popular culture in the public imagination.

Quickly adopted by cinema, the most fearsome of dinosaurs appeared in The Lost World (1925), fought the climactic battle with King Kong (1933) and shared a striking resemblance to Godzilla (1954). Its most spectacular screen role came in 1993 with Jurassic Park, in which it became a monster for the ages.

Christie’s Auctions

A male Tyrannosaurs rex. From the Hell Creek Formation, 16 meters below the K-T boundary, Maastrichtian, Late Cretaceous (circa 67 million years ago). Approx. 190 bones surviving and mounted on custom frame with additional cast elements. A separate display for the original skull and teeth. Size: 37 x 13 x 6 ft (1128 x 396 x 183 cm). Estimate: $6,000,000-8,000,000. Offered in the 20th Century Evening Sale on 6 October at Christie’s in New York

STAN will be offered on 6 October in the 20th Century Evening Sale at Christie’s in New York — ‘a once in a generation chance’, according to Hyslop. ‘There simply aren’t T. rexes like this coming to market. It’s an incredibly rare event when a great one is found.

‘It is such an iconic piece of the 20th century, and fits so well in the context we are offering it.’ Archetype, movie star, pop-culture celebrity, it is fitting that STAN will make his auction debut alongside masterpieces of modern and contemporary art.

‘T. rex is a brand name in a way that no other dinosaur is,’ says Hyslop.‘It sits very naturally against a Picasso, a Jeff Koons or an Andy Warhol.’

Born in the Badlands

STAN lived in the late Cretaceous period — the prehistoric age that ended mysteriously and abruptly some 65 million years ago with the mass extinction of the dinosaurs.

He was born, grew up and died in a humid, semi-tropical region of an island continent identified as Laramidia, an area known today as the Badlands, which spans North and South Dakota, Wyoming and Montana in the United States of America.

The vulnerable, feathered youngster
Hatched from an elongated egg much like a modern bird, STAN was defenceless as an infant and, according to recent scientific research, covered in feathers. Many of his fellow hatchlings would have perished by the age of one, victims to scavengers or cannibalised by another T. rex.

Although he would grow up to become an apex predator, STAN remained vulnerable as a juvenile. No larger than a small turkey, he required the constant protection of his parents. Between the ages of six and 18, however, he underwent an astonishing growth spurt of an estimated six pounds per day.

Almost 40 feet long, nose to tail, with incredible eyesight
At his largest, STAN would have boasted a body mass of between seven and eight tons — twice as heavy as the average modern African elephant. He measured a towering 13 feet high, and almost 40 feet long with his heavy tail fully outstretched.

His aquiline snout once housed an intricate system of blood vessels, functioning as a giant biological air conditioner. With eyes the size of baseballs, STAN would have been able to pinpoint another dinosaur from six kilometres away — a range far superior to any bird of prey today.

Added to these attributes, STAN possessed an impressive sense of smell, as revealed by the internal structure of his enormous skull. Although a preserved T. rex brain has yet to be found, the impression left behind reveals that the largest part of the brain was dedicated to the ‘olfactory bulbs’.

Agility, cunning and brute strength — STAN’s bite could easily have crushed a car
The large space set aside for these ‘bulbs’ confirms STAN was a carnivore. They would also have equipped him for hunting at night and over long distances. Through this potent combination of agility, cunning, and brute strength, STAN would have thrived as a predator with no competitors or threats other than his fellow T. rexes.

While his short, two-fingered forearms were less than impressive — prone to disease and, unfortunately given his prodigious appetite, too short to reach his mouth — they most probably came in useful for seizing prey or carcasses.

This is just as well, for it is thought STAN could eat up to 500lbs of meat in one bite. He had as many as 58 teeth, the longest of which measures 11½ inches. Each tooth has serrated edges which could crush and slice straight through the flesh and bone of its prey.

In 2005, STAN’s skull was reproduced and tested to recreate a bite force of four tons per square inch — easily enough to crush a car. A 2012 study concluded that STAN’s front teeth had probably evolved to grip and pull, while his side teeth tore flesh and his back teeth sliced chunks of meat, forcing them down into the throat.

In the swamps and forests where he lived, STAN survived attacks from his own species
Further study of STAN’s impressive skull reveals that his life was not exactly carefree. Vicious puncture wounds neatly fitting a T. rex tooth strongly suggest he was himself a wounded warrior who suffered attacks by his own species. Though unaccustomed to running from anything, his powerful thigh muscles enabled STAN to move at a speed of between 10 and 25 mph.

STAN and his kind lived in coastal swamps and forested valleys close to rivers, which attracted a variety of prey. Although debate has raged as to whether the T. rex was a hunter or a scavenger, STAN was fully equipped for pursuit independently or in a group of Tyrannosaurs (aptly known as a ‘terror’).

