Aston Martin DB4GT Sports Saloon 1961, Inglaterra

Aston Martin DB4GT Sports Saloon 1961, Inglaterra
Fotografia

1961 Aston Martin DB4GT Sports Saloon
Registration no. not UK registered
Chassis no. DB4GT/0161/R

*One of only 45 right-hand drive examples
'For many Aston Martin enthusiasts the DB4 was the best of the post-war cars. Previous cars were lacking in power while the later DB5 and DB6 put on weight and were more like fast tourers than high-speed thoroughbreds – and amongst the DB4s the DB4GT was the most thorough all-round Grand Touring car of the lot...' – Mike Twite, 'Motors', 1967.
Launched at the London Motor Show in 1958, the Aston Martin DB4 emphatically demonstrated that a British manufacturer could better the Italians at their own game when it came to constructing the ultimate Gran Turismo. Its specification included a completely new steel platform chassis with disc brakes all round, and a race-developed twin-cam six-cylinder engine, all clothed in a perfectly proportioned aluminium body designed by Carrozzeria Touring of Milan. Overall, the DB4 was state-of-the-art for its time, a masterpiece of robust British engineering combined with exquisite Italian styling.
Engineered under the watchful eye of Harold Beech, the immensely strong platform-type chassis replaced the DB2/4's multi-tubular spaceframe, the latter being considered incompatible with Touring's Superleggera body construction that employed its own lightweight tubular structure to support the hand-formed aluminium-alloy body panels. The trailing-link independent front suspension of the DB2/4 gave way to unequal-length wishbones while at the rear the DB4 sported a live axle located by Watts linkage instead of its predecessor's Panhard rod.
The new car's competition potential had been recognised from the outset and the factory lost no time in developing a lightweight version suitable for racing, the resulting DB4GT debuting at the 1959 London Motor Show. The model had already been proven in competition earlier that year when the prototype driven by Stirling Moss ('DP/199') won its first race at Silverstone. Extensive modifications to the standard car took 5" out of the wheelbase and replaced the rear seats with a luggage platform on all but a small number of cars. Together with lighter, 18-gauge bodywork, these changes reduced the car's weight by around 200lb (91kg).
The GT used a tuned engine which, equipped with a twin-plug cylinder head and triple Weber 45DCOE carburettors, produced a claimed 302bhp at 6,000rpm, a useful increase over the standard car's claimed 240bhp. Maximum speed, of course, depended on overall gearing but 153mph was achieved during testing with a 0-60mph time of 6.1 seconds recorded. The DB4 was also one of the first cars to go from standstill to 100mph and then brake to a dead stop on under 20 seconds, a tribute, in part, to its up-rated Girling brakes as used on Aston Martin's sports racers of the era.
Viewed from the front, the GT was readily distinguishable by its faired-in headlamps with Perspex covers, a feature later made standard on the DB5 and DB6. The rear screen and quarter windows were Perspex on many examples; bumper over-riders were deleted and the wind-down windows were frame-less within the doors. Twin Monza quick-release competition fuel fillers were added atop the rear wings, leading to a large-capacity fuel tank mounted flat in the boot. GTs were fitted as standard with lightweight Borrani 42-spoke wire wheels with alloy rims and three-ear 'knock-offs'. Trimmed to full Aston Martin road car specification, the interior boasted fine Connolly leather upholstery and deep-pile Wilton carpeting, while the GT benefited from the addition of an oil temperature gauge to the standard complement.
The DB4GT offered a strong challenge to the prevailing Ferrari dominance in GT racing, with examples entered by the works and John Ogier's Essex Racing Stable enjoying numerous victories. Driven by the likes of Roy Salvadori, Stirling Moss, Jim Clark and Innes Ireland, the DB4GT earned its stripes every weekend on the racing circuit. In December 1959, at the Bahamas Speed Week, Stirling Moss won driving a standard customer DB4GT 'borrowed' by the works following the demise of Moss's intended DBR2! The DB4GT was indeed a true dual-purpose car, equally at ease on both the racetrack and Grand Tour.
First registered '44 MY' and originally finished in Dubonnet with black Connolly hide trim, DB4GT chassis number '0161/R' was retained by the factory as its official demonstrator before being sold in June 1961 to its first private owner, Donald Campbell CBE. The famous speed record specialist who set eight absolute world speed records on land and on water in the 1950s and 1960s, Campbell remains the only person to have set both land and water world speed records in the same year (1964). He died during a water speed record attempt at Coniston Water in the Lake District in January 1967. Campbell owned '161/R' only briefly, and in November 1961 the Aston passed into the ownership of one John Somers. Accompanying documentation lists a further 10 owners including the present (German) custodian, who purchased the car in 1991.
In 1974 '161/R' was entered in the AMOC's Wiscombe hill climb, taking a 2nd place finish. Mr Frost advised the AMOC that the car had been fitted with a taller final drive ratio of 2.89:1 (3.54:1 standard) and when sold, the Aston reverted to its original registration number having carried 'TF 12' for a while.
During the period 1985-1987, the DB4GT was owned by Tim Holloway, who regularly entered it in both sprints and concours events. These included the 1984 West Wycombe concours (1st) and Silverstone St John Horsfall concours (5th); 1986 Wiscombe Park hill climb (4th), Curborough sprint (6th), and BSCC Goodwood sprint (4th); and 1987 Wiscombe Park hill climb (2nd), Curborough sprint (7th), Silverstone concours (3rd), Goodwood sprint (5th) and AC OC Goodwood sprint (5th).
Following its acquisition by the current vendor in 1991, the Aston was treated to a bare metal restoration by Max Wetzel in Maur, Switzerland. This restoration took from 1995 to 2001 to complete, and there are invoices for circa CHF 70,000 on file together with some 350 photographs. At around the same time the mechanicals were overhauled by Roos Engineering in Switzerland at a cost of circa CHF 290,000 (invoices available).
Also on file are several magazine articles about the Aston, including one in Motor Klassik (July 2004 edition) where it featured on the front cover for a comparison piece pitting it against a Ferrari 250 GT SWB. The files also contains copies of invoices from RS Williams addressed to previous owner Nicholas Springer of Gstaad, Switzerland; and original Aston Martin DB4GT sales brochure; and several German TüV certificates, the latest dating from May 2019.
Aston Martin built a mere 75 DB4GTs plus further 19 Zagato-bodied variants, one Bertone-bodied special, and five 'Team' or 'Development Project' GTs. Of these 75 examples, 45 were supplied in right-hand drive form and 30 were left-hand drive. Amongst the most beloved of all Astons, the DB4GT remains unmatched for its unique combination of performance and roadability.
Despite its tremendous rarity and value, the DB4GT remains a popular entrant at major historic racing events such as the Goodwood Revival and the numerous (and highly competitive) Aston Martin Owners' Club Championship race meetings in the UK. The DB4GT was designed for competition and '0161/R' offers a rare opportunity to acquire an original right-hand drive example capable of competing with distinction in a variety of historic motoring events.

