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Lot 220
Brightly hued 'F1' Spider with a comprehensive main dealer service history and only 9,907 miles.This lovely Spider was first registered on the 01/10/2007 and has been enjoyed by two keepers in total over its 14 yearsSupplied by Graypaul of Edinburgh finished in Giallo Modena Yellow with a complementing Blu Scuro interior with Yellow stitching and a matching Blue topSpec'd from new with Yellow brake calipers, a Carbon-ceramic braking system, Daytona-style heated seats and a high power Hi-Fi Shipped very early on to Monaco where it was maintained by G Cavallari Monaco Motors, Ferrari Dealers in 2008, 2010, 2012 and 2014Returned to the UK in 2016. Serviced since by Graypaul Edinburgh/ Graypaul Nottingham in March of this yearThe stamped service records from these dealers support the indicated 9,900 milesSupplied with its original tool kit and full leather book pack including the all important service booklet showing the above stampsThe Ferrari F430 made its first appearance under the bright lights of the 2004 Paris Motor Show replacing Maranello’s time-served 360. The two share a rear mid-engine layout and occupy roughly the same footprint with a 102-inch wheelbase and approximately 177 inches between their bumpers, but that’s about where the similarities end.As its name implies, the F430 is powered by the new F136, a 4.3-litre, dry-sumped, V-8 which was factory-rated at 483brake-horsepower and 343 foot-pounds of torque. It was the first Ferrari V-8 to move on from engine-architecture that dated back to the single-seat racers from the 1950s. The F136 benefited directly from Scuderia Ferrari with its four-valve cylinder head and valves being sourced directly from the company’s Formula 1 programme. The complex variable valve-timing system was uplifted from the range topping Enzo, as was the dry-sump oil system and a very high compression ratio of 11.3:1, with a variable air flow plenum chamber and an enormous electronics brain operating not one, but two, Bosch Motronic ME7 ECU’s. Performance was excellent with 62mph making an appearance in just 3.7 seconds and a top speed of 196mph.The engine could be paired with either a six-speed manual gearbox with Ferrari’s signature gate or the F1 electrohydraulic six-speed automated manual. The F430 served as the debut platform for a small dial on the steering wheel to control the car’s five drive modes. The ‘Manettino’ control reconfigured the car’s stability control, its throttle response, its electronic dampers, and even its active rear differential.About six months after the Berlinetta debuted, the F430 Spider joined the line up with a neat roof panel that tucked away above the engine bay at the touch of a button.This particular Spider was first registered on the 1st of October 2007 and has been enjoyed by two keepers in total over its 14 years. It was supplied originally by Graypaul Motors Ltd of Edinburgh finished in Giallo Modena Yellow with a complementing Blu Scuro (Dark Blue) interior with Yellow stitching and a matching Blue top. The car was shipped very early on to Monaco where it was maintained by G Cavallari Monaco Motors, Ferrari Dealers in 2008/10/12/ and then 2014, returning back home and being serviced by Graypaul Edinburgh in 2016 and 2018 and lastly by Graypaul Nottingham in March of this year and the stamped service records from these dealers support the indicated 9,900 miles.The car comes with its original tool kit and full book pack including the all important service booklet showing the above stamps all within its leather bound case. SN57 FCY was specified to a high level from new and including Yellow brake calipers, a Carbon-ceramic braking system, Daytona-style heated seats and a high power Hi-Fi with subwoofer and much more.The F430 has represented fantastic value for money since the arrival of the 458 and this brightly hued 'F1' Spider with an excellent spec, impeccable main dealer history, perfect mileage and sensibly guided will inevitably sit at the top of the list for potential buyers.*Forming part of A Sale of Ferraris in association with Ferrari Owners' Club of Great Britain, the buyer of this lot will be entitled to one years free membership with Ferrari Owners Club of Great Britain* SpecificationMake: FERRARIModel: F430 F1Year: 2007Chassis Number: ZFFEZ59C000156564Registration Number: SN57 FCYTransmission: AutoEngine Number: 123727Drive Side: Right-hand DriveOdometer Reading: 9907 MilesMake: RHDInterior Colour: BlueClick here for more details and images