His killer instinct was confirmed during the excavation of his skeleton in 1992, when he was found with the fossilised and partially digested remains of an Edmontosaurus, a large duck-billed dinosaur, and a Triceratops, a hulking three-horned dinosaur which, despite being a herbivore and potential prey to the T. rex, would have been a formidable opponent. These bones each had bite marks, revealing how STAN could hunt, kill, and devour even the largest and most well-protected herbivores.

Amateur palaeontologist Stan Sacrison’s incredible discovery
After STAN died and decomposed, his skeleton was gradually blanketed and compacted by sediment, sand and mud. The incredible survival of his skeleton is the result of fossilisation, a transformational process which took place over millions of years.

Over time, STAN’s organic bones were mineralised by water seeping through the sediment, which then hardened into the stone relics discovered in the spring of 1987, when amateur palaeontologist Stan Sacrison went searching for traces of dinosaurs within the Hell Creek Formation, and uncovered a dinosaur’s fossilised hip bone, which was later confirmed to have been STAN’s.


The most widely exhibited dinosaur of all time

Each individual fossil from STAN’s skeleton had to be prised carefully from the rock, then stored and recorded. Following more than 30,000 hours of labour, STAN was erected on a custom mount to reflect his former glory. He was given a public unveiling on Hill City’s Main Street in South Dakota, followed by his global ‘debut’ as the centrepiece of Japan’s T. rex World Exposition in 1995.

More than 30 years after his discovery, STAN is recognised and revered as a scientific and cultural sensation. As one of the two most complete T. rex skeletons ever found — and the most reproduced as casts in history — he is almost certainly the most viewed and widely exhibited dinosaur of all time.

STAN is now on view at Christie’s in New York. Email TREX@christies.com to request an appointment.

Fuente y fotografias: Christie’s


La venta de joyas magníficas de Sotheby’s Hong Kong asciende a 56.473.108 dólares



5.04 quilates Anillo de diamantes de color azul vivo elegante, tipo IIb
Alcanza HK $ 81,796,000 / US $ 10,554,138

SE VENDE POR HK $ 81,796,000 / US $ 10,554,138 (US $ 2,094,075 POR QUILATO)
(EST. HK $ 60 – 75 MILLONES / US $ 7,7 – 9,7 MILLONES)

Presentado a partir de una importante colección privada, este diamante azul en forma de corazón sin duda está a la altura de este gran galardón de Fancy Vivid Blue, que posee un rico e innegable tono azul que recuerda al cielo azul y al océano seductor, y es verdaderamente una exhibición exquisita de lo mejor de la naturaleza. .

Diamante rosa vivo elegante de 4.49 quilates, impecable internamente
Se vende por HK $ 63,002,500 / US $ 8,129,213

SE VENDE POR HK $ 63,002,500 / US $ 8,129,213 (US $ 1,810,515 POR KILATO)
(EST. HK $ 58 – 68 MILLONES / US $ 7.5 – 8.8 MILLONES)

Este diamante rosa Fancy Vivid es impecable por dentro, con 4,49 quilates de rareza pura. Abrazando el tono, el tono y la saturación más idílicos, el color rosa espectacularmente atractivo es incomparable, un tesoro que alberga el carisma más encantador.


De HK $ 80.657.000 / US $ 10.407.173

VENDE POR HK $ 80.657.000 / US $ 10.407.173 (US $ 14.867 POR QUILATO)

Este notable collar de cuentas de jadeíta verde imperial que consta de 37 cuentas de notable tamaño, y es hasta la fecha, el collar de cuentas de jadeíta más grande que recibe un certificado especial de Gubelin por su calidad de jade imperial. Las cuentas de jadeíta exhiben un color que combina perfectamente, combinado con una translucidez excepcional y un brillo excelente.


Se dispara por encima de la alta estimación para vender por HK $ 1,625,000 / US $ 209,674

SE VENDE POR HK $ 1,625,000 / US $ 209,674
(EST. HK $ 380,000-500,000 / US $ 49,000-64,500)

Este brazalete firmado por Garrard, el joyero londinense de la corona británica, fue un regalo que se le hizo a la princesa Margarita en su 21 cumpleaños. La princesa Margaret fue vista usando el brazalete muchas veces en público, lo que indica su afinidad por la pieza. Más adelante en su vida, la princesa Margarita volvió a montar algunas de sus joyas más antiguas en diseños modernos, tal como lo había hecho la reina Victoria en el pasado. Sin embargo, esta pulsera de diamantes se mantuvo en su engaste antiguo original.


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RM Sotheby´s – 1960 Porsche 356 RSR Outlaw by MOMO/Emory

 RM Sotheby´s1960 Porsche 356 RSR Outlaw by MOMO/Emory

RM | Online Only – SHIFT/MONTEREY 14 – 15 AUGUST 2020

Chassis No.

