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Thu 09 May

1967 Ferrari 330 GTS No reserve Swedish registration Chassis no. 10781 Engine no. 10781 - Certified by Ferrari Classiche - Complete high-quality restoration by Cremonini, Toni Auto, RBBC, Maieli - One of only 99 built - Five known owners from the outset - Ex Greg Norman, Australian golf legend - Unreserved Compared with the 275 GTS it succeeded in 1966, the Ferrari 330 GTS (like the coupe version of the 330 GTC) boasts a tapered grille reminiscent of the "Superamerica", and a more accomplished mechanical design. In addition to a more powerful 4.0-liter engine (developing 300 hp at 7,000 rpm), it features a modified transmission: the transaxle at the rear is now connected to the engine via a thrust tube, reducing vibrations and eliminating the need for frequent driveshaft alignment checks. Of course, it retains its personality as a sober, elegant, fast and comfortable grand tourer. It is undoubtedly one of Ferrari's most discreet convertibles, its lines displaying a purity rarely equaled. One of the characteristics of the car we are presenting, one of the jewels in the W Collection, is that it has known only a limited number of owners. Another original feature is that it was sold new in the USA through Modern Classic Motors in Reno, Nevada, the dealership of Bill Harrah known for his spectacular car collection. Funnily enough, Bill Harrah is also behind a special version of the 330 GTS featuring a "targa" roof with roll bar, removable top and very tapered rear window. Leaving the factory in 1967, the present Spider 330 GTS is the 72nd of 99 examples produced. Red in color with black leather interior, the car was delivered new to its first owner, George Zenzefilis of Camarillo, California, who kept it for five years before selling it in 1972 to Robert Sengleman of Westlake Village, also in California. Particularly attached to his car, he used it for 18 years, then entrusted it to Barrett-Jackson for his January 1990 auction in Arizona. Between 1990 and 1995, it was registered in New York and owned by Greg Norman, an Australian golfing legend who owned a Ferrari collection at the time. From 1995, it was in the hands of a Californian enthusiast whose identity remains confidential, and it was thanks to the help of one of his close friends that our collector acquired it in 2014. This makes him the fifth owner, a particularly limited number for such a long period. The car then had 75,364 miles, which was probably its original mileage. After purchase, the car was sent to Maranello, Italy, to Toni Auto, a company opened in 1975 by Franco Toni, a former Ferrari racing mechanic who had also worked at Garage Francorchamps, the brand's Belgian representative. Silvano, Franco's son, has joined his father, and Toni Auto has built up a solid reputation in the field of Ferrari restoration. The 330 GTS was entrusted to them for a complete restoration. In good state of preservation, the body was stripped by the RBBC workshop, before being sent to Carrozzeria Cremonini near Modena, another workshop with solid restoration experience. The color chosen is "Blu Notte Metallizzato" (code M18943), a midnight blue that perfectly matches the magnificent design of the bodywork and will also be the color chosen by Staffan Wittmark for his 330 GTC. The chassis and body internals receive a satin-black paint finish, as befits their purpose, and all chrome hubcaps receive special treatment. Alongside the bodywork, Toni Auto also undertakes the mechanical overhaul of the engine, transmission, suspension, brakes, steering and electrical systems. Once all the components have been reassembled, the car is sent to Interni Auto Maieli in Canedole di Roverbella for the upholstery work. The interior is completely refurbished with beige Connolly Vaumol leather (VM code 3218), combined with dark blue carpeting and a new black fabric soft top. A set of Borrani RW 4039 chrome-spoke wheels adds the finishing touch to the exceptional presentation of this 330 GTS, carefully checked and tuned by Toni Auto. It is accompanied by its owner's manual in its pocket and, like all the cars in the W collection, by an important historical file, its Ferrari Classiche certification and a book specially published to present its history and photos of the various stages of restoration. Spécia

