SOTHEBY’S – Monet, Basquiat and Twombly Headline a $702 Million Week of Auctions


Monet, Basquiat and Twombly Headline a $702 Million Week of Auctions

BY SOTHEBY’S | MAY 12, 2021

An epic week of auctions that brought together a stellar array of Impressionist, Modern and Contemporary Art was led by a three-auction evening which realized a total $596.8 million. Conducted by Sotheby’s auctioneer Oliver Barker, the live-streamed event featured in-room bidders in New York, telephone bidders in London, Hong Kong and New York, and online bidders from around the world, who all vied for remarkable artworks by Monet, Picasso, Warhol and Basquiat, and many other exceptional artists of the 20th and 21st centuries.

Warhol, Still, Richter and Diebenkorn Lead the Marion Collection

Starting off the evening was American Visionary: The Collection of Mrs. John L. Marion, an auction of extraordinary works from the collection of legendary philanthropist and arts patron Mrs. John L. Marion. Totalling $157.2 million, the sale featured works representing the height of achievement in the American Abstract Expressionist and Pop art movements. Among the highlights was Richard Diebenkorn’s luminous Ocean Park #40, 1971, which sold for $27,265,500 – setting a new auction record for the California artist. New auction records were also reached for a work by Kenneth Noland, whose 1958 painting Rocker sold for $4,255,000, and Larry Rivers’s Africa I, 1961–62, which achieved $2,077,000. Other exciting moments from the auction were the sale of Clyfford Still’s PH-125 (1948-No. 1), 1948, which achieved $30,712,500 and Andy Warhol’s larger-than-life Elvis 2 Times, 1963, which sold for $37,032,000.

Watch Bidding Battle for Diebenkorn

Watch Bidding Battle for Diebenkorn

100% Sold Contemporary Art Auction Brings $218.3 Million

Demand for Contemporary luminaries continued in the white glove Contemporary Art Evening Auction, propelled by Jean-Michel Basquiat and Cy Twombly, bringing a total $218.3 million. The auction included works from the Collection of Morris and Rita Pynoos, the Collection of Kay Unger and Hidden Harmony: An Exquisite Private Collection, among others.

Top lots from the evening included Basquiat’s Versus Medici, 1982, which achieved $50,820,000 and Twombly’s Untitled (Rome), 1970, which sold for $41,628,000.

A lively bidding battle of nearly seven minutes took place for Robert Colescott’s George Washington Carver Crossing the Delaware: Page from an American History Textbook, 1975. The work achieved $15,201,000, more than 16 times Colescott’s previous auction record of $912,500.

Watch Bidding Battle for Banksy

Watch Bidding Battle for Banksy

Banksy’s Love is in the Air sparked another bidding face-off. After nearly 14 minutes, the 2004 painting – a quintessential example from the artist’s oeuvre – achieved $12,903,000. In a world first for a fine auction house, bidders on the work had the option of making their payment in cryptocurrency.

Auction records were set for Elizabeth Peyton, Raymond Pettibon and Jeff Koons (whose Quad Elvis sold for $9.5 million, setting a record for a painting by the artist).

Monet Steals the Show with $70.4 million Water Lilies

Capping the trio of marquee auctions and driven by a wonderful example of Claude Monet’s waterlilies, the Impressionist & Modern Art Evening Sale brought a total $221.3 million.

Le Bassin aux nymphéas, an exquisite example of Monet’s most iconic series, achieved $70,353,000 following a heated bidding battle lasting nearly five minutes between five different bidders. The result makes the painting among the top five most expensive works by the artist to be sold at auction.

Watch Bidding Battle for Monet

Watch Bidding Battle for Monet

Other star lots included Pablo Picasso’s striking portrait of Françoise Gilot, entitled Femme assise en costume vert ($20,946,000); Paul Cézanne’s poignant Nature morte: pommes et poires ($19,969,350); and a painting from Amedeo Modigliani’s mature period,Jeune fille assise, les cheveux dénoués (Jeune fille en bleu) ($16,350,000).

