Six Mercedes-Benz @ Automobiles d'Exception á Rétromobile, 23 Jan 2010

1950 Mercedes-Benz 170S Cabriolet A - Chassis no. 13604217793. Estimate: €65,000 - 85,000. Photo Bonham's

Modèle marquant créé par le constructeur de Stuttgart, la 170 V quatre cylindres de 1,7 litre lancée en 1936 constitua la base de la production de Mercedes-Benz dans l'immédiat après-guerre. Le châssis était à la pointe du modernisme à l'époque de sa création avec un châssis en X en tubes ovales, des roues arrière indépendantes par demi essieux oscillants, des roues avant indépendantes par ressort à lames transversal et des freins hydrauliques. Le modèle réapparut après 1945, la production étant alors concentré presque exclusivement sur les variantes commerciales.

Introduite en mai 1949, une version améliorée, la 170 S, fut dotée d'un moteur de 1 767 cm3, muni d'une culasse en aluminium qui portait la puissance à 52 ch, soit un gain de 37 pour cent sur la 170 V. La suspension avait aussi bénéficié d'un développement important avec adoption à l'avant de doubles triangles et de ressorts hélicoïdaux et à l'arrière d'amortisseurs télescopiques, la voie ayant été élargie. La revue The Motor trouva que la nouvelle Mercedes-Benz « offrait la sensation presque unique de l'union d'une suspension vraiment souple et d'un comportement très confortable sur mauvaise route à une direction précise, une absence de roulis et une capacité de suivre exactement la trajectoire voulue dont on créditerait une voiture de course ».

Une poignée de modèles décapotables – le Cabriolet ou coupé décapotable biplace et le Cabriolet B quatre places décapotable – complétèrent la gamme 170 S qui resta en production avec des améliorations jusqu'en 1955.

La Mercedes-Benz 170 S Cabriolet proposée ici, un des 2433 exemplaires de cet élégante décapotable construite de 1949 à 1951, fut achetée aux Etats-Unis. Peinte en jaune avec intérieur moutarde, cette voiture bien restaurée il y a quelques années se présente toujours en très bon état général. Elle est accompagnée de son certificat de dédouanement qui atteste que les taxes douanières ont été acquittées dans la zone UE, d'un certificat de propriété, et d'un contrôle technique espagnol.

1950 Mercedes-Benz 170S Cabriolet A - Chassis no. 13604217793. Estimate: €65,000 - 85,000. Photo Bonham's

A landmark model for the Stuttgart-based manufacturer, the four-cylinder, 1.7-litre 170V was introduced in 1936 and formed the mainstay of Mercedes-Benz production in the immediate post-war years. Running gear was state-of-the-art at the time, comprising an oval-tube backbone-type chassis, swing-axle independent rear suspension, transverse-leaf independent front suspension and hydraulic brakes. The model reappeared post-war, with production at first concentrated almost exclusively on commercial variants. In May 1949 an improved version – the 170S – was introduced, which came with a 1,767cc engine equipped with an aluminium-alloy cylinder head and producing 52bhp, a 37% improvement over the 170V. The suspension too had undergone considerable development, a thoroughly modern double wishbone/coil spring design being adopted at the front, while at the rear the track was widened and telescopic shock absorbers fitted. The Motor found that the new Mercedes-Benz, 'offered an almost unique sensation in coupling genuine soft suspension and comfortable ride over rough roads with light precise steering, freedom from roll and an ability to traverse an accurate predetermined course which would do credit to a racing car.' A brace of soft-tops - Cabriolet A coupé and Cabriolet B saloon - completed the 170S line-up, which remained in production in improved form until 1955.
The Mercedes-Benz 170S Cabriolet that we offer was purchased in the USA and is one of only 2,433 of these stylish soft-tops built between 1949 and 1951. Finished in yellow with mustard interior, the car was well restored some years ago and remains in generally very good condition. Offered with Spanish registration papers. It is custom cleared in EU, offered with Spanish "inspeccion tecnica" and certificate of ownership.

1951 Mercedes-Benz 220 Cabriolet B - Chassis no. 18701300368/51. Estimate: €45,000 - 65,000. Photo Bonham's

Lancée au Salon de Francfort d'avril 1951, la 220 fut en fait une cousine à six cylindres de la 170 S bâtie sur le même châssis de 2 845 mm d'empattement. La première de cette lignée – la 170 V quatre cylindres de 1,7 litre - avait été introduite en 1936 avant de constituer la base de la production de Mercedes-Benz dans les années de l'immédiat après-guerre. Le châssis était à la pointe du modernisme à l'époque avec un châssis en X en tubes ovales, des roues arrière indépendantes par demi essieux oscillants, des roues avant indépendantes par ressort à lames transversal et des freins hydrauliques. Introduite en mai 1949, la 170 S semblable extérieurement fut dotée d'un moteur de 1 767 cm3 muni d'une culasse en aluminium. La suspension avait aussi bénéficié d'un développement important avec adoption à l'avant de doubles triangles et de ressorts hélicoïdaux et à l'arrière d'amortisseurs télescopiques, la voie ayant été élargie. La revue The Motor trouva que la nouvelle Mercedes-Benz « offrait la sensation presque unique de l'union d'une suspension vraiment souple et d'un comportement très confortable sur mauvaise route à une direction précise, une absence de roulis et une capacité de suivre exactement la trajectoire voulue dont on créditerait une voiture de course ».

Bien qu'étroitement dérivée de la 170 S, la 220 affichait un style bien plus moderne amélioré par l'intégration des projecteurs dans les ailes. Avec 80 ch obtenus du moteur de 2,2 litres à 1 ACT, la berline 220 était donnée pour près de 140 km/h – comme le Cabriolet B – et pour le Cabriolet A traité en biplace décapotable, 145 km/h. Selon la meilleure tradition Mercedes, ces deux versions découvertes étaient particulièrement bien équipées. Le total combiné de la production des Cabriolets A et B ne s'éleva qu'à 2 360 unités en cinq ans et, de nos jours, ces modèles sont aussi rares que recherchés.

Cette 220 Cabriolet immatriculée initialement à Freiburg (Allemagne) le 15 septembre 1951 possède son carnet d'entretien d'origine attestant les interventions effectuées par un concessionnaire Mercedes-Benz de Freiburg jusqu'en 1964. La voiture partit aux Etats-Unis où elle fut suivie par un spécialiste de voitures européennes à Winchester (Kentucky) des années 1990 à 2007. Après son acquisition par l'actuel propriétaire, le moteur a fait l'objet d'une reconstruction à partir d'un nouveau bloc-cylindres en bon état. Elle est accompagnée de son certificat de dédouanement qui atteste que les taxes douanières ont été acquittées dans la zone UE, d'un certificat de propriété, et d'un contrôle technique espagnol.

