1997
See also : Women artists Current art by women French sculpture New Chinese painting Japan and Korea Animals Supercars
1997 The Zhou Village by Wu Guanzhong
2016 SOLD for HK$ 236M including premium by Poly
Link to post sale press release.
1997 Maman Long Legs
2019 SOLD for $ 32M including premium
Louise Bourgeois desired to interpret her relationship with her own parents, generating a suffering that she appeased by her art at the borderline of sexual provocation. From 1951 to 1980 she tries a psychoanalysis. It is a failure : she considers that Freud does not propose anything for the artists.
In 1994 she builds a small steel spider 28 cm high which carries marble eggs in a bag under its body. This symbol of maternity breaks with the artist's earlier assimilation of the spider with a prostitute. This sculpture, one of the first by Bourgeois on this theme, passed at Sotheby's on November 11, 2015 against a lower estimate of $ 4M.
In the following year, at the age of 84, she suddenly understands that the spider's maternal function will solve her fantasies. She sculpts new steel spiders and edits them in bronze, in various configurations : lowered body for climbing on the wall or raised on its tall thin legs.
The perimeter of the legs is the safety zone offered by the mother to her offspring. The comparison with the Lupa Capitolina suckling Romulus and Remus is relevant. The spiders of Louise Bourgeois personify her own mother, too frail but intensely protective. The gigantic dimension of the sculptures, culminating in 1999 with a 10 m high Maman, solves this contradiction. Maman carries her eggs as in the original spider five years earlier.
A spider 3.26 m high on a 7.56 x 7.06 m overall perimeter designed in 1996 was sculpted in steel and cast in bronze in 1997 in six copies plus one artist's proof and one variant in bronze. The number 3/6 was sold for $ 28M including premium by Christie's on November 10, 2015. The 2/6 is estimated $ 25M for sale by Christie's in New York on May 15, lot 21 B.
In 1994 she builds a small steel spider 28 cm high which carries marble eggs in a bag under its body. This symbol of maternity breaks with the artist's earlier assimilation of the spider with a prostitute. This sculpture, one of the first by Bourgeois on this theme, passed at Sotheby's on November 11, 2015 against a lower estimate of $ 4M.
In the following year, at the age of 84, she suddenly understands that the spider's maternal function will solve her fantasies. She sculpts new steel spiders and edits them in bronze, in various configurations : lowered body for climbing on the wall or raised on its tall thin legs.
The perimeter of the legs is the safety zone offered by the mother to her offspring. The comparison with the Lupa Capitolina suckling Romulus and Remus is relevant. The spiders of Louise Bourgeois personify her own mother, too frail but intensely protective. The gigantic dimension of the sculptures, culminating in 1999 with a 10 m high Maman, solves this contradiction. Maman carries her eggs as in the original spider five years earlier.
A spider 3.26 m high on a 7.56 x 7.06 m overall perimeter designed in 1996 was sculpted in steel and cast in bronze in 1997 in six copies plus one artist's proof and one variant in bronze. The number 3/6 was sold for $ 28M including premium by Christie's on November 10, 2015. The 2/6 is estimated $ 25M for sale by Christie's in New York on May 15, lot 21 B.
1997 The Female Spider
2015 SOLD for $ 28M including premium
Louise Bourgeois left many writings about her own art but it remains difficult to find the key. The relationship between sex and family, the position of the child within the family unit, are the highly traumatic guides to her creativity. Until 98 years old, she will be an activist in support to all the sexual minorities.
She is already an octogenarian when she develops the theme of the spider. By entitling Maman her most mesmerizing spiders, she seems to clarify her most intimate desire but in reality she blurs it with complacency.
The world of a real spider is certainly of high complexity. It (she) is patient, steady in the center of her web which she builds and efficiently repairs after a destruction. The polygon of her eight legs offers a shelter for her loved ones, but she is also a fierce predator to the insects. Her small size makes her vulnerable but the artist will enlarge it to make her the towering star of a dehumanized parallel universe.
