Ford GT 2017, Estados Unidos

Ford GT 2017, Estados Unidos
Fotografia

With Ferrari in its sights after a failed takeover bid, the Ford Motor Company, under Henry Ford II, assembled the world’s best drivers and car builders in an effort to dominate global long-distance sports car racing in the mid-1960s. The GT40 that bowed in May 1964 at the Nürburgring 1,000 KM was the culmination of Ford’s project. Based on the mid-engined Lola Mk 6, the GT40 had a thumping American Ford V-8 heart and would go on to win the 24 Hours of Le Mans an incredible four consecutive years between 1966 and 1969.

Over 30 years later, Ford found itself gearing up to celebrate its 100th anniversary, and it turned to designer Camilo Pardo to re-create the magic of the GT40. The concept car that debuted at the 2002 North American International Auto Show in Detroit whet the consumer appetite for a full road-going revival developed with Carroll Shelby’s insight. Just over 4,000 examples of the supercharged V-8–powered car that largely kept to the original 1960s concept were built during a two-year production run. After the last reborn Ford GT rolled out of the Wixom, Michigan, assembly plant, it seemed as if Ford was done with mid-engined supercars.

At the 2015 Detroit show, however, Ford stunned gathered media and enthusiasts across the world with the new Ford GT. This rakish sports car stuck to the mid-engined formula but now featured a 647-horsepower version of the automaker’s twin-turbocharged 3.5-liter Ecoboost V-6 engine, which came paired this time with a seven-speed dual-clutch transmission supplied by Getrag. The powertrain is capable of catapulting the car to 60 mph in less than three seconds and a top speed of 216 mph. Not just anyone could saunter into a Ford dealer and place an order, however. The automaker required those interested to apply for ownership and mandated that they keep their cars for an extended period. Ford plans to produce roughly 1,350 of these supercars through 2022.

This 2017 Ford GT was special-ordered through Pat Milliken Ford of Redwood Township, Michigan. The GT offers the uniquely desirable serial number H040 in homage to its GT40 heritage. In its short life, the car has covered less than 2,900 miles. This example is finished in Ford’s Extended Color Palette 2, a $30,000 option. Finished in brilliant gloss Riviera Blue, it is believed to be the only 2017 GT finished as such and is accented beautifully by the exterior gloss carbon-fiber package, a $15,000 option. The GT rides on 20-inch gloss exposed carbon-fiber wheels wrapped with Michelin Pilot Sport Cup 2 tires. They are held on by titanium lug nuts and brought to a stop by Silver brake calipers, all optional equipment which added another $15,000, $1,000, and $1,000, respectively, to the car’s price tag. This Ford GT is believed to be the only road car released from the factory without the NVH panel affixed to the rear bulkhead, exposing the carbon-fiber finish. This was a competition-grade tweak to which Ford’s subsequent revised manufacturing processes spelled an end.

The GT’s interior is completed in Dark Energy and features an F1-inspired steering wheel, fixed carbon-fiber Sparco seats, and a 6.5-inch infotainment system powered by Sync 3. Factory-installed six-point harness anchors are the sole interior option, a $500 add-on. The car is accompanied by a spare key, owner’s manuals, GT battery tender, air compressor, front license plate bracket, and optional serialized Ford GT black fitted indoor car cover.

Documentation includes the car’s purchase information from Pat Milliken Ford, the car’s window sticker, production photos from Multimatic Niche Vehicles (MNV), and shipment documentation proving it was delivered as a single unit direct from MNV.

With its breathtaking performance, stunning good looks, and racing pedigree, the new Ford GT is a must-have for any Blue Oval collector or supercar enthusiast.

Mercedes Benz 280 SL Pagoda 1969, Alemanha

Mercedes Benz 280 SL Pagoda 1969, Alemanha
Fotografia

The 1967 Geneva Motor Show heralded the 230 SL’s successor, the 2,496-cubic-centimeter 250 SL. Production had begun in December 1966, and while the new model retained the strong points of its predecessor, it made new strides in drivability with the larger engine and rear disc brakes. A larger fuel tank gave greater cruising range.