1951 Mercedes-Benz 220 Cabriolet B - Chassis no. 18701300368/51. Estimate: €45,000 - 65,000. Photo Bonham's

Introduced at the Frankfurt Auto Show in April 1951, the 220 was in effect a six-cylinder cousin to the 170S on the same 2,845mm wheelbase chassis. The first of this line – the four-cylinder, 1.7-litre 170V – had been introduced back in 1936 and formed the mainstay of Mercedes-Benz production in the immediate post-war years. Running gear was state-of-the-art at the time, comprising an oval-tube backbone-type chassis, swing-axle independent rear suspension, transverse-leaf IFS and hydraulic brakes. Introduced in May 1949, the outwardly similar 170S came with a 1,767cc engine equipped with an aluminium-alloy cylinder head. The suspension too had undergone considerable development, a thoroughly modern double wishbone/coil spring design being adopted at the front, while at the rear the track was widened and telescopic shock absorbers fitted. The Motor found that the new Mercedes-Benz, 'offered an almost unique sensation in coupling genuine soft suspension and comfortable ride over rough roads with light precise steering, freedom from roll and an ability to traverse an accurate predetermined course which would do credit to a racing car.'
Although closely based on the 170S, the 220 featured more modern styling up-dated with headlamps integrated into the wings. With 80bhp on tap courtesy of its 2.2-litre overhead-camshaft engine, the 220 saloon was good for a top speed of around 140km/h (87mph) - as was the Cabriolet B - with 145km/h (90mph) attainable by the drophead coupé-styled Cabriolet A. In the best Mercedes-Benz tradition, both of these convertible models were exceptionally well equipped. The combined total of Cabriolet A and B production amounted to only 2,360 in five years and today these models are both rare and highly sought after.
This 220 Cabriolet was first registered in Freiburg, Germany on 15th September 1951 and comes with its original service booklet recording servicing by a Mercedes-Benz dealership in Freiburg until 1964. The car then went to USA where it was maintained by a European-car specialist in Winchester, Kentucky from the 1990s until 2007. After the car's purchase by the current owner, a cylinder block in good condition was purchased and used in a recent overhaul of the engine. The car is custom cleared in EU, offered with Spanish "inspeccion tecnica" and certificate of ownership.

1953 Mercedes Benz Type 220 Cabriolet A - Chassis no. 1870120425052. Estimate: €55,000 - 65,000. Photo Bonham's

Déjà, Homère dans l'Iliade évoque ce rêve de l'homme : se déplacer dans un véhicule capable de se mouvoir par ses propres moyens. Il faudra attendre plusieurs siècles pour que Cugnot en octobre 1769 réalise ce rêve en fabriquant son fardier, et encore bien des décennies que Bollée construise ses premiers véhicules à vapeur, dont très rapidement une petite série vendue aux particuliers.

En Allemagne, c'est en 1884 que la Gasmotorenfabrik Deutz crée ses premiers moteurs à explosion deux hommes apparaissent qui seront bientôt reconnus comme les créateurs des moyens de transports individuels, les premières voitures mues par un moteur à essence de pétrole : Karl Benz et Gottlieb Daimler, chacun obtenant des résultats analogues sans se connaitre.

En 1900, Emile Jellinek et William Maybach décident de construire une automobile puissante, animée par un moteur Benz qui fut engagée dans « La Semaine Automobile Niçoise », pilotée par Wilhelm Werner, et fut victorieuse des épreuves de vitesse, sous le nom de « Mercedes », prénom de la fille de Jellinek.

Il faudra attendre 1926 pour que se réalise la fusion entre Daimler et Benz, mais le nom de Mercedes, apparu au début du vingtième Siècle, est devenu l'emblème plus que centenaire de la marque de prestigieuses automobiles. On la remarque partout dans le monde, sous forme de la célèbre étoile à trois branches qui signifient « présent sur terre, sur mer et sans les airs ».

La Mercedes présentée est un cabriolet 220 de 1953, type W 187, modèle produit entre Avril 1951 et Mai 1954 en 2360 exemplaires (coupés et cabriolets), mus par un moteur six cylindres en ligne de 2195 cm3, alésage/course 80 x 72.20 mm, développant 80 cv à 4600 tr/mm.

La renaissance de l'industrie automobile allemande après 19545 a été consacrée par le Salon de Francfort 1951 : Opel, BMW, Porsche présentaient des nouveautés. Mercedes se contente de rechercher se qui se fait de mieux, sans trop innover sachant que la beauté classique ne se démode jamais : les ailes galbées et l'élégance surannée des nouvelles gammes présentées ne sont pas désuètes, et ne peuvent que rassurer la clientèle attirée par la marque.

Le classicisme apparent de la carrosserie ne doit pas occulter les qualités du nouveau moteur étudié sous la direction de Fritz Nallinger : arbre à cames en tête, levier du changement de vitesses sous le volant, joints à des solutions classiques, telle le système de graissage « monocoup » ne manquent pas de séduire les collectionneurs qui désirent conserver l'une de ces voitures qui ont joué un rôle non négligeable, symbolisant la transition réussie des années de reconstruction.

C'est certainement cet intérêt historique qui a poussé l'actuel propriétaire à acquérir ce cabriolet lors d'une vente aux enchères au Palais des Congrès en Avril 1988. Le précédent la détenait depuis 1976.
L'essai que nous avons effectué a tout lieu d'être qualifié de satisfaisant, et témoigne que non seulement cette voiture a relativement peu roulé mais encore qu'elle a été visiblement toujours soigneusement entretenue.
Le manuel d'entretien d'origine, en français, est joint à la voiture

Carte grise française normale.

1953 Mercedes Benz Type 220 Cabriolet A - Chassis no. 1870120425052. Estimate: €55,000 - 65,000. photo Bonham's

In the Iliad, Homer had already evoked this dream: travel in a vehicle capable of moving by itself. Many centuries passed before in October 1769 Cugnot realized this dream by building his trailer, and several decades more before Bollee built his first steam-driven vehicles, a small series of which were very quickly snapped up by individuals.

In Germany, in 1884, the Gasmotorenfabrik Deutz created its first spark ignition engines. Two men appeared who would become known as the creators of individual transportation, the first cars to be moved by a petrol engine: Karl Benz and Gottlieb Daimler, each obtaining similar results without knowing each other.

In 1900, Emile Jellinek & William Maybach decided to build a powerful automobile, powered by a Benz engine that was shown at the Nice Automobile Week, driven by Wilhelm Werner. It was victorious in speed trials under the name of Mercedes, which was the first name of Jellinek's daughter.

It was not until 1926 that Daimler and Benz merged, but the name, Mercedes, which appeared at the beginning of the twentieth century, has been the emblem for more than one hundred years of this prestige vehicle marque. It is known throughout the world in the form of the celebrated three pointed star which means "present on the Earth, on the Seas and in the Air".

The Mercedes presented is a Type W187 cabriolet 220 from 1953, a model of which 2,360 examples (coupés and cabriolets) were produced between April 1951 and May 1954, powered by an in-line six cylinder engine of 2,195 cc, bore/stroke 80 x 72.20 mm, developing 80 bhp at 4,600 rpm.

The renaissance of the German automobile industry after 1945 was consolidated by the Frankfurt Exhibition of 1951: Opel, BMW and Porsche presented new models. Mercedes limited itself to researching what could be improved, without too much innovation in the knowledge that classic beauty never goes out of fashion: the curved wings and the elegance of the new ranges presented were not outmoded and only reassured clients attracted by the marquee.

The clear classicism of the bodywork did not hide the qualities of the new engine produced under the direction of Fritz Nallinger: overhead camshaft, gearshift lever under the driving wheel, attached to classic solutions, such as the system of "monocoup" lubrication, that impressed collectors who wished to keep one of these cars that played a not insignificant role symbolizing the successful transition from the years of reconstruction.

It is without doubt this historical interest that caused the current owner to acquire this cabriolet at auction at the Palais des Congrès in April 1988. The previous owner had owned it since 1976.

The test that we had can be described as satisfactory and bears witness to the fact that not only has this car been little used, but has clearly been maintained with great care.

The original maintenance manual, in French, comes with the car.