Leonor Fini’s arresting Autoportrait au scorpion, the only self-portrait the artist chose not to sell in her lifetime, set a new auction record for the artist at $2,319,000.

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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.

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

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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

RM Sotheby’s - Online auction Only: SHIFT / Monterey 2020
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RM Sotheby’s – Solo subasta en línea: SHIFT / Monterey 2020

RM Sotheby’s se complace en anunciar una subasta en línea como ninguna otra, Solo en línea: SHIFT / Monterey, que trae su venta de Monterey de récord mundialmente reconocida a la plataforma exclusiva en línea de la casa de subastas.


Fijado para la semana de subastas en vivo original de Monterey, Solo en línea: SHIFT / Monterey abrirá para ofertar el 6 de agosto, con lotes que cierran del 13 al 15 de agosto, y presentará aproximadamente 150 autos de colección excepcionales en rmsothebys.com, una oferta de un calibre nunca antes visto en una venta en línea. La venta en línea de Monterey se basará no solo en los resultados históricos de RM Sotheby en Monterey, sino también en el éxito de las subastas en línea de la compañía en los últimos meses, incluido su reciente cambio de la subasta de Palm Beach a la plataforma virtual.

El nuevo formato está respaldado por la experiencia de RM Sotheby’s, aprovechando el equipo experto de especialistas en automóviles, el nivel de servicio de conserjería de principio a fin, la investigación transparente y la red global que llega a los coleccionistas en más de 75 países para los que RM Sotheby’s es conocido, todo a través de una plataforma en línea segura y patentada. Se implementarán componentes digitales adicionales y nuevos formatos de medios antes de la subasta para mejorar la experiencia del postor, mientras que RM Sotheby’s también utilizará sus numerosas ubicaciones globales seguras para exhibir físicamente los envíos para una vista previa limitada antes de la venta.

Las primeras características destacadas del automóvil y detalles adicionales solo en línea: SHIFT / Monterey, incluidas las condiciones comerciales de la licitación, se anunciarán en las próximas semanas. Se invita a los expedidores interesados a comunicarse con un especialista en automóviles de RM Sotheby’s para hablar sobre cómo ingresar a su automóvil importante.

La subasta se acerca rápidamente y el espacio de envío es limitado. Siga las instrucciones a la derecha para entregar su automóvil hoy. El evento atraerá a los mejores coleccionistas y entusiastas de todo el mundo a una habitación mientras se vende su automóvil. Como líderes del mercado en la industria del automóvil de colección, puede estar seguro de que RM Sotheby’s investigará exhaustivamente, comercializará y presentará su vehículo a las personas que necesita alcanzar.

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RM Sotheby’s – Subasta de un SHELBY COBRA DAYTONA COUPE 2013

Seis Daytonas Shelby Cobra se hicieron entre 1964 y 1965 con un objetivo: vencer a Ferrari en la competencia internacional de autos deportivos. El Daytona se llevó a casa las victorias de clase en Le Mans, Sebring y Daytona, y se llevó a casa el Campeonato Internacional de la FIA para fabricantes de GT en 1965.

RM Sotheby’sSubasta de SHELBY COBRA DAYTONA COUPE 2013

$130,000 – $160,000


Auction Closes on 26 March 2020

Shelby American realizó una serie limitada de Daytonas utilizando los números de serie CSX9000 originales, y este ejemplo se completó en 2013 Si bien no es una continuación en el sentido más estricto, este automóvil es muy fiel al original. 

Un chasis de marco de tubo mejorado acuna un Ford 427 V8 construido por Rousch, que genera alrededor de 550 caballos de fuerza y ​​casi 600 lb-pie de torque. Este Daytona también incluye comodidades impensables como ventanas eléctricas y aire acondicionado, algo que nunca encontrarás en los originales. Con menos de mil millas en el reloj, este es un clásico vintage con comodidades modernas.

