, , , ,

Sotheby’s International Realty: Luxury Properties and Homes golf course in Ciudalcampo Madrid

Sotheby's International Realty: Luxury Properties and Homes golf course in Ciudalcampo Madrid

Sotheby’s International Realty: Luxury Properties and Homes –

Spectacular single-family home next to the golf course in Ciudalcampo

With a well-tended garden integrated into the golf course thanks to a wall of armoured security glass, which offers direct access to it.

Housing designed with spaces that are connected to each other and perfectly integrated with the landscape.

With all the comforts, such as a spa with a heated swimming pool, Turkish bath, sauna, meditation room, gym, etc… Also a party room / discotheque and an exquisitely designed wine cellar.

This property is domotized and has access to private spaces with a key.

The indoor swimming pool is transformed into an outdoor one as it has movable glass panels.

Closed urbanization with 24 hour security and only half an hour from the centre of Madrid.

San Sebastian de los Reyes, Madrid, 28770 Spain

Elena Babé

Madrid Sotheby’s International Realty

Calle de Sagasta, 14
Madrid, Spain


, , ,

RM | Sotheby’s – Alfa Romeo Berlina Aerodinamica Tecnica 5-7-9d

Contemporary Art Evening AuctionDarin Schnabel © 2020 RM Sothebys

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


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.


, , ,

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.


Circuito de carreras de coches de Fórmula 1 – RM | Sotheby’s

Formula 1 Slot Car Racetrack - RM | Sotheby's

Esta pista de tragamonedas personalizada fue encargada por la Fórmula 1 y construida por Slot Mods Raceways, con sede en Detroit, Michigan, EE. UU. Construida en madera a escala 1:32 con un diseño original, se envió a cada Gran Premio de Fórmula 1 durante la temporada 2018 y utilizada por patrocinadores del Paddock Club de Fórmula 1. Diseñado para que dos autos se usen y corran uno contra el otro al mismo tiempo, la pista tiene un cronómetro electrónico integrado y cámaras en la pista, lo que aumenta las apuestas y agrega un poco de competencia a la diversión.

Formula 1 Slot Car Racetrack – RM | Sotheby’s – ABU DHABI

Formula 1 Slot Car Racetrack - RM | Sotheby's

Formula 1 Slot Car Racetrack – RM | Sotheby’s

Sold For $48,000


Slot Mods ha creado pistas para empresas y particulares en los últimos diez años, incluidos Mercedes-Benz, Ford, Audi y Toyota. Hecho a mano en casi todos los aspectos, cada canción es una obra de amor creada por artistas y demora aproximadamente de tres a seis meses en completarse y cuesta mucho más de $ 100,000, dependiendo del tamaño y los detalles. Esta pista cuenta con fanáticos de carreras pintados a mano, edificios a medida, follaje que recubre el circuito y mucho más. Es increíble para la vista, aún más para disfrutar. La pista se puede desmontar en dos secciones modulares para facilitar el envío, y los Slot Mods se pueden encargar más para proporcionar servicio postventa o instalación si fuera necesario.

Formula 1 Slot Car Racetrack - RM | Sotheby's

Formula 1 Slot Car Racetrack – RM | Sotheby’s

Los ingresos de esta venta beneficiarán al Fondo Reaching the Last Mile, inspirado en la campaña de salud global de Su Alteza Sheikh Mohamed bin Zayed para erradicar enfermedades prevenibles, una iniciativa conjunta con la Fundación Bill Gates. Su Alteza se dedica a erradicar enfermedades prevenibles que afectan a las comunidades más pobres y vulnerables del mundo en desarrollo, y Su Alteza ha donado anteriormente más de $ 250,000,000 desde 2010. La campaña se centra en la erradicación de enfermedades en Etiopía, Sudán, Chad, Mali, Níger , Senegal y Yemen.

Numerosos pilotos y otras figuras importantes en el mundo de la Fórmula 1 han utilizado esta pista de tragamonedas en las carreras de la temporada pasada, y la compra de esta increíble pista agregará su nombre a esa lista y devolverá a una causa digna cercana y querida a la Fórmula 1

, , ,


El multimillonario sefardí compra la célebre casa de subastas que hoy por hoy es el mayor mercado de arte del mundo.