The spider is not a vertebrate and her behavioral psychology is inaccessible. She amazed those who approached her since the mythological times. By choosing this beast as a symbol of motherhood, Louise Bourgeois is not an artist of animals but indeed a highly disturbing surrealist artist in the line of Wifredo Lam.
Within her old age, Louise Bourgeois remained hypersensitive to sexual ambiguity and sexual promiscuity. On October 15, 2015, Sotheby's sold for £ 1.2M including premium a showcase realized in 2001 titled Mother and child, exhibiting a limp infant on the nude torso of a woman like some externalization of pregnancy. The carefully carved body of Bourgeois's spiders is certainly another female carnal and Freudian symbol.
A spider 6.68 x 6.33 m for 3.38 m high cast in 1996 was sold for $ 10.7 million including premium by Christie's in New York on November 8, 2011. On November 10, the same auction house offers another even wider variant also in bronze, 7.56 x 7.06 x 3.26 m, executed in 1997, lot 10B.
I invite you to watch the video shared by Christie's.
She is already an octogenarian when she develops the theme of the spider. By entitling Maman her most mesmerizing spiders, she seems to clarify her most intimate desire but in reality she blurs it with complacency.
The world of a real spider is certainly of high complexity. It (she) is patient, steady in the center of her web which she builds and efficiently repairs after a destruction. The polygon of her eight legs offers a shelter for her loved ones, but she is also a fierce predator to the insects. Her small size makes her vulnerable but the artist will enlarge it to make her the towering star of a dehumanized parallel universe.
The spider is not a vertebrate and her behavioral psychology is inaccessible. She amazed those who approached her since the mythological times. By choosing this beast as a symbol of motherhood, Louise Bourgeois is not an artist of animals but indeed a highly disturbing surrealist artist in the line of Wifredo Lam.
Within her old age, Louise Bourgeois remained hypersensitive to sexual ambiguity and sexual promiscuity. On October 15, 2015, Sotheby's sold for £ 1.2M including premium a showcase realized in 2001 titled Mother and child, exhibiting a limp infant on the nude torso of a woman like some externalization of pregnancy. The carefully carved body of Bourgeois's spiders is certainly another female carnal and Freudian symbol.
A spider 6.68 x 6.33 m for 3.38 m high cast in 1996 was sold for $ 10.7 million including premium by Christie's in New York on November 8, 2011. On November 10, the same auction house offers another even wider variant also in bronze, 7.56 x 7.06 x 3.26 m, executed in 1997, lot 10B.
I invite you to watch the video shared by Christie's.
1997 The Suburbs of Arcadia
2018 SOLD for $ 21M including premium
Kerry James Marshall lives in Chicago. An activist for civil rights, he observes African-Americans who do not know how to create a community revealing their own culture. They have the same hobbies as the whites but their skin is invariably painted in a deep black that is a signature of his art.
Real estate projects in the suburbs sometimes name 'Garden' their ghettos which do not want to be identified as such. In 1994 Marshall executed a series of five monumental paintings titled Garden Project. He reinforces his political message with three additional works.
Made in 1997 the last of these three artworks is an acrylic and collage on canvas 275 x 400 cm, estimated $ 8M for sale by Sotheby's in New York on May 16, lot 5 A. Its title is Past Times, a subtle pun for Pastime to show that these characters do not really benefit from the contemporary world, even when they imitate the whites.
This scene is staged in an idyllic park offering golf and water sports. Far away skyscrapers indicate that it is somewhere in the suburbs. In the foreground on and around a plaid blanket a family enjoys a moment of rest.
The man is hitting a golf ball. The little girl with bunches tries to imitate him, with awkwardness. The woman is in traditional African clothes and the teenage boy does not want to be disturbed when he listens to his music. The dog is sleeping.
There are no whites in Marshall's world, not because he rejects them but rather because his social observation does not apply to them. It is somehow like giving a sequel to Seurat's Grande Jatte after firing the bourgeois. There is no doubt that this groundbreaking painting kept at the Art Institute of Chicago had a decisive influence on Marshall's narrative style.
Real estate projects in the suburbs sometimes name 'Garden' their ghettos which do not want to be identified as such. In 1994 Marshall executed a series of five monumental paintings titled Garden Project. He reinforces his political message with three additional works.