Estim. 1 800 000 - 2 200 000 EUR

Fri 10 May

Bauhaus - Clauss, Erich. The big and the little Klaus. Picture construction set. With numerous colored felt pieces, 1 template booklet, 1 picture frame with a scale, 1 set-up device and 3 sheets with pencil sketches. In the original color-printed box. Georgenthal, Schmidt & Co, around 1930. 6 sheets (template booklet). Box: 28.5 x 21.5 x 5 cm (2 folds torn, box dusty, browned and stained, somewhat rubbed and bumped). Very rare laying game, influenced by Constructivism and Bauhaus. With the pieces of felt punched out in various geometric shapes and metal tweezers (in red, green, brown and white), colored ornaments and pictures such as Little Red Riding Hood, Big and Little Claus, Ball-Playing Clown, Children's Playroom and others could be laid. The building instructions were printed on the inside of the lid. The designer Clauss, about whose life nothing else is known, created another very original game, the "Room Mill" (see our auction 10). Clauss can still be traced as a book illustrator in the first years after the Second World War, but his name is not mentioned in the list of Bauhaus students or in that of Burg Giebichenstein, nor is he listed as a commercial artist in the relevant literature (e.g. Wienkötter). The archive of the Schmidt company (today: Steiner Spielwarenfabrik) burned down in 1955, so that no old documents are left. The company was actually best known for its dolls, and the two games mentioned were among the only verifiable toys produced by the company outside of doll production. - With the template booklet I, which names Clauss as the designer and on the back of which further expansion sets were mentioned as being in preparation. However, these extensions were probably not published. With a set-up device consisting of four cardboard punched parts that can be plugged together. The 3 sheets with pencil sketches, including Stuttgart Central Station. - Felt pieces not checked for completeness, the white felt pieces mostly somewhat browned, but otherwise the felt fresh, inner cover somewhat brownstained. VAT: #

Estim. 600 - 900 EUR

Mon 13 May

TADAO ANDO (Osaka, 1941). Untitled. Set of three drawings (markers on paper, mixed media on paper and pencils on paper). Signed. Measurements: 19 x 13 cm; 25 x 19 cm and 33 x 22 cm. Tadao Ando is a self-taught architect greatly influenced by the work of Le Corbusier, formed mainly in his travels through the USA, Europe and Africa between 1962 and 1969. During his travels he visited buildings by Mies van der Rohe, Le Corbusier, Frank Lloyd Wright and Louis Kahn, something that clearly influenced the forms and materials of his buildings. In 1968 he returned to his country and founded Tadao Ando Architects & Associates in Osaka. His achievements as an architect include winning the 1995 Pritzker Architecture Prize from the Hyatt Foundation. His early works show an incipient postmodern style, although clearly adapted to Japanese customs. In 1976 he completed his first work Azuma House, Tadao Ando divides the house into two volumes, one private and one common, between them a courtyard is intended for the "play of wind and light". The presence of natural elements in his works will accompany him throughout his career. During the 1980s, Tadao Ando leapt onto the international scene as the leading exponent of the new Japanese architecture. From these years we highlight the Rokko Housing development (1983-1993) with its Chapel on Mount Rokko (1986), in these buildings the influence of Le Corbusier in Tadao Ando is evident in the use of concrete as the main material, although the individualized treatment of light gives his works a personal stamp. In 1992 he designed the Japanese Pavilion for Expo'92 in Seville. A large ephemeral wooden structure. The Museum of the Forest of Tombs (1992) is a space full of symbolism in which Tadao Ando abandons straight lines, but not the coldness of concrete. Among Ando's outstanding works at the turn of the century are the Awaji Yumebutai in Hyogo (1997) and the Modern Art Museum in Fort Worth, Texas (2000). Among his most recent works are ambitious projects such as the Poly Theater in Shanghai, a building consisting of a reinforced concrete box, enveloped by a glazed lattice skin, and perforated by steel tunnels lined with aluminum panels, which have a wood-like finish. A building that preserves the essence of Tadao Ando's works, but developed with more modern techniques.

Estim. 1 800 - 2 000 EUR

Mon 13 May

TADAO ANDO (Osaka, 1941). Untitled. Set of six drawings (markers, crayons and colored pencils). Signed. Measurements: 30 x 23 cm; 19 x 13 cm; 17 x 12.5 cm; 17 x 12 cm; 19 x 12.5 cm and 23 x 15 cm. Tadao Ando is a self-taught architect strongly influenced by the work of Le Corbusier, formed mainly in his travels through the USA, Europe and Africa between 1962 and 1969. During his travels he visited buildings by Mies van der Rohe, Le Corbusier, Frank Lloyd Wright and Louis Kahn, something that clearly influenced the forms and materials of his buildings. In 1968 he returned to his country and founded Tadao Ando Architects & Associates in Osaka. His achievements as an architect include winning the 1995 Pritzker Architecture Prize from the Hyatt Foundation. His early works show an incipient postmodern style, although clearly adapted to Japanese customs. In 1976 he completed his first work Azuma House, Tadao Ando divides the house into two volumes, one private and one common, between them a courtyard is intended for the "play of wind and light". The presence of natural elements in his works will accompany him throughout his career. During the 1980s, Tadao Ando leapt onto the international scene as the leading exponent of the new Japanese architecture. From these years we highlight the Rokko Housing development (1983-1993) with its Chapel on Mount Rokko (1986), in these buildings the influence of Le Corbusier in Tadao Ando is evident in the use of concrete as the main material, although the individualized treatment of light gives his works a personal stamp. In 1992 he designed the Japanese Pavilion for Expo'92 in Seville. A large ephemeral wooden structure. The Museum of the Forest of Tombs (1992) is a space full of symbolism in which Tadao Ando abandons straight lines, but not the coldness of concrete. Among Ando's outstanding works at the turn of the century are the Awaji Yumebutai in Hyogo (1997) and the Modern Art Museum in Fort Worth, Texas (2000). Among his most recent works are ambitious projects such as the Poly Theater in Shanghai, a building consisting of a reinforced concrete box, enveloped by a glazed lattice skin, and perforated by steel tunnels lined with aluminum panels, which have a wood-like finish. A building that preserves the essence of Tadao Ando's works, but developed with more modern techniques.