Patrick Drahi, la fortuna número uno de Israel y quinta de Francia, y uno de los hombres de negocios mejores considerados en todo el mundo, nació en Casablanca el 20 de agosto de 1963.  Quince años más tarde, sus padres, que eran profesores de matemáticas, decidieron emigrar a Montpellier, Francia y él estudia ingienería en uno de los colegios más exclusivos de París. Su primer trabajo le llevó a ser jefe de departamento para la multinacional Phillips. Luego, en los años´90, realizó una serie de operaciones financieras de éxito en el mundo de las telecomunicaciones a través de un grupo de su propiedad, Altice. Se hizo con la más grande compañía de cable de Francia, por ejemplo, además de otras relacionas siempre con la comunicación de masas.

El empresario tiene el control del 60% de la companía Altice, que opera en países como Francia, Portugal, Estados Unidos y República Dominicana

“Esta adquisición dará a Sotheby’s la oportunidad de acelerar su exitoso programa de iniciativas de crecimiento de los últimos años en un entorno privado más flexible”, expresó el consejero delegado de la firma, Tad Smith.

El coleccionista de arte franco-israelí Patrick Drahi, descrito por el ejecutivo de Sotheby’s como “uno de los empresarios mejor considerados en el mundo”, es fundador de la multinacional de las telecomunicaciones Altice y propietario de otras compañías como Suddenlink, Cablevision o Cheddar.

Es propietario de LibérationL’Express, BFM TV et RMC.- el sólo ha concedido entrevistas a los medios de comunicación de Israel, lugar en el que pasa largas temporadas, aunque su casa está en Ginebra, con su esposa , una sefardí religiosa muy discreta,  de origen greco-sirio. Sus cuatro hijos estudian en los más exclusivos colegios internacionales y disponen de aviones para cada viernes recibir Shabat en casa. Es el propietario del canal de noticias israelí I24news, que emite en varios idiomas.

Una de sus más comentadas operaciones ha sido la compra de Sotheby´s por valor de 3.300 millones de euros. No en vano, Drahi es  coleccionista de arte. En 2018, Sotheby’s facturó cerca de 1000 millones de euros. Sotheby´s no es la primera vez que pertenece a un judío: en 1983 la compró Alfred Taubman.

, , ,

Porsche Type 64 – el único Automóvil deportivo Porsche de 1939 !subastado!

Porsche Type 64 S

Porsche Type 64 – el único ejemplar que queda de 1939, subastado en Sotheby’s 

Si eres un fanático de Porsche de algún modo, es posible que desees comenzar a liquidar algunos activos, porque uno de los autos más importantes en la historia de la marca está subastándose . Es el Porsche Type 64 de 1939, y ese año no es un error tipográfico.

Porsche Tipo 64 S

Automóvil deportivo Porsche

Este es un automóvil deportivo Porsche desde antes del final de la Segunda Guerra Mundial y antes de la formación oficial de la compañía de automóviles Porsche después de la guerra hace 70 años y la producción del 356 . el único ejemplar que queda del Porsche Type 64 60K10 1939 y sólo lo condujeron Ferry y Ferdinand Porsche. Se espera que el mejor postor ofrezca más de 20 millones de euros

Porsche Tipo 64 S

Porsche Tipo 64 S

Porsche tipo 64

El coche tiene una historia verdaderamente fascinante.

Según RM Sotheby’s, Ferdinand Porsche y Volkswagenplaneado construir y competir con tres Tipo 64 en una carrera de 1.500 kilómetros desde Berlín a Roma en septiembre de 1939. Se basó en el KdF-Wagen, la primera versión del Escarabajo de posguerra , y usó el mismo tren motriz, pero la potencia del motor era aumentado a 32 caballos de fuerza, y se ajustó un cuerpo aerodinámico, remachado de aluminio.

subasta en Sotheby’s

el único ejemplar que queda del Porsche Type 64 60K10 1939 y sólo lo condujeron Ferry y Ferdinand Porsche. Se espera que el mejor postor ofrezca más de 20 millones de euros

Porsche Tipo 64 S

Porsche Tipo 64 S

 Solo uno fue construido antes de que la carrera fuera cancelada debido a la guerra, y los otros dos fueron encabezados por el hijo de Ferdinand, Ferry Porsche, un poco más tarde. Uno de ellos fue utilizado como un automóvil personal por Porsche , y fue el único que sobrevivió a la guerra.






Porsche Tipo 64 S

Motor Porsche Tipo 64

Ferry Porsche

Después de la guerra, Ferry Porsche lo llevó consigo a Austria cuando comenzó su compañía de automóviles deportivos del mismo nombre, y Pinin Farina, el fundador de laCasa de diseño pininfarina .