Made in 1997 the last of these three artworks is an acrylic and collage on canvas 275 x 400 cm, estimated $ 8M for sale by Sotheby's in New York on May 16, lot 5 A. Its title is Past Times, a subtle pun for Pastime to show that these characters do not really benefit from the contemporary world, even when they imitate the whites.
This scene is staged in an idyllic park offering golf and water sports. Far away skyscrapers indicate that it is somewhere in the suburbs. In the foreground on and around a plaid blanket a family enjoys a moment of rest.
The man is hitting a golf ball. The little girl with bunches tries to imitate him, with awkwardness. The woman is in traditional African clothes and the teenage boy does not want to be disturbed when he listens to his music. The dog is sleeping.
There are no whites in Marshall's world, not because he rejects them but rather because his social observation does not apply to them. It is somehow like giving a sequel to Seurat's Grande Jatte after firing the bourgeois. There is no doubt that this groundbreaking painting kept at the Art Institute of Chicago had a decisive influence on Marshall's narrative style.
1997 Spiders on the Wall
2017 SOLD for $ 14.7M including premium
By realizing her spiders in bronze from 1995 Louise Bourgeois concretizes with an indestructible material her lifelong fantasies about the intrauterine relations. The cohort of these protective spiders form a deeply feminine surrealist universe. The bronzes are edited in six copies plus an artist's proof.
Spider I (127 x 117 x 31 cm) and II (185 x 185 x 57 cm) conceived in 1995 and Spider IV (203 x 180 x 53 cm) conceived in the following year have a lowered body that invites to apply them on a wall. The right rear leg of Spider IV is folded simulating an upward walking.
Spider III (48 x 84 x 83 cm) designed in 1995 is raised on its legs and anticipates the gigantic bronzes of 1996 and 1997 that can be used as garden shelters. The culmination of this evolution is the 9.20 m high spider named Maman made in 1999 which can be used as a city monument.
Two of these bronzes are estimated $ 10M each in the upcoming New York evening sales. On November 15, Christie's sells a Spider II edited in 1995, lot 7 B. On November 16, Sotheby's sells a Spider IV from the 1997 original edition, lot 34.
Please watch the video shared by Christie's.
RESULTS INCLUDING PREMIUM
Spider II at Christie's : $ 11.6M
Spider IV at Sotheby's : $ 14.7M
Spider I (127 x 117 x 31 cm) and II (185 x 185 x 57 cm) conceived in 1995 and Spider IV (203 x 180 x 53 cm) conceived in the following year have a lowered body that invites to apply them on a wall. The right rear leg of Spider IV is folded simulating an upward walking.
Spider III (48 x 84 x 83 cm) designed in 1995 is raised on its legs and anticipates the gigantic bronzes of 1996 and 1997 that can be used as garden shelters. The culmination of this evolution is the 9.20 m high spider named Maman made in 1999 which can be used as a city monument.
Two of these bronzes are estimated $ 10M each in the upcoming New York evening sales. On November 15, Christie's sells a Spider II edited in 1995, lot 7 B. On November 16, Sotheby's sells a Spider IV from the 1997 original edition, lot 34.
Please watch the video shared by Christie's.
RESULTS INCLUDING PREMIUM
Spider II at Christie's : $ 11.6M
Spider IV at Sotheby's : $ 14.7M
1997 Abstraction in the Lotus Pond
2016 SOLD for HK$ 106M including premium
Wu Guanzhong assured the transition between classicism and modernism in Chinese graphic art. He was persecuted during the Cultural Revolution and the works of his early career are barely known. Like Zhang Daqian before him he had the merit of being a complete artist able to master a variety of techniques, styles and themes.
Wu was watching the earth as an environment for the lifestyle, from wide landscapes around the world up to tiny details in the blossoming trees. He successfully practiced oil painting and returned to the traditional ink when he wanted to position spots of pure colors.
1997 is a year of great creativity. Freed of threats at 78, he continues to explore many possibilities of the artistic language. The Zhou Village, sold for HK $ 236M including premium by Poly in April 2016, is an oil on canvas, the highest recorded auction price for a Chinese painting in that technique.