Disponible a través de RM Sotheby’s, este 1960 Porsche 356 RSR Outlawfue personalizado en una colaboración entre Momo, con sede en Milán, y Rod Emory, que se cortó los dientes trabajando con Outlaws. La base es un Porsche 911 de la generación 964 con un llamativo cuerpo de aluminio que envuelve el exterior. El motor Emory-Rothsport Outlaw-4 de doble turbocompresor le da al coche deportivo mucho gruñido a 394 hp.

El personalizador de automóviles de tercera generación / renombrado experto en Porsche, Rod Emory, reunió toda una vida de experiencia automotriz para crear un exótico Porsche 356 RSR de 1960. Como nieto de uno de los primeros propietarios de tiendas de autos calientes de Los Ángeles, hijo del creador de Baja Bug y ex mecánico de Top Fuel y competidor off-road competitivo, Rod pudo aprovechar cada onza de su ADN automotriz en este constructor proyecto soñado

“Comenzó en 2012 cuando hice que mi amigo Greg Macey dibujara un concepto que había tenido en mente durante bastante tiempo”, dice Rod Emory. “La idea era crear un homenaje al Porsche que trabaja con 935 autos de la década de 1970 mientras conserva nuestro estilo Emory 356 Outlaw. Greg hizo bocetos fenomenales, que publicamos en Instagram. El CEO de MOMO, Henrique Cisneros, se acercó y preguntó qué se necesitaría para convertir el concepto en realidad. Una vez que nos concentramos en los detalles, Avedis Djinguelian realizó una segunda representación para que sirviera como una guía de estilo más representativa del producto terminado. El tiempo real de construcción fue de unos cuatro años completos “.

Al igual que con otras construcciones Emory Outlaw y Emory Special, el proyecto comenzó con el auto donante perfecto: un coupé T5 356B 1960 de 1960 cuyo techo no sufrió daños, pero el resto de los paneles de la carrocería estaban destinados a desechos.

Con una nueva experiencia combinando un cuerpo 356 y un chasis 911 en el primer AWD 356 del mundo (el proyecto Emory / Independent Fabrication 356C4S), la tripulación de Rod sabía dónde pellizcar / plegar para combinar la mejor de las dos iteraciones de autos deportivos Porsche, con unos 35 años de diferencia en años. El resultado es una mezcla perfecta de súper rendimiento cuya silueta 356 se conserva ingeniosamente, gracias a su invernadero y puertas de fábrica. Este automóvil es un ejemplo de los automóviles designados “RS” de alto rendimiento de Emory Motorsports.

Para fusionar los cuerpos de Porsche, la diferencia en la distancia entre ejes se dividió esencialmente (85 mm) con una inteligente redistribución de la longitud. Sin embargo, se conservaron todos los puntos de recogida de suspensión de 964. Además, la sección del bastidor del motor se ajustó a una longitud adecuada para un cuatro refrigerado por aire 356 correcto.

Hablando de eso, el exótico motor Outlaw-4 de doble turbo Emory-Rothsport produjo la friolera de 393 caballos de fuerza en el motor de Rothsport Racing, increíble en un automóvil que pesa solo 1.950 libras. Este bloque de motor patentado, desarrollado y solo disponible en versiones de Emory Motorsports, es una colaboración entre Rod Emory y Jeff Gamroth de Rothsport Racing. La arquitectura del motor “Outlaw-4” se basa en el motor Porsche 3.6L de sumidero seco de la década de 1990. Para obtener la potencia loca, Rothsport Racing creó un sistema de inyección de combustible especialmente diseñado con una cámara de admisión única y un distribuidor de doble enchufe, administrado por una computadora Motec. El sistema de doble turbo RSR inspirado en la carrera utiliza dos turbos con rodamiento de bolas Garrett GT28R con compuertas de escape Turbosmart, respaldados por intercoolers personalizados. Una perilla de control de impulso de estilo 935 montada en el tablero permite marcar hasta 1.2 bares de impulso desde los turbos.

Otros detalles de Outlaw-4 incluyen un sistema de aceite de flujo completo con filtro y enfriador remotos, con tuberías y accesorios XRP. Además, Rothsport Racing fabricó un sistema de escape de acero inoxidable 3-2-1 personalizado, que termina con un tubo recto sin silenciador. El sistema de combustible incluye una celda de combustible Fuel Safe de 18 galones, que sostiene un sistema de suministro de combustible Radium FCST.

La suspensión del 356 RSR se diseñó en torno a la relación extrema potencia / peso. El paseo está controlado por coilovers KW con 1.5 pulgadas de elevación bajo demanda para negociar delantales de entrada. Las placas de inclinación frontal de Eisenlohr Racing Products y las monturas de bola única permiten una capacidad de ajuste adicional. Las curvas más planas son posibles gracias a las barras estabilizadoras de Tarett Engineering. Además, se conservaron la dirección y los frenos de piñón y cremallera no eléctricos 964, aunque con rotores y sombreros personalizados Coleman Racing.