Normal French vehicle registration document

1958 Mercedes Benz 300 SL - Chassis no. 198.042.8500298. Engine no. 198.980.8500309. Estimate: €340,000 - 400,000. photo Bonham's

Élaboré pour concrétiser le retour de Mercedes-Benz en compétition internationale après la guerre, la 300 SL fit ses débuts à la Mille Miglia 1952 où elle prit les deuxième et quatrième places au général. Suivirent des victoires à la Carrera Panamericana et au Mans et la 300 SL allait pouvoir entrer dans la légende du sport automobile. Ces voitures débutèrent en compétition sous la forme désormais célèbre du coupé à portes « papillon » (il y eut aussi quelques rares versions spiders pour les circuits). La hauteur inhabituelle des seuils de porte, dictée par la structure du châssis en treillis multitubulaire qui interdisait des ouvrants classiques, avait imposé cette solution.

Lancée en 1954, la 300 SL de production qui conservait le châssis en treillis des machines de compétition était dotée d'un moteur six cylindres en ligne de 2 996 cm3 à 1 ACT, incliné sur la gauche de 50 degrés afin d'abaisser la hauteur du capot et d'améliorer l'aérodynamique. Bénéficiant d'un système d'alimentation moderne par injection directe, ce groupe à la pointe de la technique délivrait 215 ch à 5 800 tr/min. Une boîte à quatre rapports transmettait le couple à un pont hypoïde. Les quatre roues étaient indépendantes avec des triangles superposés et des ressorts hélicoïdaux à l'avant et un essieu brisé avec ressorts hélicoïdaux à l'arrière. Indéniablement, il s'agissait là de la première supercar moderne.

Essayée par le magazine Road & Track en 1955, la 300 SL accélérait de 0 à 97 km/h en 7,4 secondes et plafonnait à 225 km/h – des chiffres impressionnants à l'époque. À l'évidence, le Coupé 300 SL était un animal difficile à rattraper, mais la version Roadster, introduite juste trois ans après, allait encore améliorer le comportement dynamique de la 300 SL. Dotée de portes conventionnelles, la 300 SL Roadster dévoilée au Salon de Genève en mars 1957 allait survivre au Coupé de plusieurs années. La construction d'une 300 SL décapotable imposa de revoir la structure de l'habitacle : le treillis fut redessiné afin d'abaisser les seuils pour faciliter l'accès à bord. En même temps, la suspension arrière fut modifiée par l'abaissement du pivot d'articulation, de l'essieu brisé.

Le comportement neutre du Roadster en virage fut salué par Road & Track lors de l'essai de 1958. « Avec la suspension à pivot abaissé et des pneus plus adhérents, la voiture se comporte magnifiquement en toutes circonstances. C'est un énorme progrès par rapport à la version fermée qui présentait une tendance au survirage si l'accélérateur était trop sollicité ! » Un temps de 7 secondes de 0 à 97 km/h et une vitesse de pointe de 210 km/h furent enregistrés, faisant de la 300 SL Roadster un des cabriolets les plus rapides de son temps. R&T concluait : « Il ne fait aucun doute que la 300 SL Roadster est une grande sportive polyvalente, aussi à l'aise dans la circulation et sur route libre que sur un circuit. » C'est toujours vrai aujourd'hui.

Cette très belle 300 SL Roadster livrée neuve aux Etats-Unis. fut vendue en 1979 à un new-yorkais qui la conserva jusqu'à son acquisition par l'actuel vendeur en septembre 2007. Sous une livrée ivoire avec intérieur en cuir rouge, la voiture a fait l'objet d'une restauration cosmétique en 2002-2003 avec une peinture et un intérieur neufs. Elle est accompagnée de son certificat de dédouanement qui atteste que les taxes douanières ont été acquittées dans la zone UE, d'un certificat de propriété, et d'un contrôle technique espagnol.

1958 Mercedes Benz 300 SL - Chassis no. 198.042.8500298. Engine no. 198.980.8500309. Estimate: €340,000 - 400,000. photo Bonham's

Created to spearhead Mercedes-Benz's return to competition in the post-war era, the 300SL debuted in the 1952 Mille Miglia, finishing 2nd and 4th overall. Wins in the Carrera Pan-Americana and at Le Mans followed, and the 300SL was on its way to becoming part of motor sporting legend. The first racers were open-topped, but before the '52 season's end the distinctive gull-wing doored Coupé had appeared. Unusually high sills were a feature of the multi-tubular spaceframe chassis, and while access was not a problem of the open car, the adoption of coupé bodywork required innovative thinking - hence the gull-wing doors.
Launched in 1954, the production 300SL retained the spaceframe chassis of the racer and was powered by a 2,996cc, overhead-camshaft, inline six canted at 45 degrees to achieve a lower, more aerodynamic bonnet line. Using innovative direct fuel injection, this state-of-the-art power unit produced 215bhp at 5,800rpm. A four-speed gearbox transmitted power to the hypoid bevel rear axle. Suspension was independent all round by wishbones and coil springs at the front, with swing axles and coil springs at the rear. It was, arguably, the world's first supercar.
Tested by Road & Track magazine in 1955, the 300SL accelerated from 0-60mph in 7.4 seconds, going on to achieve a top speed of 140mph - outstanding figures for its day. Clearly the 300SL Coupé would be a hard act to follow, yet the Roadster version, introduced just three years later, succeeded in bettering its closed cousin's already exemplary road manners. Conventionally doored, the 300SL Roadster was first exhibited at the Geneva Salon in May 1957 and would outlive the Coupé by several years. The production of an open 300SL involved altering the cockpit area, where the spaceframe was re-designed to permit lower sills for improved access. At the same time the rear suspension was changed to incorporate low-pivot swing axles.
The Roadster's neutral steering characteristics received fulsome praise from Road & Track in its 1958 road test. 'With the low-pivot rear suspension and more adhesive tyres, the car handles beautifully under all conditions. This is a tremendous improvement over the hardtop models, which had a tendency to oversteer rather violently if pressed too hard.' A 0-60mph time of 7.0 seconds and a top speed of 130mph were recorded, making the 300SL Roadster one of the fastest convertibles of its time. R&T concluded: 'There is no doubt that the 300SL roadster is a truly great dual-purpose sportscar, equally at home in traffic and the open road, or on the track,' words that remain equally true today.
This lovely 300SL Roadster was delivered new to the USA and in 1979 was sold to a New Yorker who kept the car until it was the purchased by the current owner in September 2007. Finished in the eye-catching combination of ivory white with red leather upholstery, the car was cosmetically restored in 2002-2003, receiving new paintwork and interior. It is custom cleared in EU, offered with Spanish "inspeccion tecnica" and certificate of ownership.

1959 Mercedes 300SL Roadster - Chassis no. 198.042-10-002526. Engine no. 198.980-10-002577. Estimate: €270,000 - 320,000. photo Bonham's

Élaboré pour concrétiser le retour de Mercedes-Benz en compétition internationale après la guerre, la 300 SL fit ses débuts à la Mille Miglia 1952 où elle prit les deuxième et quatrième places au général. Suivirent des victoires à la Carrera Panamericana et au Mans et la 300 SL allait pouvoir entrer dans la légende du sport automobile. Ces voitures débutèrent en compétition sous la forme désormais célèbre du coupé à portes « papillon » (il y eut aussi quelques rares versions spiders pour les circuits). La hauteur inhabituelle des seuils de porte, dictée par la structure du châssis en treillis multitubulaire qui interdisait des ouvrants classiques, avait imposé cette solution.