Porsche Tipo 64 S

Porsche Tipo 64 S

El Tipo 64 se vendió posteriormente a un piloto de carreras austriaco que lo mantuvo hasta su muerte en 1995. Luego, el automóvil pasó a su tercer propietario en 1997, y ahora se ofrece para subasta. Cruzará la cuadra en la subasta de Monterey , California, del 15 al 17 de agosto.

Porsche Tipo 64 S

Porsche Tipo 64 S


SOTHEBY’S Macallan Online: A Pioneer’s Collection

Macallan Online: A Pioneer’s Collection

 |  | ONLINE –  SALE NUMBER: 9938

Sotheby’s is pleased to present Macallan Online: A Pioneer’s Collection. Bidding will open on 21 September at 10:00 AM EDT. Please check back in the coming weeks for highlights.


, , ,



LOT SOLD. 553,037,500 HKD (Hammer Price with Buyer’s Premium)


CTF Pink Star – A True Masterpiece of Nature


On 4 April 2017 in Hong Kong, Sotheby’s set a new world auction record for any diamond or jewel when the Pink Star, a 59.60-carat oval mixed-cut Fancy Vivid Pink Internally Flawless diamond, sold for HK$553 million / US$71.2 million. The Pink Star was acquired by renowned jeweller Chow Tai Fook, with the winning telephone bid placed by Dr. Henry Cheng Kar-Shun, Chairman of the company. The Pink Star has been renamed CTF PINK STAR in memory of the late Dr. Cheng Yu-Tung, father of the current chairman and founder of Chow Tai Fook, and commemorates the esteemed brand’s 88th anniversary.

The CTF PINK STAR, a 59.60-carat oval mixed-cut pink diamond, is the largest Internally Flawless Fancy Vivid Pink diamond that the Gemological Institute of America (GIA) has ever graded. It has received the highest colour and clarity grades from the GIA for pink diamonds and has been found to be part of the rare subgroup comprising less than 2% of all gem diamonds – known as Type IIa: stones in this group are chemically the purest of all diamond crystals and often have extraordinary optical transparency. Mined by De Beers in Africa in 1999, the 132.5-carat rough diamond was meticulously cut and polished over a period of two years and transformed into this stunning gemstone.



Sotheby’s is proud to present the magnificent Pink Star, one of the world’s great natural treasures. The largest Internally Flawless, Fancy Vivid Pink diamond that the GIA has ever graded, this 59.60 carat diamond is a true masterpiece of nature.


Accompanied by GIA report numbered 2175607011, dated 28 April 2016, stating that the diamond is natural, Fancy Vivid Pink Colour, Internally Flawless; together with a diamond type classification report stating that the diamond is determined to be a Type IIa diamond; also accompanied by a letter from GIA stating that this is the largest Flawless or Internally Flawless, Fancy Vivid Pink, Natural Colour, diamond they have ever graded; the GIA report is additionally accompanied by a separate monograph.Further accompanied by a monograph from Gübelin, duplicate no. 16 of the original report numbered 0701199, dated 22 November 2007, stating that the diamond is Fancy Vivid Pink Colour, IF, Type IIa, together with history and chemical analysis of the stone.


One of the World’s Great Natural Treasures

Meticulously cut by Steinmetz Diamonds over a period of nearly two years – a process in which the 132.50 carat rough was cast in epoxy more than 50 times in order to create models upon which the design team could experiment with different cuts -it was transformed into this spectacular 59.60 carat, fancy vivid pink, internally flawless oval cut gem – the largest internally flawless or flawless, fancy vivid pink diamond that the Gemological Institute of America (GIA) has ever graded.

The diamond was first unveiled to the public in May 2003 as the ‘Steinmetz Pink’, and was modelled by Helena Christensen at a dedicated event thrown to coincide with the Monaco Grand Prix. Writing in the Financial Times on the 31 May 2003, Mike Duff described the diamond as “the rarest, finest, most precious stone the world has ever seen”. The stone was first sold in 2007 and was subsequently renamed “The Pink Star”. In the same article, Tom Moses, Executive Vice President and Chief Laboratory and Research Officer of the GIA, is quoted as saying: “it’s our experience that large polished pink diamonds – over ten carats – very rarely occur with an intense colour… The GIA Laboratory has been issuing grading reports for 50 years and this is the largest pink diamond with this depth of colour [vivid pink] that we have ever characterised”.