Los componentes de la competencia fueron uno de los trampolines del proyecto, pero el objetivo era la legalidad de la calle. Rod Emory tiene una afinidad por las ruedas de 5 radios MOMO con bujes de bloqueo central del Porsche funciona 935. Las ruedas como esas estaban en la parte superior de su lista imprescindible. Se creó un juego de ruedas de bloqueo central MOMO Heritage a medida para este automóvil; los frentes son de 17×7 y los traseros son de 17×8, envueltos en llantas Pirelli P Zero Trofeo R.

“La gente tuvo fuertes reacciones cuando presentamos el 356 RSR en Luftgekühlt en mayo pasado”, dijo Rod Emory. “Fue demasiado exagerado incluso para algunos de los puristas que perdonaron, algo a lo que estamos acostumbrados después de que los propietarios correctos de la marca lo tildaran hace décadas, pero el auto definitivamente atrajo mucha atención y ahora sirve como un punto de referencia de lo que podemos hacer con las plataformas extremadamente flexibles de Porsche “.

Texto: 9tro

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Sotheby’s – 1964 Porsche 904 GTS

Auction Closes on 10 June 2020 – Porsche released the 904 in 1963 as a purpose-built race car with road-going versions built to satisfy the FIA’s homologation requirements. An aerodynamic fiberglass body over a steel ladder chassis and a mid-engine layout gave the car superb handling, and with a weight of just over 1,400 pounds, it’s four-cylinder engine earned it the “giant-killer” reputation Porsche was known for. The 904 up for auction here was delivered in 1964 and campaigned in a hill climb only a month later

Please note that all of the vehicle in the Petitjean collection have been on static display for many years. As such, none of the vehicles are in running condition and all of them will require mechanical servicing to be made roadworthy. Please contact an RM Sotheby’s specalists with any further questions.

1964 Porsche 904 GTS

Offered Without Reserve

€700,000 – €900,000

Documents: French Carte Grise de Collection

  • Offered from 27 years of single ownership
  • The first of a line of mid-engined Porsche sports cars that finished with the 917
  • Designed by F A Porsche, his last design for his family’s firm
  • Highly eligible for historic racing events throughout the world

Veuillez noter que tous les véhicules composant la Collection Petitjean sont conservés depuis plusieurs années dans des conditions purement statiques. Il en résulte qu’aucun d’entre eux n’est en état de circuler et que tous devront subir une révision mécanique avant de pouvoir prendre la route. Pour toute autre précision, veuillez prendre contact avec un spécialiste de RM Sotheby’s.

Please note that this lot will need to be collected from Goddelau, Germany.
Les acheteurs doivent organiser l’expédition de leur lot à partir de Goddelau (Allemagne).

Please note that the condition report for this lot will be posted online by Sunday, June 7th. Please contact an RM Sotheby’s specialist with any questions.

Born at a similar time to the marque’s ubiquitous 911, the 904’s design was penned by F A Porsche, and for 1963 it featured the latest aerodynamic theories with a pointed bonnet overhang and a Kamm tail at the rear, successfully resulting in a drag coefficient of 0.34. The chassis of the 904 was entirely new for Porsche, with fibreglass panels bonded to the steel chassis to increase torsional stiffness; combined with fibreglass body panels, the 904 weighed only 655 kg. Power was provided by the proven four-cam engine before later versions received six-cylinder twin-cam engines.

Typically for Porsche, the design proved to be amazingly durable and efficient, two factors that work extremely well in endurance racing, with the 904 achieving countless class wins and giant-killing performances on both sides of the Atlantic. The importance of the 904 is not to be underestimated, as it started the programme that finally resulted in the legendary 917.

Chassis no. 904-062 was finished on 25 March 1964 and delivered new to Pierre Jaillardon in Marseille, who competed in a hill climb at Lodève just over a month later. Later it was sold to Mr René Maucort, who would become the principle competitor with 062, successfully competing in rallies and hill climbs throughout 1965 and ’66. A frontal accident towards the end of 1966 caused the 904 to be sold to Jose Piger; reportedly, he received the car without an engine or gearbox.

From Piger it passed through Freisinger and a third party to Heinz Kurek; Kurek proceeded to repair the front damage and restore 062 from 1975 to ’79, supposedly using this 904 as a reference for his other 904 builds. From him it passed via Bruce Canepa to Kerry Morse before being sold in 1989 back to France with Thierry Reynaud. Reynaud carried out restorative work on 062 before selling it to Monsieur Petitjean in 1993. Given the history of 062, we would recommend a close inspection of the car and its history file.