Lot 228
The ultimate modern-day Ferrari; rare, coveted and with just 1,600 miles.One of only 599 examples ever made and just two owners in totalNew to a Japanese collection, then bought by our vendor from UK-specialists DK Engineering in 2015Just 2,577km (1,601 miles); never seen rain, superb condition throughoutAll manuals and factory toolkit are still in their original plastic bagsHigh specification in Rosso Corsa (not Rosso Scuderia) paintwork, Grigio Silverstone Opaco roof, full Alcantara interior with Tessuto inserts, Rosso stitching, stitched prancing horses and Rosso harnessesUnderstandably, Ferrari uses the coolest ‘go-faster’ tag in the known-universe sparingly. History shows that only twice before has ‘The Scuderia’ attached the ultimate mark of speed and desirability to the rear of a road car. Those two cars were the 1962 250GTO and the 1984 288GTO - both were defined by performance and an intention to go racing. ‘Gran Turismo Omologato’ is the full description, and homologation was the purpose in both cases, albeit with vastly differing outcomes. The 250 enjoyed a great career, but the 288 GTO was born of the Group B regulations that never delivered the Porsche 959-versus-GTO-at-Le-Mans battles we all craved – leaving it as simply the fastest and most desirable Ferrari road car of its day.So how does this new car, launched in 2010, based on a road machine and with no specific intention to go racing, justify the name? Well, according to Ferrari, it does so by taking much of the technology from the track-only 599XX and making it available with a numberplate: it ‘homologates’ the XX for road use. The aims of this project were, in fact, very simple. Besides translating some of the new technologies wrought through the XX project into a road application, the intention was to extract maximum circuit performance from the 599 package, but still retain enough usability for the car to be a viable road car.The 599 is not an obvious base for a lightweight sports car. It may boast an aluminium bodyshell, but it’s a big machine with a 6.0-litre V12 wedged between the front wheels. The path to sharper responses has of course embraced the standard methodology: make it lighter and add more power but it’s the sheer number and scope of the changes that impresses, helping to justify its 2010 price tag of £299,300 and underpins Ferrari’s assertion that this is much closer to being a 599XX with numberplates than a 599 HGTE-Plus.For starters, engine power rises from 612bhp to a staggering 661bhp; internal friction has been reduced by 12% through all manner of tweaks: DLC (Diamond Like Coating) for the tappets, super-finished cam lobes, a new shape for the crankshaft weights and a new design of piston skirt. The compression ratio rose from 11.2 to 11.9 and the breathing was completely overhauled.Ferrari has crafted a new aluminium intake system that uses shorter runners and saves 2kg, the exhaust system is ‘hydroformed’ – effectively blown into shape, thereby avoiding the heavy seams that come with even the best welding. The process thins the metal from 1.5mm to 0.8mm and saves a remarkable 15kg over a standard system and throughout the car, an impressive 100kg has been shed.Gear ratios are down 6%, the car now hitting its claimed 208 mph maximum on the 8400rpm rev-limiter. If the engine work is comprehensive, the chassis goes even further: new springs, dampers, electronic systems, wheels, tyres and a new generation of carbon-ceramic brake that uses, for the first time in a road car, a ceramic pad material. At Fiorano the car is brutally fast, lapping a second faster than any other Ferrari, and that’s despite weighing 300kg more than a 430 Scuderia.The GTO’s list of go-faster aids is bewildering. It uses the now familiar F1-Trac system to harness those 661 horses, but it now has SCM2, which is a second-generation ‘Skyhook’ damper – the type with magnetized fluid that can alter viscosity through electric current. The main difference on the GTO is that it is fitted with three accelerometers from the XX that relay real-time data to SCM2, whereas the GTB’s dampers have to use approximate data. It’s very, very clever stuff.The latest F1 automated manual is superb, giving 60m/s shifts at Fiorano (that’s 40m/s faster than a GTB) yet able to slur the action in town.The noise? The outside world is treated to about four-fifths of the Le Mans soundtrack but, in its upper reaches, the V12 gets sharp, angry and altogether glorious. Performance is other-worldly, Ferrari claims it’ll do a standing