BMW 2002 Turbo 1974, Alemanha

BMW 2002 Turbo 1974, Alemanha
Fotografia

When the BMW 2002 Turbo was unveiled at the 1973 Frankfurt Motorshow, not everyone gave it a warm reception. Its bolt-on wings, bumper-less front spoiler, Mahle 13x6 Turbo wheels, and iconic Pantone BMW Motorsport colours were considered uncouth, some elements of the German press going as far as to accuse it of ‘provoking aggressiveness’. Indeed, for the show itself, the ‘2002’ and ‘Turbo’ reverse script, which had appeared on the front spoilers of press cars to warn unsuspecting cars just exactly what was approaching in the rear-view mirror, was removed to try to keep the peace. It didn’t work; the 2002 Turbo was and is still considered one of the naughtiest cars to have emerged from Munich.

Far more than form over function, the 2002 Turbo took the already ‘hot’ 1,600 cc powertrain from the 2002 Tii and added a single KKK turbocharger to raise peak power from 130 bhp to 170 bhp. An oil cooler was also introduced alongside bigger brakes and a limited-slip differential, and higher-performance tyres were wrapped around wider wheels for increased traction and road holding. Conspicuously, the man overseeing the development of the engine, Alex Von Falkenhausen, was quoted as stating that considerably more power could have been unleashed with higher turbo-boost pressure, but that ‘we thought 170 bhp was about the limit for the running gear of a car not driven by experts’. Little wonder, then, that the instrument binnacle was painted bright red, both as a nod to commercial sponsors Texaco, and also to remind any driver that this was a car worthy of respect.

This immaculate example has been subject to a comprehensive nut-and-bolt restoration by marque specialists Oldenzaal Classics. The car has been dismantled entirely, repainted, and rebuilt, and now presents in showroom condition having covered just 132 km. Pleasingly, it is also adorned with its full complement of BMW Motorsport warpaint, including the ‘2002 Turbo’ reverse script on the spoiler.