Lancée en 1954, la 300 SL de production qui conservait le châssis en treillis des machines de compétition était dotée d'un moteur six cylindres en ligne de 2 996 cm3 à 1 ACT, incliné sur la gauche de 50 degrés afin d'abaisser la hauteur du capot et d'améliorer l'aérodynamique. Bénéficiant d'un système d'alimentation moderne par injection directe, ce groupe à la pointe de la technique délivrait 215 ch à 5 800 tr/min. Une boîte à quatre rapports transmettait le couple à un pont hypoïde. Les quatre roues étaient indépendantes avec des triangles superposés et des ressorts hélicoïdaux à l'avant et un essieu brisé avec ressorts hélicoïdaux à l'arrière. Indéniablement, il s'agissait là de la première supercar moderne.

Essayée par le magazine Road & Track en 1955, la 300 SL accélérait de 0 à 97 km/h en 7,4 secondes et plafonnait à 225 km/h – des chiffres impressionnants à l'époque. À l'évidence, le Coupé 300 SL était un animal difficile à rattraper, mais la version Roadster, introduite juste trois ans après, allait encore améliorer le comportement dynamique de la 300 SL. Dotée de portes conventionnelles, la 300 SL Roadster dévoilée au Salon de Genève en mars 1957 allait survivre au Coupé de plusieurs années. La construction d'une 300 SL décapotable imposa de revoir la structure de l'habitacle : le treillis fut redessiné afin d'abaisser les seuils pour faciliter l'accès à bord. En même temps, la suspension arrière fut modifiée par l'abaissement du pivot d'articulation, de l'essieu brisé.

Le comportement neutre du Roadster en virage fut salué par Road & Track lors de l'essai de 1958. « Avec la suspension à pivot abaissé et des pneus plus adhérents, la voiture se comporte magnifiquement en toutes circonstances. C'est un énorme progrès par rapport à la version fermée qui présentait une tendance au survirage si l'accélérateur était trop sollicité ! » Un temps de 7 secondes de 0 à 97 km/h et une vitesse de pointe de 210 km/h furent enregistrés, faisant de la 300 SL Roadster un des cabriolets les plus rapides de son temps. R&T concluait : « Il ne fait aucun doute que la 300 SL Roadster est une grande sportive polyvalente, aussi à l'aise dans la circulation et sur route libre que sur un circuit. » C'est toujours vrai aujourd'hui.

Cette très originale 300 SL Roadster livrée neuve aux Etats-Unis en 1959 fut achetée en 1983 par le professeur John Stahner de l'Université du Wisconsin (voir copie du titre de circulation figurant au dossier). Le Pr Stahmer conserva la 300 SL jusqu'en 2008, date de son acquisition par l'actuel vendeur via un négociant américain. Bénéficiant d'un entretien récent et en état de fonctionnement moyen, la voiture pourrait être sympathiquement restaurée en conservant l'intérieur d'origine à l' élégante patine. Il faut noter qu'il est difficile de trouver actuellement une 300 SL dans un tel état d'origine et celle-ci constitue une superbe occasion d'acheter le parfait objet d'un tel projet de restauration. Peinte en beige avec intérieur en cuir chocolat, la voiture est complète avec son hard-top gris d'origine, son outillage et ses manuels d'utilisation Mercedes-Benz et Becker. Elle est accompagnée de son certificat de dédouanement qui atteste que les taxes douaniéres ont été acquittées dans la zone UE, d'un certificat de proprieté, et d'un controle technique espagnol.

1959 Mercedes 300SL Roadster - Chassis no. 198.042-10-002526. Engine no. 198.980-10-002577. Estimate: €270,000 - 320,000. photo Bonham's

Created to spearhead Mercedes-Benz's return to competition in the post-war era, the 300SL debuted in the 1952 Mille Miglia, finishing 2nd and 4th overall. Wins in the Carrera Pan-Americana and at Le Mans followed, and the 300SL was on its way to becoming part of motor sporting legend. The first racers were open-topped, but before the '52 season's end the distinctive gull-wing doored Coupé had appeared. Unusually high sills were a feature of the multi-tubular spaceframe chassis, and while access was not a problem of the open car, the adoption of coupé bodywork required innovative thinking - hence the gull-wing doors.
Launched in 1954, the production 300SL retained the spaceframe chassis of the racer and was powered by a 2,996cc, overhead-camshaft, inline six canted at 45 degrees to achieve a lower, more aerodynamic bonnet line. Using innovative direct fuel injection, this state-of-the-art power unit produced 215bhp at 5,800rpm. A four-speed gearbox transmitted power to the hypoid bevel rear axle. Suspension was independent all round by wishbones and coil springs at the front, with swing axles and coil springs at the rear. It was, arguably, the world's first supercar.
Tested by Road & Track magazine in 1955, the 300SL accelerated from 0-60mph in 7.4 seconds, going on to achieve a top speed of 140mph - outstanding figures for its day. Clearly the 300SL Coupé would be a hard act to follow, yet the Roadster version, introduced just three years later, succeeded in bettering its closed cousin's already exemplary road manners. Conventionally doored, the 300SL Roadster was first exhibited at the Geneva Salon in May 1957 and would outlive the Coupé by several years. The production of an open 300SL involved altering the cockpit area, where the spaceframe was re-designed to permit lower sills for improved access. At the same time the rear suspension was changed to incorporate low-pivot swing axles.
The Roadster's neutral steering characteristics received fulsome praise from Road & Track in its 1958 road test. 'With the low-pivot rear suspension and more adhesive tyres, the car handles beautifully under all conditions. This is a tremendous improvement over the hardtop models, which had a tendency to oversteer rather violently if pressed too hard.' A 0-60mph time of 7.0 seconds and a top speed of 130mph were recorded, making the 300SL Roadster one of the fastest convertibles of its time. R&T concluded: 'There is no doubt that the 300SL roadster is a truly great dual-purpose sportscar, equally at home in traffic and the open road, or on the track,' words that remain equally true today.
This highly original 300SL Roadster was delivered new to the USA in 1959 and in 1983 was acquired by Professor John Stahmer of Wisconsin University (see copy of title certificate on file). Professor Stahmer kept the 300SL until 2008 when it was purchased by the current owner via a dealer in the USA. Recently serviced and in average running condition, the car would benefit from sympathetic restoration retaining the nicely patinated original interior. Indeed, nowadays it is rare to find such an original 300SL and this example thus represents a wonderful opportunity to acquire the perfect subject for such a rebuild. Finished in beige with chocolate leather interior, the car comes complete with original grey hardtop, tool kit and Mercedes-Benz and Becker instruction manuals. The car is custom cleared in EU, offered with Spanish "inspeccion tecnica" and certificate of ownership.