km in 19.9sec, which makes it one of the fastest cars ever made in 2010.You could go on about this machine for an entire website - the thinner glass is 5.5kg lighter, forged wheels and titanium bolts save an eye-popping 22kg, and Sabelt’s snug carbon seats trim another 17kg. It’s a detail masterpiece, a track genius, a road tonic and yet another great Ferrari. Oh, and it fully deserves the badge.The car presented here is as close to a new 599 GTO as you are likely to find, a 2011 example with just over 1,600 miles covered and, in a condition, which wholly reflects this. The car has a very high specification with Rosso Corsa (not Rosso Scuderia) paintwork, Grigio Silverstone Opaco roof, full Alcantara interior with Tessuto inserts, Rosso stitching, stitched prancing horses and Rosso harnesses. It is supplied with all of its original and complete book-pack (its specification-specific Classiche document was retained by the original owner, but ordering a replacement from Ferrari is straightforward), covers, radio/key code cards and spare key.Being offered for sale from a discerning private collector of best-of-the-best classic and modern-classic cars, this GTO has been serviced / looked after by the famous 'Cornes' dealership of Japan, then DK Engineering and Dick Lovett Ferrari in the UK, and is undoubtedly one of the best examples available anywhere. Bought by our vendor in 2015 from DK Engineering who described it as 'an exceptional example', going on to say in an accompanying letter in the history file 'it is without doubt one of the best condition cars we have seen recently, especially in regards to the underside (of the car) which I looked closely at in the process of the service and PDI carried out in our workshops'. There is all the reassurance you could want about its ownership/servicing in Japan, its meticulous transportation to the UK (photos & paperwork etc.) and its subsequent full inspection with one of the UK's most revered Ferrari specialists. Regarded by many Ferrari enthusiasts as ‘ultimate modern-day Ferrari’, with that tangible GTO magic well and truly present, the associated kudos of knowing what that really is, and enough power and go to satisfy the demands of drivers seeking thrills from any one of the current crop of supercars, the 599 GTO might just be the high-tide mark for normally aspirated, big-engined sportscars full-stop.*Forming part of A Sale of Ferraris in association with Ferrari Owners' Club of Great Britain, the buyer of this lot will be entitled to one years free membership with Ferrari Owners Club of Great Britain* SpecificationMake: FERRARIModel: 599 GTOYear: 2011Chassis Number: ZFF70RDJ000179278Registration Number: RA11 HFJTransmission: Semi-autoEnClick here for more details and images
Lot 1027
A Set of Cast Iron and Brass Counter Scales, to weigh 1lb, three other scales, including Salter's Quadrant Balance, and a set of brass weights, and a cast iron set of counter scales to weigh 4lbs, marked " R. L. Capell, Northampton", with ceramic tray, and three others including - brass and wrought iron balance scales stamped "The United Yeast Company, Bristol", and a set of weights
Lot 219
A WOOD NETSUKE OF A SKELETON ON A GIANT SKULLJapan, 19th century, Edo period (1615-1868)The wood finely stained and boldly carved as a giant skull with three teeth and pierced sockets, a smaller skeleton clambering on the skull in an amusing manner.HEIGHT 3.6 cmCondition: Excellent condition with minor surface wear.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie’s, Sotheby’s, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA’s Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Literature comparison: A closely related netsuke signed Gyokusai is illustrated with a line drawing in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 102.
Lot 220
KOMA KANSAI: A LACQUERED WOOD NETSUKEBy Koma Kansai, signed KansaiJapan, 19th century, Edo period (1615-1868)Of square manju-style shape, lacquered in the front with a variety of techniques, including sabiji-nuri (in imitation of iron) and with fine iro-e takamaki-e depicting a fruiting peach branch. The reverse with large himotoshi and lacquered signature KANSAI.LENGTH 4.1 cmCondition: Minor wear to lacquer, a chip to the larger himotoshi. Good condition.Provenance: Ex-collection Richard R. Silverman purchased from Ito, Tokyo, in 1999. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie’s, Sotheby’s, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA’s Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.