Wu also resolutely entered contemporary art through his practice of very large formats. I had previously discussed in this column an ink and colors on paper 144 x 368 cm also from 1997 that remained unsold at Poly in Beijing on 2 June 2012. Although I can not firmly prove it, I am convinced that it is the same artwork that is coming for sale by Poly in Hong Kong on October 3, lot 139.
The theme of the lotus pond is an excuse for a color balance that comes close to abstraction. The field is unlimited as in a Pollock. The bright spots compensate for the lack of perspective by suggesting the depth of the bottom. The leaves and their reflections are interwoven in a tight pattern.
Wu was watching the earth as an environment for the lifestyle, from wide landscapes around the world up to tiny details in the blossoming trees. He successfully practiced oil painting and returned to the traditional ink when he wanted to position spots of pure colors.
1997 is a year of great creativity. Freed of threats at 78, he continues to explore many possibilities of the artistic language. The Zhou Village, sold for HK $ 236M including premium by Poly in April 2016, is an oil on canvas, the highest recorded auction price for a Chinese painting in that technique.
Wu also resolutely entered contemporary art through his practice of very large formats. I had previously discussed in this column an ink and colors on paper 144 x 368 cm also from 1997 that remained unsold at Poly in Beijing on 2 June 2012. Although I can not firmly prove it, I am convinced that it is the same artwork that is coming for sale by Poly in Hong Kong on October 3, lot 139.
The theme of the lotus pond is an excuse for a color balance that comes close to abstraction. The field is unlimited as in a Pollock. The bright spots compensate for the lack of perspective by suggesting the depth of the bottom. The leaves and their reflections are interwoven in a tight pattern.
1997 The New Chinese Beauties
2018 SOLD for HK$ 83M including premium
Chen Yifei loved beautiful women and beautiful clothes. Trained in oil painting by a Soviet artist, he abandons without regret the political themes after the Cultural Revolution but maintains a fully realistic line with shimmering colors.
Returning to Shanghai in 1990 after ten years in the United States, Chen observes that women are badly dressed. He will devote a considerable energy to remedy it while reviving ancient traditions.
He paints groups of beauties who would have their place in a fashion show. He also became a filmmaker, created the Layefe brand first for elegant and affordable clothing and then also for interior design, piloted a model agency and died of overwork in 2005.
In his paintings graceful women let themselves be quietly admired in the manner of the Japanese geishas. A gathering around the tea table, 170 x 244 cm painted in 1996, was sold for RMB 150M including premium by China Guardian on December 19, 2017.
On May 26 in Hong Kong, Christie's sells as lot 30 a 190 x 208 cm oil on canvas painted in 1997, displaying four standing women with sophisticated and colorful long gowns. The artwork is titled Beauties on Promenade by reference to a poem by Du Fu of the Tang era that glorified the elegant fashion of his time with embroidered silk dresses and jade ornaments on heads.
Returning to Shanghai in 1990 after ten years in the United States, Chen observes that women are badly dressed. He will devote a considerable energy to remedy it while reviving ancient traditions.
He paints groups of beauties who would have their place in a fashion show. He also became a filmmaker, created the Layefe brand first for elegant and affordable clothing and then also for interior design, piloted a model agency and died of overwork in 2005.
In his paintings graceful women let themselves be quietly admired in the manner of the Japanese geishas. A gathering around the tea table, 170 x 244 cm painted in 1996, was sold for RMB 150M including premium by China Guardian on December 19, 2017.
On May 26 in Hong Kong, Christie's sells as lot 30 a 190 x 208 cm oil on canvas painted in 1997, displaying four standing women with sophisticated and colorful long gowns. The artwork is titled Beauties on Promenade by reference to a poem by Du Fu of the Tang era that glorified the elegant fashion of his time with embroidered silk dresses and jade ornaments on heads.
1997 The Bodies of Jenny Saville
2016 SOLD for £ 6.8M including premium
The second half of the twentieth century saw the separation of aesthetics and art. The greatest artists are those who express with strength and originality their intimate view on world and life.