Estim. 1 800 - 2 000 EUR

Thu 16 May

A small Chinese turquoise and iron red-enamelled reticulated 'floral' incense box and cover Qing dynasty, Qianlong period The cover delicately enamelled with a dense floral scroll including chrysanthemums, Indian lotus, morning glory, peony, hibiscus, and finger citrons, centred around a reticulated cash medallion to the top, and turquoise-enamelled square reticulated medallions with cash motifs to the sides, the turquoise base with tall rims encircling a further reticulated cash medallion to the centre of the base, 6cm high. 清乾隆 松石綠地礬紅彩繪纏枝花卉圖紋鏤空四方薰爐 Known as 'the gentleman of flowers', lotus has long held a prominent position in Chinese art because of its association with Buddhism, where among other things, it symbolises purity because of the fact that it grows bright and pure out of muddy waters. Its names, he 荷and lian 蓮, are also homophones to the words harmony, he 和,‘binding in marriage’聯 and love戀, as well as the word 'continuous' or 'successive', making it a perfect symbol for a harmonious union with many children. Chrysanthemum, beautiful and colourful, represents autumn. As it blooms in autumn when all other flowers are fading away, it symbolises the ability to withstand adversity. It is tranquil and harmonious with others, but also dignified and indomitable. Hibiscus (mufurong 木芙蓉) is another flower of autumn. Two of the characters that make up its name soun similar to the words for 'wealth' (fu 富) and 'glory' (rong 荣). Together with the peony, a flower of wealth and honour, it represents a greeting: 'May you have high position and great wealth' (ronghua fugue 榮華富貴). Morning glory in Chinese culture tends to represent love and affection, and given as a symbol of longing, as well as symbolising marital bliss. The finger citron, in Chinese foshou 佛手, or Buddha’s hand, is a homophone and visual pun to the phrase, good fortune/wealth and longevity, fu shou 福壽.

Estim. 500 - 700 GBP

Sat 18 May

Urban Jürgensen - (*) A very elegant, rare platinum wristwatch with date Movm. No. 80131, Ref. 8, Cal. Frédéric Piguet, Dimensions 37 mm, circa 1997, Origin Schweiz, Original box, original clasp Case: Platinum, glazed push back. Dial: Solid sterling silver, guilloche pattern. Movm.: Automatic. The Urban Jürgensen brand looks back on a long tradition. The Jürgensen manufactory was originally established in Copenhagen in 1773. The brand has always cultivated the art of watchmaking of the very highest quality and strives to combine technical perfection with classic elegance. The modern brand "Urban Jürgensen Copenhagen" was taken over by Peter Baumberger in 1979 with master watchmaker Derek Pratt at the helm, while remaining committed to the original principles of technical excellence, traditional aesthetics and master craftsmanship. This hand-crafted wristwatch reference 8 is the perfect embodiment of this combination. It features the brand’s distinctive teardrop lugs, a stepped bezel and a hand-made solid silver dial. Different guilloche patterns create an eclectic texture and an exciting play of light, framed by a satin-finished outer rail with hand-painted blue Roman numerals and simple minute divisions. The aperture for the date is positioned at 6 o’clock. The hand-crafted solid gold and blue observatory-style hands have been created on a precision lathe and polished to a high gloss. The watch is powered by a self-winding Frederic Piguet top-quality ébauche with 21 K gold rotor. Case: very good, slightly worn. Dial: very good. Movm.: very good, cleaning needed.

Estim. 21 000 - 30 000 EUR
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