Lot 93
OGAWA HARITSU (RITSUO): A FINE CERAMIC AND LACQUER INLAID KIRI WOOD RYOSHIBAKO (DOCUMENT BOX) AND COVER WITH BUGAKU ACCOUTREMENTSAttributed to Ogawa Haritsu (Ritsuo, 1663-1747), probably by Michizuki Hanzan (1743-1790), sealed KanJapan, 18th century, Edo period (1615-1868)Of rectangular form, carved from kiri (paulownia) wood of an attractive grain and color, the rounded edges with gold lacquer, the sides and cover inlaid with glazed ceramic, polychrome lacquer, and mother-of-pearl, depicting the various elements needed to perform the bugaku dance, including a fierce mask with phoenix headdress, a drum with beaters, a biwa and plectrum, a torikabuto, a flute and cymbals, a sho and a koto, the interior with a small ceramic inlay and the inlaid ceramic seal KAN – a seal used by Ogawa Haritsu and his followers. This type of pink seal was used by Michizuki Hanzan (1743-1790), a direct pupil of Ogawa Haritsu.HEIGHT 17.3 cm, WIDTH 28.6 cm, DEPTH 23 cmCondition: Good condition with minor wear, scattered losses (some of them likely intended), natural age cracks, few minuscule chips to edges, some nicks and scratches, one small ceramic inlay to the interior of the cover is lost. All as is to be expected from a Ritsuo box.Provenance: Christie’s, 27 October 1981, London, sale 2232, lot 371, purchased by William R. Appleby (1915-2007) and Elinor Appleby (1920-2020), longtime donors to the Metropolitan Museum of Art in New York. Mrs. Appleby had a particular interest in Asian art, and she and her husband supported the Department of Asian Art as well as the Fund for The Met, providing for important acquisitions and institutional initiatives.Ogawa Haritsu (formerly often referred to outside Japan by his alternative name of Ritsuo) was among the first Japanese lacquer artists to establish an independent reputation outside of the hereditary craft dynasties of Kyoto, Edo, and Kanazawa. Following an early career as a haiku poet, he is thought to have first turned his attention to lacquer design in middle age and soon attracted a wide following thanks to his novel choice of subject matter and pioneering and imaginative use of unusual materials; at some point after 1710 he was hired by Tsugaru Nobuhisa (1669-1747), lord of a domain in northern Japan, for whom he worked until 1731.Auction comparison:Compare a related but smaller inlaid wood box and cover signed Ritsuo and with the same pink seal Kan, but depicting a different subject, at Van Ham, Asiatische Kunst, 9 June 2016, Cologne, lot 2263 (sold for 10,320 EUR). Also compare to a similar ryoshibako featuring a biwa very similar to the one on the present box, sold at Zacke, Fine Japanese Art, 29 November 2019, Vienna, lot 83 (sold for 11,430 EUR). Also compare to a related wood document box recently sold at Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 594 (sold for 27,812 USD).
Lot 94
OGAWA HARITSU (RITSUO): A LARGE AND IMPRESSIVE POLYCHROME GLAZED CERAMIC IREMONO (BOX) AND COVERAttributed to Ogawa Haritsu (Ritsuo, 1663-1747), signed on the original wood box Haritsu saku kaizukushiJapan, first half of 18th century, Edo period (1615-1868)Superbly modeled in the form of a cluster of shells, the largest an upturned awabi (abalone) and the other a sazae (horned turban) resting against a closed clam encrusted with barnacles, each with a separately fashioned lid decorated with different varieties of crustacea interspersed with seaweed.With the original wood awasebako (fitted box), with two paper labels, inscribed Haritsu saku kaizukushi (‘Made by Haritsu. Assortment of shells’).HEIGHT 13 cm, WIDTH 32 cm, DEPTH 27.5 cmCondition: Excellent condition with only minor surface wear. Provenance: British private collection, formerly with Gregg Baker.Ogawa Haritsu (formerly often referred to outside Japan by his alternative name of Ritsuo) was among the first Japanese lacquer artists to establish an independent reputation outside of the hereditary craft dynasties of Kyoto, Edo, and Kanazawa. Following an early career as a haiku poet, he is thought to have first turned his attention to lacquer design in middle age and soon attracted a wide following thanks to his novel choice of subject matter and pioneering and imaginative use of unusual materials; at some point after 1710 he was hired by Tsugaru Nobuhisa (1669-1747), lord of a domain in northern Japan, for whom he worked until 1731.In lacquer, he introduced a vocabulary of new materials not usually associated with lacquer artists such as glazed ceramic pieces, mother-of-pearl and lead. Haritsu also mastered the technique of making lacquer surfaces appear to resemble other materials such as bronze, tile, ink sticks and pottery, a style of decoration which became known as Haritsu saiku.Shells in combination with seaweed were a favored subject of Ogawa Haritsu and his followers, see for example a wood bunko decorated with very similar ceramic shells recently sold at Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 594 (sold for 27,812 USD).The applied glazes in the present example are certainly emulative of lacquer, being a key feature of Ogawa Haritsu’s designs. The combination of elements flow over seamlessly into one another making it rather difficult to decide whether an individual decorative element is glazed or lacquered.