Carroll Shelby es, sin duda, uno de los diseñadores de automóviles más prolíficos e influyentes que jamás haya existido. Si bien es más conocido por su trabajo en el Ford GT, Mustangs y Cobras, el Shelby Cobra Dayona es uno de nuestros trabajos favoritos de él porque, además de ser uno de los autos más geniales de los que probablemente nunca haya oído hablar, representa una búsqueda hermosa y singular de un objetivo: aplastar absolutamente a su rival Ferrari.

 El original lo logró en 1965 antes de ser eclipsado por el Ford GT, pero sigue siendo una pieza gloriosa de la historia del automóvil que amamos. Este paseo en particular es parte de la serie de continuación CSX9000 del legendario Shelby Cobra Daytona que está acabado en negro con rayas plateadas de Le Mans y alimentado por un Ford V-8 de 427 pulgadas cúbicas construido por Roush. Este es el coche de carreras en el que Bruce Wayne bombardea cuando no conduce el Tumbler o el Lambo. El Shelby Cobra Daytona Coupe 2013 está programado para cruzar el bloque de subastas este fin de semana durante la subasta de RM Sotheby’s Palm Beach. Se espera que alcance entre $ 130,000 y $ 160,000, pero con menos de mil millas en el odómetro podríamos ver que aumenta significativamente.


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RM Sotheby’s subasta un mítico – 1955 JAGUAR D-TYPE RACE CAR

El séptimo cliente Jaguar D-Type salió de la fábrica en 1955 con destino a Australia y al conductor Bib Stillwell. Chasis no. XKD 520 sería exitoso en manos de Stillwell, estableciendo récords y ganando carreras hasta que se vendiera a la Australian Motorists Petrol Company en 1957, con un accidente durante el transporte que hizo que el auto se vendiera nuevamente. El automóvil continuó siendo un oponente temido hasta principios de los años 60, en un momento en que la tecnología estaba dando grandes pasos, antes de ser retirado bajo la propiedad del futuro ganador de Le Mans, Richard Attwood.

RM Sotheby’s subasta un mítico


€5,900,000 – €6,400,000

RM | Sotheby’s – PARIS 5 FEBRUARY 2020

El automóvil ha sido equipado con el motor de seis cilindros en línea más grande de 3.8 litros, suministrado por Jaguar en el período, y tiene una historia completamente documentada. Simplemente ser un D-Type, uno de los autos de carreras más famosos jamás fabricados, es suficiente para generar mucho interés, pero con su historia completamente documentada y su condición extremadamente original, este es considerado uno de los mejores D-Tipos en el planeta .

El número de chasis XKD 520 es el séptimo cliente D-Type construido, y se ordenó nuevo en junio de 1955 a través del importador australiano Jack Bryson en nombre de Bib Stillwell, futuro ganador cuatro veces consecutivo del Campeonato de pilotos australianos de rueda abierta. Al llegar a Melbourne en enero de 1956, Stillwell lo utilizó ampliamente, estableciendo numerosos récords en los circuitos locales, incluidos el Bathurst 500 y el Rob Roy Hill Climb, y obtuvo una victoria absoluta en el Trofeo del sur de Australia en Port Wakefield. Después de estar brevemente preparado para una carrera a un récord de velocidad en tierra, el XKD 520 regresó a la competencia de clase de autos deportivos, ganando el Campeonato de Carreras de Bathurst en 1956.

En el Trofeo Turístico Moomba en Albert Park en Melbourne, el XKD 520 alcanzó el segundo lugar en marzo de 1956. También compitió en el Trofeo Turístico Australiano en el mismo lugar en noviembre, donde el auto terminó quinto. La carrera de Stillwell en XKD 520 esencialmente concluyó la primavera siguiente el 24 de marzo de 1957, cuando ocupó el tercer lugar en Albert Park.
Poco tiempo después, AMPOL (Australian Motorists Petrol Company) compró XKD 520 en nombre de Jack Davey, quien era una personalidad de radio de guerra de renombre regional. Fue encomendado a Bill Murray, de Surfer’s Paradise, y estaba preparado para las pruebas de velocidad patrocinadas por AMPOL, pero desafortunadamente, un accidente durante el transporte impidió la participación del automóvil. El D-Type se vendió al entusiasta Frank Gardner, quien reconstruyó el auto de carreras aún capaz y emprendió una campaña de competencia propia, obteniendo el 2do lugar en Bathurst en 1958, el 1er lugar en Mount Druitt Hill Climb y el 3er lugar en ambos de las Orange Racing Car Scratch Races (donde notablemente solo perdió ante los autos de gran premio).