1960 Mercedes-Benz 190SL Convertible - Chassis no. 121042-10-016822. Estimate: €35,000 - 45,000. photo Bonham's

À l'intention d'une clientèle insuffisamment riche pour acquérir son très coûteux type sport - la 300 SL – Mercedes-Benz proposa la plus sage, mais non moins raffinée 190 SL. Annoncée en 1954 et construite sur la base de la berline 180 dont elle reprenait les suspensions indépendantes, la 190 SL n'entra en production qu'en 1955. Ce retard était dû à modifications nécessitées par le renforcement de la plate-forme raccourcie de la berline, renforcement destiné à compenser la perte de rigidité de la caisse découverte. « Très peu de voitures de sport ont été aussi ardemment désirées ou aussi longues à apparaître que la version SL à prix abordable de la Mercedes-Benz, » observa le magazine Road & Track. Monté sur un sous-châssis détachable avec la boîte manuelle à quatre rapports, la suspension avant et la direction, le groupe était un quatre-cylindres à 1 ACT de 1 897 cm3 – premier moteur de ce type vu dans une Mercedes-Benz. Alimenté par deux carburateurs Solex inversés, le moteur M121 délivrait 105 ch DIN (120 ch SAE) à 5 700 tr/min, puissance suffisante pour propulser la 190 SL à 100 km/h en 14,5 secondes et jusqu'à environ 170 km/h en pointe. Raffinée, élégante et confortable, la voiture fit un tabac aux Etats-Unis où arrivèrent la plupart des quelques 26 000 exemplaires produits entre 1955 et 1963. Nous savons que cet exemplaire a été restauré, qu'il a bénéficié d'une récente réfection du moteur à base de pièces M-B d'origine (facture disponible) et adapté au carburant sans plomb et qu'il a reçu un nouvel intérieur et une capote neuve. Peint en blanc avec intérieur en cuir bleu et capote assortie, la voiture est accompagnée de son certificat de dédouanement qui atteste que les taxes douanières ont été acquittées dans la zone UE, d'un certificat de propriété, et d'un contrôle technique espagnol.

1960 Mercedes-Benz 190SL Convertible - Chassis no. 121042-10-016822. Estimate: €35,000 - 45,000. photo Bonham's

For those insufficiently wealthy to afford its hyper-expensive race-bred sports car - the 300SL - Mercedes-Benz offered the less exotic but no less refined 190SL. Announced in 1954 and based on the 180 saloon whose all-independently-suspended running gear it used, the 190SL did not enter production until January 1955, the delay being caused by alterations aimed at strengthening the saloon's shortened platform to compensate for the open body's reduced stiffness. 'Very few new sportscars have been so eagerly awaited or so long in coming as the moderately priced SL version of the Mercedes-Benz,' observed Road & Track magazine. Mounted on a detachable subframe along with the four-speed manual gearbox, front suspension and steering, the power unit was a 1,897cc overhead-camshaft four - the first such engine ever to feature in a Mercedes-Benz. Breathing through twin Solex downdraft carburettors, the M121 unit produced 105bhp DIN (120bhp SAE) at 5,700rpm, an output sufficient to propel the 190SL to 100km/h (62mph) in 14.5 seconds and on to a top speed of 171km/h (106mph). Refined, comfortable and stylish, the model was a big hit in the USA, where many of the slightly fewer than 26,000 produced between 1955 and 1963 found homes.
We are advised that this example has been restored, benefiting from an engine recently overhauled with original Mercedes-Benz parts and converted to unleaded compatibility, and a superbly reupholstered interior and new soft-top. Finished in white with blue leather interior and matching soft-top, the car is custom cleared in EU, offered with Spanish "inspeccion tecnica" and certificate of ownership.

Bonhams. Automobiles d'Exception á Rétromobile, 23 Jan 2010. Rétromobile Salon, Porte de Versailles, Paris www.bonhams.com

Fine English & Continental Furniture, Silver & Decorative Arts for Sale at Freeman's

Fine George II Chinese Chippendale mahogany silver table, circa 1755. Estimate $5,000-7,000. Photo: Freeman's

PHILADELPHIA, PA.- Freeman's two-day Fine English & Continental Furniture, Silver and Decorative Arts sale, scheduled for January 26 & 27, includes an impressive selection of property consigned from a number of private estates and collections. The first day is focused primarily on English furniture and decorative arts, followed by sections of English and Continental silver and ending with Asian arts which includes a fine collection of Export wares. Highlights of the day include a 17th century English bracket clock by the renowned maker Joseph Knibb with a pre-sale estimate of $40,000-60,000; a George III mahogany Chinese Chippendale silver table, conservatively estimated at $5,000-7,000; and an unusual Anglo-Colonial rosewood inlaid sofa table expected to bring $7,000-10,000; the silver section includes a large Georg Jensen 'Acorn' pattern flatware service at $15,000-25,000; a four piece English sterling silver neoclassical tea service by the maker John Schofield, dated 1796, estimate $2,000-3,000; and an early 18th century Norwegian silver peg tankard expected to fetch $6,000-8,000.

The second day is devoted to material of Continental origin and includes a 17th century Flemish ebony and ivory table cabinet estimated at $5,000-7,000; a South Italian walnut and tulipwood parquetry commode dating to the mid 18th century and expected to bring $10,000-15,000; a large KPM porcelain plaque painted with a scene of cherubs after Rubens with an estimate of $5,000-7,000; and a Russian gold and spinach jade page turner with marks for Fabergé and silversmith Michael Perchin conservatively estimated at $2,000-3,000. The sale concludes with a selection of 20th century art glass, with the highlight being a Tiffany Studios jeweled 'Dragonfly' pattern table lamp purchased in Freeman's gallery in the early 1920's by the consignor's grandparents, with an estimate of $80,000-100,000.

Exhibition times are Friday, January 22nd and Saturday January 23rd, 10am to 4:30pm and Monday, January 25th, 10am to 4:30pm. Private views can be arranged by appointment for Sunday, January 24th.

Major Works by Klein, Doig, Kippenberger and Auerbach Lead Christie's Auction

Yves Klein (1928-1962), "ANT 5", 1962. Pigment and synthetic resin on charred paper card laid down on board, (118 x 78cm.) 46 1/2 x 30 3/4 inches. Estimate: £1,500,000 - 2,000,000. Photo: Christie's Images Ltd., 2010.

LONDON.- The Post-War and Contemporary Art Evening Sale will take place on 11 February 2010 at 7pm, and will offer 52 lots with a total pre-sale estimate of £26,290,000 to £38,260,000. The auction will represent a broad spectrum of art from the last 60 years and is highlighted by an important core group of works from the early 1960s including the masterpiece Relief éponge or (RE47II), one of only two gold sponge reliefs ever created by Yves Klein (estimate: £5 million to £7 million), alongside a further important work by the artist, ANT 5, and together with major paintings by Peter Doig, Martin Kippenberger, Raqib Shaw, Neo Rauch, Frank Auerbach, Andy Warhol, and Nicolas de Staël among others.

Francis Outred, Head of Post-War and Contemporary Art, Christie’s Europe: “The auction will offer a diverse selection of art, including a core group of works from the early 1960s which are united by their expression of art during the Space Age – arguably the most influential period of Post-War history. Yves Klein’s masterful, gold ‘Relief éponge’ is the slightly longer of only two works of its kind in existence which sums up many of the artist’s key philosophies, and we are thrilled to be able to present it at auction for the first time alongside the outstanding ‘ANT 5’, the largest of only six such works in his oeuvre which incorporate fire into his renowned Anthropométrie pigment technique. Building on the successes of last year, we are also pleased to be able to offer important works by Peter Doig, Martin Kippenberger and Neo Rauch, all of whose work produced notably strong prices at Christie’s during 2009.”

Almost 50 years ago, Yuri Gagarin became the first human in space. In the same year, President Kennedy declared that the United States would commit itself to land a man on the moon and return him safely to earth by the end of the decade - a feat which they achieved in 1969. One of the most important periods in the history of exploration, and amongst the most defining events in modern history, the Space Age and its consequential effect on technology was to transform the world in the 20th century. This was reflected in art at the time; most noticeably by artists including Yves Klein, Lucio Fontana, Piero Manzoni and Richard Hamilton. The auction in February will offer an important selection of works from the early 1960s, all of which show the powerful influence of Space exploration as it prompted artists to explore spatial and mental boundaries.