Lot 95
OGAWA HARITSU (RITSUO): A SMALL CERAMIC AND LACQUER INLAID KIRI WOOD BOX AND COVER WITH BUDDHIST OBJECTSAttributed to Ogawa Haritsu (Ritsuo, 1663-1747), unsignedJapan, 18th century, Edo period (1615-1868)The kobako of rectangular form, the kiri (paulownia) wood of an attractive grain and color, the rounded edges with black lacquer, the sides and cover inlaid with glazed ceramic, polychrome lacquer, and mother-of-pearl, depicting various Buddhist objects such as a mokugyo (temple bell) with beater, a hossu (fly whisk), and a reishi scepter among falling petals, the interior with sparsely sprinkled gold flakes on a roiro ground.HEIGHT 7.8 cm, WIDTH 13.5 cm, DEPTH 10.5 cmCondition: Overall good condition with old expected wear, natural age cracks, the hossu handle and part of one petal are lost.Provenance: Collection of Wivica Ankarcrona Borell (1935-2019), old collector’s labels to interior. Her grandfather Sten Ankarcrona was a Swedish marine officer who came to Japan on a special mission in 1923, bringing back vast collections of Japanese art and decorating his summer house, creating first a Japanese garden and later a complete Japanese building as documented in Svenska Hem i ord och bild (Swedish Home in Words and Pictures) in 1928, providing a fascinating look at this golden age of European collecting. Their guest book contains the signature of the Swedish king Gustav VI Adolf as well as that of the Japanese crown prince, later Emperor Akihito.Ogawa Haritsu (formerly often referred to outside Japan by his alternative name of Ritsuo) was among the first Japanese lacquer artists to establish an independent reputation outside of the hereditary craft dynasties of Kyoto, Edo, and Kanazawa. Following an early career as a haiku poet, he is thought to have first turned his attention to lacquer design in middle age and soon attracted a wide following thanks to his novel choice of subject matter and pioneering and imaginative use of unusual materials; at some point after 1710 he was hired by Tsugaru Nobuhisa (1669-1747), lord of a domain in northern Japan, for whom he worked until 1731.
Lot 99
A LACQUER SUZURIBAKO DEPICTING CRANES, WITH WRITING UTENSILSJapan, 18th century, Edo period (1615-1868)Finely decorated in gold, silver, copper-brown, and black hiramaki-e and takamaki-e, depicting four cranes in a rich landscape with pine and bamboo, two further cranes in flight above, the interior of the cover also with gold-foil inlay and depicting peonies and rockwork, the interior fitted with an ink stone, a blue and white ceramic water dropper (suiteki), and a tray for brushes, and comes complete with a brush and further utensils.SIZE 5 x 21.5 x 23.5 cmCondition: Very good condition with minor wear, the cover with a small crack to the lacquer.Provenance: French private collection.Auction comparison: Compare a related but later suzuribako, with a similar depiction to the cover and of related size, at Sotheby’s, Fine Chinese Ceramics & Works of Art Including Chinese and Japanese Art from the Collection of Frieda and Milton Rosenthal, 16 September 2008, New York, lot 257 (sold for 10,625 USD).
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