Seen by women, the nude body is a concrete theme. Jenny Saville, Cecily Brown, Marilyn Minter and Marlene Dumas observe it. They cancelled their potential inhibitions up to the limits of pornography. Each one in her own style, these women provide answers to the tragic question of Diane Arbus on the meaning of life seen through abnormalities and through physical or social deviances.
Jenny Saville is a woman. She therefore can not become a transgender. She imagines another hybridization. She painted in 1993 her self-portrait with the naked body of an obese woman. The belly is rigged of lines mapping for a cosmetic surgery of deflation. Saatchi has included this work entitled Plan in his third exhibition of the Young British Artists in 1994. At the same time Lucian Freud explores the naked obesity of Sue.
Saatchi was closely following the progress of Saville. During the preparation of his Sensation exhibition in 1997, he visited Saville in her studio when the artist was finishing Shift. Saatchi is seduced by this new vision of a monumental stack of nude women proposed by Saville, influenced by the parallel position of the girls in the square composition of the Demoiselles d'Avignon.
The artist tells today about Shift an inspiration derived from the emotional wrapping of the viewer by Rothko within large size paintings. She wanted that this non-narrative accumulation of flesh pushes art to offer to the viewer a tactile sensation and an illusion of smell. Shift also follows the experiences by De Kooning on the expression of a woman's body through an abstract technique.
By bringing in Sensation all the darings of which some can still now be considered as socially unacceptable, Saatchi has restarted an interest of the public in contemporary art while simultaneously promoting 42 Young British Artists including Damien Hirst and Chris Ofili. 300,000 persons visited that exhibition. It is to the credit of the Royal Academy for hosting this event despite the obvious risk of scandal and of violent reaction.
Shift, oil on canvas 330 x 330 cm dated 1996-1997, is estimated £ 1.5M for sale by Sotheby's in London on June 28, lot 25.
Seen by women, the nude body is a concrete theme. Jenny Saville, Cecily Brown, Marilyn Minter and Marlene Dumas observe it. They cancelled their potential inhibitions up to the limits of pornography. Each one in her own style, these women provide answers to the tragic question of Diane Arbus on the meaning of life seen through abnormalities and through physical or social deviances.
Jenny Saville is a woman. She therefore can not become a transgender. She imagines another hybridization. She painted in 1993 her self-portrait with the naked body of an obese woman. The belly is rigged of lines mapping for a cosmetic surgery of deflation. Saatchi has included this work entitled Plan in his third exhibition of the Young British Artists in 1994. At the same time Lucian Freud explores the naked obesity of Sue.
Saatchi was closely following the progress of Saville. During the preparation of his Sensation exhibition in 1997, he visited Saville in her studio when the artist was finishing Shift. Saatchi is seduced by this new vision of a monumental stack of nude women proposed by Saville, influenced by the parallel position of the girls in the square composition of the Demoiselles d'Avignon.
The artist tells today about Shift an inspiration derived from the emotional wrapping of the viewer by Rothko within large size paintings. She wanted that this non-narrative accumulation of flesh pushes art to offer to the viewer a tactile sensation and an illusion of smell. Shift also follows the experiences by De Kooning on the expression of a woman's body through an abstract technique.
By bringing in Sensation all the darings of which some can still now be considered as socially unacceptable, Saatchi has restarted an interest of the public in contemporary art while simultaneously promoting 42 Young British Artists including Damien Hirst and Chris Ofili. 300,000 persons visited that exhibition. It is to the credit of the Royal Academy for hosting this event despite the obvious risk of scandal and of violent reaction.
Shift, oil on canvas 330 x 330 cm dated 1996-1997, is estimated £ 1.5M for sale by Sotheby's in London on June 28, lot 25.
1997 Murakami and Waitresses
2010 SOLD 6.8 M$ including premium
Japan should let the world know its contemporary culture, so original in many ways. Takashi Murakami tries his hands to it, and his monumental sculptures, beyond life size, have their place in international art, as assessed by their exhibition this year at Versailles.