The final iteration of the W113 arrived in December 1967. The 280 SL had an engine enlarged to 2,778 cubic centimeters. Over the years the model had evolved from a sports car to a grand tourer, frequently equipped with the optional automatic transmission and air-conditioning, especially in the U.S. market. Because the larger bore of the engine resulted in pair-cast cylinders without an intermediate water jacket, an oil cooler was added, mounted vertically beside the radiator. Each engine was bench-tested for two hours, ensuring that the full 180 horsepower was available.

This 280 SL, finished in Mercedes’ classic color of Fire Red, proudly shows just over 70,000 miles. The exterior presents well, having been the beneficiary of a refurbishment. This is accentuated by the professional, recently restored interior. Further, the car’s automatic transmission recently underwent an overhaul, ensuring a smooth-driving SL in the years to come. The car also benefits from a newly rebuilt fuel system, including a new gas tank.

Featuring factory-installed air-conditioning and a reliable automatic transmission, this 280 SL is ready to be enjoyed under all circumstances, whether that be show events or comfortable long-distance journeys.

Citroen SM 1973, França

Citroen SM 1973, França
Fotografia

Following Citroën’s purchase of Maserati in 1968, the company had plans to create a GT that combined both the company’s strong suits, namely Citroën’s highly advanced hydro-pneumatic suspension, with the performance of the Maserati V-6. First shown at the 1970 Geneva Motor Show, the SM was to be Citroën’s new flagship, offering amazing technology, performance, and of course, style. As such, it was quick to impress automotive press and was the first non-American car to be named Car of the Year by Motor Trend magazine.

Interestingly, at its time, the SM was the fastest front-wheel-drive car the world had ever seen, boasting a top speed of 140 mph. Initially it was powered by a 2.7-liter Maserati V-6. For 1973 the SM was powered by a 3.0-liter Maserati V-6, as also used in Maserati’s Merak.

This 1973 Citroën SM is a well-preserved original example having been under single-family ownership until four years ago. It is finished in a shade similar to Brun Scarabée (brown) with a tan interior. The SM exudes stately sophistication and quirkiness in keeping with the assortment of clientele it attracted when new. This is a desirable 3.0-liter example and one of 600 that were built with the optional five-speed manual transmission.

A well-looked-after example, this SM has been serviced by Citroën marque specialists while under current ownership. This past year specialist John Titus fixed a number of minor concerns, ensuring that it remains in proper working order. The prior owner had the engine completely rebuilt by SM specialist David Hume. During the rebuild, Mr. Hume added the desirable Euro headers. The interior is in stunning original condition for a car that displays 40,282 miles. Seldom seen in the U.S. and a fascinating automobile to many, this SM is certainly worth considering for the enthusiast looking for something completely different.

Ford GT 2005, Estados Unidos

Ford GT 2005, Estados Unidos
Motor: 5.4L/550 HP
Exterior: Vermelho (Mark IV Red)
Fotografia

All four options

Supercharged 5.4L engine with 550 HP

Ricardo 6-speed gearbox

McIntosh sound system

Lightweight forged aluminum wheels

Red painted brake calipers

Mark II Red with White Le Mans stripes

1 of 2,027 Ford GTs produced in 2005

Distributed to Dave Holt Ford-Mercury in the dealer GT allocation lottery

Inspired by the GT40s that beat Ferrari on the international stage and won at Le Mans four years straight from 1966 through 1969, Ford’s new-generation GT was far more than a mere design throwback. In fact, it still stands as a true supercar, capable of awesome performance in every discipline, including a 205 MPH top speed eclipsing such contemporary exotics as Porsche’s V-10 Carrera GT and the Mercedes-Benz McLaren SLR. In tests at the Nürburgring’s fabled Nordschleife (North Loop), the GT lapped quicker than some of the world’s best supercars. Powering the GT is a midmounted, 32-valve 5.4L V-8 engine with twin-screw supercharger mated to a Ricardo 6-speed gearbox and rear transaxle, delivering a blistering 550 HP. All-independent suspension and huge Brembo ventilated disc brakes rounded out the mechanicals. Featuring space-age materials and construction technologies, each GT was built in five distinct stages with initial assembly at Mayflower Vehicle Systems in Norwalk, Ohio, paint by Saleen Special Vehicles in Troy, Michigan, engine assembly at Ford’s Romeo, Michigan, engine plant, and engine and transmission installation, plus interior finishing, at Ford’s Wixom, Michigan, plant. Interestingly, the Ford GT was the last vehicle project to be competed at Wixom. According to published sources, only 4,033 examples were produced in all, with 2,022 and 2,011 built during 2005 and 2006, respectively. This stellar 2005 Ford GT was distributed to Dave Holt Ford-Mercury in the dealer GT allocation lottery. Finished in Mark IV Red paint and featuring all four factory-available options, this GT is equipped with the audiophile-quality McIntosh sound system, BBS lightweight forged aluminum wheels, red-painted brake calipers and, of course, white Le Mans stripes running the length of the vehicle. As offered, this essentially new 2005 Ford GT is an investment-grade example with just 505 miles since new.