With only 1,672 examples produced, the opportunity to own a 2002 Turbo is not an everyday occurrence, and this beautifully prepared example would stand out amongst any peers, be that at the track, a local gathering, or concours event.

Ferrari Dino 246 GT by Scaglietti 1973, Itália

Ferrari Dino 246 GT by Scaglietti 1973, Itália
Fotografia

Introduced by Ferrari as an optional extra for the Dino 246 GT and GTS in December 1972, the bigger 7.5" x 14" magnesium Campagnolo were suitable for all those customers looking to give their car better handling and a more aggressive stance. Connoisseurs will certainly recognize these special Dinos for their distinctive flared wheel arches, necessitated by the larger wheels. This option was often paired with the iconic Daytona-style seats, thus giving birth to the now-famous ‘Chairs and Flairs’ nickname. This was quite a rare option as, on a total production of 1,800 cars, it is estimated that only 300 have been originally fitted as such.

Chassis no. 07294 was produced by the factory in October 1973 and delivered to the UK through Maranello Concessionaires. As evidenced in documentation accompanying the car from Tony Willis and the Maranello Concessionaires Archive, the original order for this Dino specified Argento Auteuil (106-E-1) paintwork with Nero (161) leather seats, but was changed at the original owner’s request in May 1973 to a more classic colour combination of Rosso Chiaro with Beige (430) leather seats and red carpets. The car was delivered in this colour scheme with the gorgeous Campagnolo 7.5 x 14 magnesium wheels and Daytona seats to Bertie Bradnack at Maranello Sales in Egham in November 1973. Later, the original Daytona seats were changed for standard seats.

After being sold by Mr. Bradnack to A.B. Caira, Esq., by at least early 1977, the car had travelled some 5,322 miles and returned to Maranello Concessionaires for a 6,000-mile service. Two years later, in the ownership of Peter Beaumont of Harrogate, the car received a cosmetic and mechanical restoration in 1982 with David Clarke in Leicestershire, which included stripping its bodywork to bare metal for a full repaint and interior retrim, totaling to £6,573.77, at which time the odometer read 6,247 miles. Incredibly, the Dino has travelled just over 1,500 miles since then and still resides in the UK. Furthermore, it is important to note that the car is accompanied by its original manuals and warranty card.

Perhaps one of the lowest-mileage Dino 246s in existence, chassis 07294 represents a great opportunity to acquire a rare ‘Chairs and Flares’ example in wonderful condition.

Maça do Amor (Candy Apples) - Wayne Thiebaud

Maça do Amor (Candy Apples) - Wayne Thiebaud
Coleção privada
Xilogravura - 38x41 - 1987

Três Parisienses no Bois de Boulogne, Paris, França (Trois Parisiennes dans le Bois de Boulogne) - Francisco Miralles Y Galup

Três Parisienses no Bois de Boulogne, Paris, França (Trois Parisiennes dans le Bois de Boulogne) - Francisco Miralles Y Galup
Coleção privada
OST - 61x50

Francisco Miralles y Galup, a painter of genre, figures, portraits, landscapes and urban views, became one of the most famous painters of the 19th century to emerge from the Catalan region in Spain. In 1866 he departed from Spain and arrived in Paris where he was welcomed and associated with other notable Spanish painters of the time such as Ignacio Zuloaga, Santiago Rusiñol and Enrique Granados. His delicately painted scenes of Parisian bourgeois life set in both urban and rural settings and quite often along the seashore were very well received. Miralles' paintings of female figures of high society garnered quick recognition from both the public and his peers. Adding to this success was a commercial relationship he formed with the art dealer Goupil & Cie, through whom Miralles was able to export a large amount of works to America. The artist exhibited at the National Society of Fine Arts, and from 1875 to 1896 at the Salon des Artistes in Paris winning many awards. After living nearly thirty years in Paris, he returned to Barcelona in 1893 for family reasons but would continue to send works to the Parisian salons.
Elegant women dressed in fancy and colorful attire are the central themes of Miralles' oeuvre, representing everyday life vignettes from the high society. He was a painter of modern elegance with a meticulous eye for detail, which can be seen in the present work in which the three Parisian ladies are about to enjoy an afternoon boat ride in the park. The blue parasol awaits on the ground as the ladies prepare to embark.
The influences of a moderate impressionistic approach to painting is evident in this masterful composition and can be attributed to the works of fellow 19th century masters such as Eugène Boudin, Jules Bastien-Lepage and Alfred Stevens.