En noviembre de 1958, el XKD 520 se vendió a David Finch, quien pronto equipó el automóvil con un motor de 3.8 litros suministrado de fábrica. Este motor más potente se equipó en tipos D posteriores y, a veces, se vendió como motor de reemplazo. El nuevo motor prolongó la capacidad competitiva del automóvil, permitiéndole participar en el juego en el evento de Longford de 1960 y tomar el 1er lugar general en el Queensland Tourist Trophy de 1961. Alrededor de este tiempo, un incidente menor requirió trabajo en la parte delantera, y el Sr. Finch tomó la oportunidad de reemplazar la nariz con un capó de nariz larga fabricado por el hombre del cuerpo de Sydney Ian Standfield al estilo de los D-Tipos de nariz larga ganadores de Le Mans.

En mayo de 1962, Ash Marshall compró este extraordinario Jaguar y lo sometió a una renovación completa, que incluyó el cromado de múltiples componentes. El auto pasó a manos de Peter Bradley y Richard Parkinson antes de ser adquirido en 1967 por el futuro ganador de las 24 Horas de Le Mans, Richard Attwood. Attwood mantuvo el automóvil durante unos 10 años antes de venderlo a Sir Angus Spencer Nairn.

En 1977, Chris Keith-Lucas recogió el automóvil de la residencia del señor Attwood en nombre del nuevo propietario. En una carta, de la cual se incluye una copia en el archivo, Keith-Lucas recuerda el auto con cariño: “En general, estaba bastante bien presentado, pero [necesitaba] una nueva puesta en servicio directa antes de ser enviado al nuevo propietario”. Mientras estaba bajo el cuidado de Lynx , el auto fue atendido por el director gerente Keith-Lucas, un reconocido experto en marcas que más tarde fundó los prestigiosos CKL Developments, comenzando casi 30 años de sus atenciones.

Angus usó su D-Type a la ligera, participando en varios días de pista y compitiendo en el Mille Miglia, aunque el auto nunca corrió en serio durante ese tiempo. En 2004, Clive Jarman adquirió XKD 520. Keith-Lucas lo envió de regreso para trabajos de mantenimiento en CKL Developments. Bajo la dirección de Jarman, CKL logró obtener un capó de nariz corta original que no se había tenido en cuenta hace décadas durante la restauración de un XKSS para reemplazar el capó de nariz larga instalado en 1961. Es importante destacar que el capó de nariz larga fabricado en Australia se suministra con el coche. El Sr. Keith-Lucas afirma: ‘En mi opinión, [este] automóvil sigue siendo uno de los mejores tipos D de producción que existen en la actualidad. Hasta donde sé, [ha] conservado sus componentes principales desde finales de la década de 1950. Es uno de mis tipos D favoritos “.

Adquirido por el actual propietario de la colección del conocido coleccionista australiano Peter Harburg en 2014, el XKD 520 se acompaña de una extensa documentación, incluido un pasaporte técnico histórico de la FIA. Es uno de los ejemplos más antiguos y originales de un tipo D de especificación del cliente, y es elegible para los eventos más deseables del mundo. En posesión del consignador, compitió en el Goodwood Revival 2014 en la Copa Lavant, que ese año presentó una grilla compuesta exclusivamente por D-Tipos para celebrar el sexagésimo aniversario de la modelo. Después de un servicio reciente de CKL, permanece listo para usar y disfrutar como un brillante ejemplo de su raza y realmente sería una adición excepcional a cualquier colección de clase mundial.