Yves Klein (1928-1962), "Relief éponge" (Gold sponge relief RE47II), signed and dated 'Yves Klein 61' (on the reverse), gold leaf, natural sponges, pebbles and synthetic resin on wood panel, 17 7/8 x 31½ x 3in. (45.5 x 80 x 7.5cm.). Executed in 1961. Estimate: £5 million to £7 million. Photo: Christie's Images Ltd., 2010

Relief éponge or (RE47II) by Yves Klein (1928-1962) is the longer of only two gold sponge reliefs ever created by the artist. This pair of works encapsulates the essence of Klein’s art with the marriage of two of his greatest series; the Relief Eponges (Sponge reliefs) and Monogolds. According to Stephen Petersen, ‘He [Klein] not only redefined art in light of the space age; he also redefined the space age in light of his art’, and the present example typifies the artist’s quest to explore spatial boundaries and preconceptions, and the ultimate colour of the void. Executed in 1961, the year in which man first went into space and in which the artist found great fame in the United States, it has since been shown in several of the most important retrospectives of Klein’s work including the 1983 tour of America which traveled to the Guggenheim, New York, the Rice Museum, Houston, and MOCA, Chicago, as well the major Retrospective of 2006 at Centre Georges Pompidou, Paris, where it was the centerpiece to the ‘Gold Room’ with a wall to itself. Formerly in the collection of Francois de Menil, the son of Dominique and Jean, the celebrated collectors, philanthropists and founders of the museum in Houston of the same name, it was acquired directly from him by the present owner circa 1980 and will be offered at auction for the first time. It is expected to realise £5 million to £7 million.

Anthropométrie (ANT 5) by Yves Klein (1928-1962) is the largest of only six works from this celebrated series to incorporate a mixture of fire and blue pigment (estimate: £1.5 million to £2 million). Executed in 1962, shortly before the artist’s premature death at the age of just 34, it is an exceptional example of the Anthropométries series which saw the artist attempt to become one with the immaterial realm through the practice of levitation or, as he famously referred to it, ‘Leaping into the Void.’ The artist sprayed paint around the contours of the model’s body leaving a shadow-like image, with fire from a Bunsen burner leaving golden patterns on the paper ground.

Piero Manzoni (1933-1963), "Achrome", kaolin on canvas, 19¾ x 24in. (50.2 x 61cm.). Executed in 1960. Estimate: £600,000 - £800,000. Photo: Christie's Images Ltd., 2010

Further works from this period include Achrome, 1960, by Piero Manzoni (1933-1963) (estimate: £600,000 to £800,000); Blanc amb signe vermellós (White with Reddish Sign), 1963 (estimate: £300,000 to £400,000) and Oval gris-marró (Grey-Brown Oval), 1959 (estimate: £200,000 to £300,000), both by Antoni Tàpies (b.1923); and Towards a Definitive Statement on the Coming Trends in Men's Wear and Accessories (a) Sketch II by Richard Hamilton (b.1922), an important document of early Pop Art which depicts Yuri Gagarin, the first man in Space, and which is a study for the artist’s famous masterpiece in the Tate; Towards a Definitive Statement on the Coming Trends in Men's Wear and Accessories (a) Together let us Explore the Stars (estimate: £80,000 to £120,000). A more modern artistic exploration of space and spatial boundaries will be offered through 3 works by Anish Kapoor (b.1954), whose work was highly celebrated in 2009 with a solo exhibition at the Royal Academy, London. Flash Rainflow, 2005, is expected to realise £400,000 to £600,000; and Budo, 2006, and Goddess (Void), 1991, each carry an estimate of £300,000 to £400,000.

Peter Doig (b. 1959), "Concrete Cabin West Side", signed, titled and dated 'CONCRETE CABIN WEST SIDE 1993 PETER DOIG' (on the reverse), oil on canvas,78½ x 108¼in. (199.5 x 275cm.). Painted in 1993. Estimate: £2,000,000 - £3,000,000. Photo: Christie's Images Ltd., 2010

In 2009, Christie’s realised three of the four highest ever prices for works by Peter Doig (b.1959), the celebrated Scottish painter. His works continue to attract increasing attention, and in February Christie’s will offer another important large-scale canvas with Concrete Cabin West Side. The artist was inspired by Unité d'Habitation de Briey-en-Forêt, a building in northeast France designed by Le Corbusier which he saw in 1991, and which was the inspiration for his Turner Prize installation at the Tate in 1994. Arguably the greatest example from the series, the present work was selected by the owner from the artist’s studio in advance of its first exhibition at a gallery in London. It is expected to realise £2 million to £3 million.

Martin Kippenberger (1953-1997), "Untitled" (from the series Lieber Maler Male mir/Dear Painter Paint Me), oil on canvas, 78½ x 51 3/8in. (199.5 x 130.5cm.). Painted in 1983. Estimate: £800,000 - £1,200,000. Photo: Christie's Images Ltd., 2010

In October 2009 at Christie’s in London, Paris Bar by Martin Kippenberger (1953-1997) sold for £2.3 million – the second highest price for a work by the artist sold at auction. Following this success, the sale in February will offer two important works by the celebrated German artist; Untitled (from the series Lieber Maler Male mir / Dear Painter Paint Me), 1983, an important self-portrait (estimate: £800,000 to £1,200,000); and Fliegender Tanga (Flying Tanga), 1982-83, an important early work in 5 parts which was acquired directly from the artist by the present owner in 1984, and whose middle section portraying a Chinese child holding a can of Coca-Cola has become widely recognized as the cover of the Manic Street Preacher’s single Faster, and as the inspiration for Yue Minjun’s Looking for Art, 2007.

Raqib Shaw (b. 1974), "Garden of Earthly Delights XIV", signed, titled and dated 'Raqib Shaw 2005 Garden of Earthly Delights XIV' (on the reverse), acrylic, glitter, enamel, rhinestones and mixed media on board, 56in. (142cm.) diameter. Executed in 2005. Estimate: £500,000 - £700,000. Photo: Christie's Images Ltd., 2010

The auction in London in October 2009 also established a record auction price for any work by Neo Rauch (b.1960) with Stellwerk (Signal Box), 1999, which sold for £892,450. The auction in February will offer Vorrat (Supply / Stock), a fantastical dreamscape executed by the artist in 1998 and expected to realise £500,000 to £700,000. Garden of Earthy Delights XIV, 2005, by Raqib Shaw (b.1974) is an outstanding work from one of the artist’s most important and celebrated series of paintings to date. A contemporary interpretation of the epic and similarly named triptych by Hieronymous Bosch, now in the Prado, Madrid, it is expected to realise £500,000 to £700,000.

Frank Auerbach (b. 1931), "Head of J.Y.M.", oil on board, 27 7/8 x 24in. (71 x 61cm.). Painted in 1973. Estimate: £900,000 - £1,200,000. Photo: Christie's Images Ltd., 2010

Following the recent publication of the first catalogue raisonne on the artist by William Feaver, the auction will present three works by Frank Auerbach (b.1931), all of which will be offered at auction for the first time. Using impasto so thick that at times it appears to be sculpted as well as painted, Auerbach’s style and subsequent success has seen him become one of the most important living British artists alongside his great compatriot and one of his biggest fans, Lucian Freud. Head of J.Y.M., 1973, is one of the artist’s most important portraits and portrays his most famous muse, Juliet Yardley Mills. A vibrant, colourful work, it has been in the possession of the current owner since 1974 and is expected to realise £900,000 to £1,200,000. Head of Helen Gillespie VI, 1966, is the last of a group of nine portraits of Helen Gillespie that the artist executed between 1961 and 1966 and is expected to realise £500,000 to £700,000; and J.Y.M. Seated II, 1996, one of the last portraits of Juliet Yardley Mills painted by the artist, carries an estimate of £180,000 to £250,000.