Of all fancy coloured pink diamonds, those graded ‘Fancy Vivid’ are the most precious and desirable. The current world auction record for a pink diamond is the Graff Pink, a superb 24.78 carat diamond which sold at Sotheby’s Geneva in November 2010 for US$46.16 million. Weighing in at 59.60 carats and graded as Fancy Vivid, the Pink Star is twice the size.

In the summer of 2003, this amazing gem was exhibited at ‘The Splendor of Diamonds’ exhibition at the Smithsonian National Museum of Natural History in Washington, DC. Displayed in the Winston Gallery alongside the 45.52 carat blue Hope Diamond, the exhibition featured seven of the world’s rarest and most extraordinary diamonds. Also on view for the first time in the United States was the 203.04 carat De Beers Millennium Star, one of the largest diamonds in the world; the Heart of Eternity blue diamond; the Moussaieff Red, the largest known red diamond in the world; the Harry Winston Pumpkin Diamond; the Allnatt, one of the world’s largest yellow diamonds at 101.29 carats; and the Ocean Dream, the world’s largest naturally occurring blue-green diamond.

Commenting at the opening of the exhibition, Dr. Jeffrey Post, curator of the Gems and Minerals Collection of the Smithsonian National Museum of Natural History said, “Each of the diamonds is the finest of its kind and together with the museum’s gem collection makes for an exhibit of truly historic proportions”. In the three months the exhibition ran, the Smithsonian Museum of Natural History attracted more than 1.6 million visitors.

From July through November 2005, The Pink Star again took centre stage, this time at the ‘Diamonds’ exhibition held at the Natural History Museum, in London. “This exhibition will bring together many of the most impressive single stones in the world, fascinating science, and insights into the diamond industry to tell the story of diamonds from deep in the Earth to the red carpet,” said Michael Dixon, director of the Natural History Museum. For five months, the dazzling exhibition attracted approximately 70,000 visitors a day.

, , , ,

Los pendientes más caros del mundo – Fancy Intense Pink y Fancy Vivid Blue

Durante el pasado mes de Mayo ocurrió una cosa dentro del mundo de la joyería que jamás había ocurrido, hasta entonces. Nunca antes se había pagado una cantidad tan alta de dinero por unos pendientes. “Apolo” y “Artemsia” son los protagonistas. Dos pendientes de diamantes que se vendieron por un precio total de 50 millones de euros en una subasta de Sotheby’s.

A pesar que los gemelos están perfectamente emparejados en tamaño, corte y tonalidad, la casa de subastas decidió presentarlos por separado debido a su extrema rareza, poder y presencia. El Apollo Blue (su verdadero nombre) fue subastado por un total de 37 millones de euros mientras que Artemis Pink se vendió por 13 millones de dólares.

Los nombres de estos diamantes de gran distinción se deben a un hermano y hermana de gran poder y belleza que estaban entre los más venerados de las deidades griegas antiguas.


Apollo Blue es el diamante azul vivo sin defectos más grande que jamás se haya vendido en una subasta. Tiene 14,53 quilates y pertenece a la categoría IIb; el grupo de piedras preciosas al que solo pertenecen el 0,5% de los diamantes.

A pesar que Apolo fue presentado en la subasta como “Apollo Blue” parece que a su propietario no le terminó de convencer el nombre y decidió cambiárselo bautizándolo como “Recuerdos de las Hojas del Otoño”.


Artemis Pink, el segundo diamante tiene 16 quilates y es una gema de categoría IIa; ésta es una categoría a la que solo pertenece el tipo químico más puro de un diamante.

Al propietario tampoco le convenció el nombre e igual que hizo con el Apollo Blue, le cambió el nombre. En este caso el elegido fue “Sueño de Hojas de Otoño”.

David Bennett, presidente de la División Internacional de Joyas de Sotheby’s se mostraba muy agradecido por la confianza que se le había otorgado a su grupo para vender este par de maravillas pues parece que es casi imposible encontrar un Fancy Intense Pink y un Fancy Vivid Blue juntos. También agradeció a todos los participantes de la subasta el interés y el revuelo que habían causado por conseguir las dos piezas.

Cabe recordar que el récord anterior, bastante por debajo del ahora conquistado por Sotheby’s, se había establecido en una subasta de Christie’s en noviembre del año pasado. A la fecha, los pendientes de diamante Miroir de l’Amour se vendieron por 17.7 millones de dólares, cerca de 16 millones de euros.