Rosas (Roses on Classical Ledge) - Emmanuel Fries

Rosas (Roses on Classical Ledge) - Emmanuel Fries
Coleção privada
OST - 66x83 - 1836

Natureza Morta (Natureza Morta) - Oscar Pereira da Silva

Natureza Morta (Natureza Morta) - Oscar Pereira da Silva
Museu Victor Meirelles, Florianópolis, Brasil
Aquarela - 29x39

A Videira em Outubro (La Vigne en Octobre) - Théo van Rysselberghe

A Videira em Outubro (La Vigne en Octobre) - Théo van Rysselberghe
Coleção privada
OST - 73x93 - 1912

Painted in 1912, La vigne en octobre is a wonderfully rich autumnal scene, comprising a harmonious mirage of jewel-like dabs of colour. The turn of the century and the subsequent years marked an important stage within van Rysselberghe’s painterly corpus, as he turned away from the disciplined methods of Neo-Impressionism and started to develop a more individual and fluid style. While La vigne en octobre retains the artist’s signature luminosity, the composition skilfully places the viewer amongst the blossoming field of vines, comprising roots which are conveyed by swirling shapes and curvaceous lines. Our appreciation for the vista ahead, capped by a mauve-tinged sky, is thus wonderfully heightened and the viewer understands van Rysselberghe’s fascination with capturing the subtle effects of light and wind on a landscape.

The present work exemplifies van Rysselberghe’s later form of Neo-Impressionism. The rose hues of the foreground, combined with the dark shades of the trees and the shimmering execution of the sky, create an almost abstract effect of pervading colour, rendered in a mosaic pattern. Van Rysselberghe was first confronted with Pointillism, the pioneering technique of the Neo-Impressionist movement, upon seeing Georges Seurat’s seminal Un dimanche après-midi à l'Île de la Grande Jatte at the eighth Impressionist exhibition in Paris in 1886. Reacting against the spontaneous approach of Impressionism, the Neo-Impressionists favoured a precise, methodical application of individual daubs of paint, governed by scientific principles of colour theory. Van Rysselberghe proudly disseminated this movement in his native Belgium. He was also the founder of Les Vingt (The Twenty), a Belgian group comprising twenty progressive painters, sculptors and Brussels who joined together from 1883 to 1893 to exhibit their innovative art. Frequently visiting galleries in Brussels, he was exposed to the work of Paul Cézanne, Paul Gauguin and Vincent van Gogh. This amalgam of artistic influences and his artistic style developing into maturity, by 1900, van Rysselberghe sought to capture a more direct and instinctive depiction of nature. He thus painted with more loosely applied strokes and combined colours with a sense of freedom, a technique which enhanced the imbuement of the gentle movement of light.

La vigne en octobre bursts with a vibrancy that connects with the senses and it was with his landscapes that van Rysselberghe was at his boldest. He once questioned of another Belgian artist: ‘Tell me, is Anna Boch also haunted by light? It prevents me from sleeping and when I see a dark painting, I get seasick’ (letter to Eugène Boch, quoted in Théo van Rysselberghe (exhibition catalogue), Palais des Beaux-Arts, Brussels, 2006, p. 36, translated from the French).

Ateliê (Ateliê) - Washington Maguetas

Ateliê (Ateliê) - Washington Maguetas
Coleção privada
OST - 30x39 - 1987