Nicolas de Staël (1914-1955), "Sicile (Agrigente)", signed 'Staël' (lower left); signed with the artist's initials 'NS' (on the reverse), oil on canvas, 23 5/8 x 31 7/8in. (60 x 81cm.). Painted in 1953. Estimate: £700,000 - £1,000,000. Photo: Christie's Images Ltd., 2010

Nicolas de Staël (1914-1955), "Fleurs rouges", signed 'Staël' (lower left), oil on canvas, 32 x 25¾in. (81.3 x 65.5cm.). Painted in 1952.  Estimate: £600,000 - £800,000. Photo: Christie's Images Ltd., 2010

Sicile (Agrigente), 1953, is from the celebrated series of portrayals of Agrigento in Sicily by Nicolas de Staël (1914-1955), other versions of which can be found in major museums around the world including MOCA, Los Angeles, Kunsthaus, Zurich and the Musée des Beaux-Arts in Grenoble. De Staël’s journey through Italy and to sicily in 1953 marked a crucial watershed for the artist’s work, as he was exposed to and deeply influenced by the sights, visions and intense light of the Mediterranean. Acquired by the current owner directly from the artist, it will be offered at auction for the first time at Christie’s and is expected to realise £700,000 to £1,000,000. Fleurs Rouges, painted by the artist in 1952 and shown at the artist’s first major one-man exhibition in the United States the following year, carries an estimate of £600,000 to £800,000.

Joana Vasconcelos (b. 1971), "Marilyn", stainless steel pans and lids and cement, in two parts, each: 116 7/8 x 61 x 161 3/8in. (297 x 155 x 410cm.). Executed in 2009. Estimate: £100,000 - £150,000. Photo: Christie's Images Ltd., 2010

In June 2009 in London, Christie’s offered the work of Portuguese artist Joana Vasconcelos (b.1971) for the first time on the international market. Gold Independent Heartne, 2004, a 4.5 metre tall, rotating heart made of plastic cutlery, exceeded its estimate of £80,000 to £120,000, selling for £163,250. In February, Marilyn will be offered with an estimate of £100,000 to £150,000. A pair of stiletto heels made from stainless steel pans and lids, and measuring 4 metres by 3 metres, the work was inspired by the shoes worn by Marilyn Monroe in the clip from The Seven Year Itch when she famously stood on an air vent.

Major Works by Doig, Freud, Richter, Fontana and Ofili Lead Sotheby's Sale

Andy Warhol (1928-1987), Jackie, signed and dated 1964. Estimate: £800,000-1,200,000. Photo: Sotheby's

LONDON.- Following Sotheby's outstanding sale of Contemporary Art in New York last November, which soared above high estimate and witnessed all but two lots find buyers, Sotheby’s London Evening Sale of Contemporary Art on Wednesday, February 10, 2010, is set to provide Contemporary Art collectors with the opportunity to acquire important and rare works by some of the foremost Post-War and Contemporary artists. The Contemporary Art Evening Sale, which includes ZERO: Property from the Sammlung Lenz Schönberg, will also be spearheaded by major works by artists such as Peter Doig, Lucian Freud, Gerhard Richter, Chris Ofili, Lucio Fontana and Piero Manzoni. Including ZERO: Property from the Sammlung Lenz Schönberg, the Contemporary Art Evening Sale is estimated to realise in excess of £32 million.

Commenting on the auction overall, Cheyenne Westphal, Sotheby’s Chairman, Contemporary Art Europe, said: “We have continued to apply the proven formula of including rare, stand-out works with attractive estimates that we believe will appeal to the market and we are delighted with the offering of Post-War and Contemporary artworks that we have assembled for the February Evening Auction. Evident from the major single owner collection of ZERO Art, and the rediscovered and highly-desirable works by blue-chip names that we have been able to bring to the market following the New York Sale of Contemporary Art in November, the sale is affirmation of consignors’ confidence in the market.”

Peter Doig (b. 1959), Saint Anton (Flat Light), executed between 1995 and 1996. Estimate: £2,000,000-3,000,000. Photo: Sotheby's

In addition to the group of five works by Lucian Freud from a private European collection, one of the most important highlights in the sale is Peter Doig’s (b. 1959) oil on canvas Saint Anton (Flat Light), executed between 1995 and 1996. First exhibited in 1996 at the artist’s second solo show at the Victoria Miro Gallery in London - the first time a cohesive group of Doig’s ‘snow scenes’ were exhibited together - Saint Anton (Flat Light) was the centrepiece. Measuring 275 by 275cm, the work is monumental in scale and is one of the artist's largest and most iconic paintings of the mountain landscape, alongside Ski Jacket (which was acquired by the Tate at the time of Doig's nomination for the Turner Prize in 1994 and is today considered one of his masterpieces). Saint Anton (Flat Light), which was based on a photograph that the artist took himself, combines elements from each of his earlier snow scenes into a single, masterful image: the frontal screen of falling snow, the pink, almost iridescent high-altitude light, the elevated horizon line and starkly flattened perspective and most significantly the thickly applied oil and richly variegated painted surface. As a result of the high horizon line and flattened perspective, the sense of distance is collapsed and the mountain vista which stretches out before the artist is compressed and condensed into the flat plane of the canvas. Poignantly, this is the 'flatness' which Doig's parenthesised title refers to, the 'flat light' of a cloud enshrouded mountain that every skier is familiar with, when our usual sense of perspective is rendered useless by fog. Through clever painterly devices, Doig makes the onlooker physically aware of the experience of being in the mountains. Doig is a painter who is highly articulate in the history of painting and Claude Monet, Edvard Munch, Gustav Kilmt, Pieter Breugel the Elder and German Romatic painter Caspar David Freidrich are just some of a canon of artists from all ages who Doig studies and emulates throughout his work. This remarkable painting is estimated at £2-3 million.

Piero Manzoni (1933-1963), Achrome, executed in 1958. Estimate £1,500,000-2,000,000. Photo: Sotheby's

Achrome by Piero Manzoni (1933-1963) was executed in 1958, the year in which the artist first employed his revolutionary medium of kaolin which gave rise to new possibilities for his artistic creativity. The work, which is estimated at £1.5-2 million, is an exceptionally early and major example of this celebrated body of work to appear at auction, which Manzoni began two years before in 1956. Manzoni sought to invest new significance in surface and material as the true subjects of his work and produced Achrome. For the artist, the Achrome rejected history and became a mute surface, devoid of narrative, description, symbolism and allegory and stood alone as an entirely elemental entity, signifying nothing but its own existence, and the role of kaolin was crucial to the realisation of this. In the present work the canvas is organised into a systematic play of texture and surface by geometric compartments of pleats, formed by the self-generating action of the kaolin. First used by Manzoni in 1958, this material is not an impasto that requires brushing or physical manipulation, but rather takes shape during the drying process. Manzoni first glued the canvas into folds and creases before applying the chalky kaolin solution over the top. During a tragically brief life that was cut short when he was only thirty, well ahead of his time, Manzoni's innovations anticipated both Conceptualism and Arte Povera, and his artistic legacy, emblematised by iconic works such as the present Achrome, became hugely influential to an array of international art trends throughout the second half of the 20th Century.