Inspired by the manga, he realized his first important work in 1997. Entitled Miss ko², this painted sculpture made of resin, fiberglass and iron shows a restaurant waitress 1.83 m tall, sexy by her attitude, facial expression and by the mini-skirt showing off the disproportionately long legs. Like Giacometti, like Moore, like Botero, Murakami created an expressive sculpture by changing the proportions of the body.
An example is estimated $ 4M, for sale on November 8 in New York by Phillips de Pury.
Murakami went much further in this style in the following year (1998), with My Lonesome Cowboy, even bigger, combining more obviously references to both Japan and U.S., and especially obscene. An example of My Lonesome Cowboy was sold $ 15.1 million including premium by Sotheby's on May 14, 2008.
POST SALE COMMENT
There will be much to remind from yesterday evening sale at Phillips de Pury: their new offices in Manhattan, their collaboration with a top professional (Philippe Ségalot) to gather the artworks, and the $ 63.3 million including premium of Men in Her Life by Andy Warhol.
Ambitious estimates were often exceeded. That of our modern geisha by Murakami seemed achievable. It met exactly the higher estimate: $ 6M before fees, $ 6.8 million including premium, second highest price of the sale.
Here is the image of that lot, in the catalog shared by LiveAuctioneers.
Inspired by the manga, he realized his first important work in 1997. Entitled Miss ko², this painted sculpture made of resin, fiberglass and iron shows a restaurant waitress 1.83 m tall, sexy by her attitude, facial expression and by the mini-skirt showing off the disproportionately long legs. Like Giacometti, like Moore, like Botero, Murakami created an expressive sculpture by changing the proportions of the body.
An example is estimated $ 4M, for sale on November 8 in New York by Phillips de Pury.
Murakami went much further in this style in the following year (1998), with My Lonesome Cowboy, even bigger, combining more obviously references to both Japan and U.S., and especially obscene. An example of My Lonesome Cowboy was sold $ 15.1 million including premium by Sotheby's on May 14, 2008.
POST SALE COMMENT
There will be much to remind from yesterday evening sale at Phillips de Pury: their new offices in Manhattan, their collaboration with a top professional (Philippe Ségalot) to gather the artworks, and the $ 63.3 million including premium of Men in Her Life by Andy Warhol.
Ambitious estimates were often exceeded. That of our modern geisha by Murakami seemed achievable. It met exactly the higher estimate: $ 6M before fees, $ 6.8 million including premium, second highest price of the sale.
Here is the image of that lot, in the catalog shared by LiveAuctioneers.
1997 The McLaren Longtail
2014 SOLD 5.3 M$ including premium
The McLaren F1 model was produced in 106 units between 1992 and 1998. Its designer Gordon Murray had a vision of the high end road car.
The F1 had the great merit to start the commercial production of supercars after the dark years overshadowed by the oil crisis. Nearly fifteen years after the end of the series, the F1 was still the fastest model of road cars.
The racing car was a logical development for the F1. The F1 GTR was released in 1995. The F1 road car was far ahead of its time, but on track the competition was rude with Porsche and Mercedes-Benz. In 1997, the chassis is changed. The F1 GTR Longtail, produced in ten units, is the ultimate competition model in this series.
The third Longtail is presented for sale by Gooding on 17 and 18 January in Scottsdale. Here is the link to the press release. It is estimated $ 5M.
With its good racing history, it will probably be better received than the last car of the series, unsold in the saleroom by Bonhams on August 17, 2012 with the same estimate but for which a post sale transaction at $ 3.85 million was announced.
Road cars have benefited from the technological advances of the racing cars. A highly rare 1997 road F1 with less than 14,000 miles on the clock was sold for $ 8.5 million including premium by Gooding on 17/18 August 2013.
POST SALE COMMENT
Very good result for the McLaren : $ 5.3M including premium.
The F1 had the great merit to start the commercial production of supercars after the dark years overshadowed by the oil crisis. Nearly fifteen years after the end of the series, the F1 was still the fastest model of road cars.