Lucio Fontana (1899–1968), Concetto Spaziale, Attese from 1968. Executed in 1968. Estimate £1,800,000-2,500,000. Photo: Sotheby's

An additional highlight is the waterpaint on canvas Concetto Spaziale, Attese from 1968 by Lucio Fontana (1899–1968), which is among the most impressive works by this renowned artist ever to appear at auction. Concetto Spaziale, Attese – impressive in its scale, presence and sharp contrast of its silken white surface with the blackness of the eight vertical black slashes – has not appeared on the market since it was acquired by the present owner in circa 1985 and is estimated at £1.8-2.5 million. Compositionally dynamic and mesmerising in its beauty, the work embodies the artist's revolutionary Spatialist theory while creating a unique dialogue between colour and form. Created two years after the artist was awarded the International Grand Prize for Painting at the XXXIII Venice Biennale, this major work encapsulates the artist's wide-ranging ambitions as a pioneer of what art could achieve. The alluring white arena of Concetto Spaziale, Attese provides the perfect setting for Fontana’s conception of pure space. The eight vigorous and slender slashes simultaneously demonstrate spontaneity and control, choreographed under the deft aegis of Fontana's blade into a rhythmic and transfixing dance across the canvas.

Gerhard Richter (b. 1932), Abstraktes Bild, signed, dated 1988 and numbered 680-2 on the reverse. Estimate £2,000,000-3,000,000. Photo: Sotheby's

Sotheby’s has established some of the highest auction prices for works by German artist Gerhard Richter (b. 1932) - and currently holds auction records for both the artist and for an abstract work by the Richter – and will offer for sale his vast and intensely beautiful chromatic oil on canvas Abstraktes Bild. The painting, which has come from a private Belgian collection, was executed in 1988 and acquired by the present owner just two years later. Abstraktes Bild, which measures 200 by 180cm, stands as one of the most elegant and fully resolved exemplars of Gerhard Richter's epic corpus of Abstract Paintings and embodies the fully-formed mature aesthetic of the artist's abstract vision. Seeping layers of brilliantly charged hues are dramatically scattered across the canvas, alternatively uniting and dissolving to defy conventional colour patterns. Painted in numerous streaking strata of glossy grey, red, yellow, blue and green oil paint, this work is the result of Richter's phenomenal technical aptitude which has led to his reputation as one of the outstanding painters of our era. The painting is testament to his ceaseless technical explorations in the field of abstraction and to his unique painterly and intellectual sophistication. Richter had seriously pursued abstract painting throughout the 1980s – a period of the artist’s output which has become increasing more desirable in recent years - and this work stems from well over a decade of his investigation into various methodical and aesthetic possibilities. It is estimated at £2-3million.

In the wake of the $43.7 million price for Andy Warhol’s (1928-1987) 200 One Dollar Bills at Sotheby’s New York in November last year, Sotheby’s London is proud to present for sale Warhol’s iconic acrylic and silkscreen ink on canvas Jackie, signed and dated 1964. Seldom at auction and one of just a handful of single canvases of Jackie Kennedy in gold, this work is an important example of Pop Art from the very heart of Andy Warhol's most celebrated period. While other gold examples of this particular silkscreen now reside in The Andy Warhol Museum in Pittsburgh and are on loan to the Baltimore Museum of Art, the present work is exceptional in the inversion of the subject with Jackie facing right to left, marking the present work as a highly singular, revealing and important insight into Warhol's method. From the moment her husband was voted President of the United States in November 1960, Jackie Kennedy had been an inspirational heroine to millions in the optimistic climate of a newly rejuvenated post-war America. Physically epitomising youth, beauty and style, she became the ideal of a wife, mother and First Lady. In Jackie she is shown attending her husband's funeral following the historic tragedy that has become synonymous with the letters J.F.K. when an open-top limousine journey and a sniper's bullet devastated the emotional landscape of a nation. This traumatising national experience, one of the earliest to be mediated by the press, is arguably also the first to be implanted in the public's consciousness by means of ubiquitous photographic images and Warhol scoured the popular press for portraits of Jackie Kennedy, eventually selecting eight reproductions which he went on to use. In keeping with Warhol’s very best work, celebrity, tragedy and the spectre of death inhabit every pore of this magnificent painting. Jackie is a groundbreaking response to one of the defining and most tragic moments of modern American history, and enshrines on canvas a deeply personal image that reveals the private side of a very public event. This rare work of museum quality is estimated at £800,000-1,200,000.

Willem de Kooning (1904-1997), Untitled XIV, 1983. Estimaate: £2-3 million. Photo: Sotheby's

Another major work to be included for sale is Willem de Kooning’s (1904-1997) 1983 oil on canvas Untitled XIV, which was acquired directly from the artist’s estate by the present owner. Never content to settle into a stagnant, signature way of working, in the 1980s - during the twilight of his 60-year career - de Kooning embarked upon a series of monumental Untitled compositions which provided the crowning achievement to his celebrated oeuvre. Having struggled in a battle against severe alcoholism for much of the previous decade, with the help of his ex-wife Elaine, from whom he had separated in 1955, de Kooning gave up drink in the 1980s and began to paint with renewed vigour and purpose. The artist has floated a series of lines and planes that show the influence of Matisse's abstract cut-outs, with their use of unadulterated colours and contour lines. Untitled XIV is estimated at £2-3 million.

Andreas Gursky (b. 1955), Madonna I, signed, titled, dated 2001, numbered 2/2 AP and dedicated For Madonna on the reverse. Estimate £900,000-1,300,000. Photo: Sotheby's

A further highlight is Madonna I by Andreas Gursky (b. 1955), the cibachrome print in artist’s frame, signed and dated 2001, numbered 2/2 AP and dedicated - on the reverse - For Madonna. Gursky’s work portrays Madonna in concert at the Staples Center in Los Angeles on September 15, 2001 – a concert that was intended to take place on September 11, but was postponed following the terrorist attacks that took place in the United States on September 11. Evoking global solidarity and unity, the photograph shows Madonna wearing a dress representing the U.S. flag and in the left-hand corner the post-911 New York skyline is depicted on a large television screen. This work is from an edition of 6 plus 2 artist’s proofs and is estimated at £900,000-1,300,000.

In addition to the works by Lucian Freud and Peter Doig, further highlights in the auction by School of London artists include Frank Auerbach’s (b. 1931) oil on board Large Head of J.Y.M., painted in 1981 (estimate: £600,000-800,000) and following the £1.7 million price achieved for Auerbach’s oil on canvas Head of Leon Kossoff in Sotheby’s London sale of Modern British Paintings in November lastyear, the Evening Sale will also include a charcoal and chalk on paper Head of Leon Kossoff by the artist (estimate: £60,000-80,000). The sale is also set to offer The Flower Stall, Embankment Station, Spring in oil on board by Leon Kossoff (b. 1926), which was executed by the artist in 1994 (estimate: £140,000-180,000).

Coinciding with the 2010 exhibition of 45 works by Chris Ofili (b. 1968) at Tate Britain (January to May), the auction will also include Ofili’s Through the Grapevine, which was executed in 1998, the year in which the artist won the Turner Prize. This acrylic, oil, resin, glitter, paper collage and elephant dung on canvas with two elephant dung supports, is estimated at £250,000- 350,000.