The racing car was a logical development for the F1. The F1 GTR was released in 1995. The F1 road car was far ahead of its time, but on track the competition was rude with Porsche and Mercedes-Benz. In 1997, the chassis is changed. The F1 GTR Longtail, produced in ten units, is the ultimate competition model in this series.
The third Longtail is presented for sale by Gooding on 17 and 18 January in Scottsdale. Here is the link to the press release. It is estimated $ 5M.
With its good racing history, it will probably be better received than the last car of the series, unsold in the saleroom by Bonhams on August 17, 2012 with the same estimate but for which a post sale transaction at $ 3.85 million was announced.
Road cars have benefited from the technological advances of the racing cars. A highly rare 1997 road F1 with less than 14,000 miles on the clock was sold for $ 8.5 million including premium by Gooding on 17/18 August 2013.
POST SALE COMMENT
Very good result for the McLaren : $ 5.3M including premium.
1997 The Supremacy of McLaren
2012 SOLD 3.85 M$ including premium
The history of the automobile is not a continuous progress. It has been slowered three times by international events: the two world wars and the oil crisis.
In the mid-1990s, McLaren contributed to the current revival with their F1 project led by Gordon Murray.
The idea is the same as that of some Ferraris 250GT many years earlier: taking advantage of the prestige brought by competition for creating a product concept consistent with road and race with slightly differentiated variants.
The McLaren F1 was produced in about one hundred units, from 1993 to 1998. It is a relatively light vehicle with a huge engine. One of them became in 1998 the world's fastest production car, reaching 372 Km / h in normal configuration and 386 Km / h with a change of engine settings.
Automobiles of today are full of electronics. Yet this old McLaren model at almost 20 years of age would still be able to compete with current supercars.
28 of these units have been produced for endurance racing, from 1995 to 1997.
On August 17 at Quail Lodge, Bonhams sells the last serial number made for racing, equipped with the ultimate improvement: a lengthening of the rear body. It is identified as a 1997 McLaren F1 GTR Longtail. Here is the link to the catalog.
In its racing version, the McLaren F1 is too recent to have a history at auction. A 1997 F1 road car was sold £ 2.5 million including premium by RM Auctions on October 29, 2008.
POST SALE COMMENTS
1
Once again, do not expect very high prices for recent cars. The estimate of this one had not been published. Unsold.
2
According to an information provided by Bonhams and collected by Bloomberg, the McLaren was not sold during the auction. It had been presented with an estimate of $ 5M, which fully justifies my comment of yesterday.
The story ended well. According to the same source, it was sold shortly afterwards for $ 3.85 million including fees.
Here is the link to the news published by Bloomberg.
In the mid-1990s, McLaren contributed to the current revival with their F1 project led by Gordon Murray.
The idea is the same as that of some Ferraris 250GT many years earlier: taking advantage of the prestige brought by competition for creating a product concept consistent with road and race with slightly differentiated variants.
The McLaren F1 was produced in about one hundred units, from 1993 to 1998. It is a relatively light vehicle with a huge engine. One of them became in 1998 the world's fastest production car, reaching 372 Km / h in normal configuration and 386 Km / h with a change of engine settings.
Automobiles of today are full of electronics. Yet this old McLaren model at almost 20 years of age would still be able to compete with current supercars.
28 of these units have been produced for endurance racing, from 1995 to 1997.
On August 17 at Quail Lodge, Bonhams sells the last serial number made for racing, equipped with the ultimate improvement: a lengthening of the rear body. It is identified as a 1997 McLaren F1 GTR Longtail. Here is the link to the catalog.
In its racing version, the McLaren F1 is too recent to have a history at auction. A 1997 F1 road car was sold £ 2.5 million including premium by RM Auctions on October 29, 2008.
POST SALE COMMENTS
1
Once again, do not expect very high prices for recent cars. The estimate of this one had not been published. Unsold.
2
According to an information provided by Bonhams and collected by Bloomberg, the McLaren was not sold during the auction. It had been presented with an estimate of $ 5M, which fully justifies my comment of yesterday.
The story ended well. According to the same source, it was sold shortly afterwards for $ 3.85 million including fees.
Here is the link to the news published by Bloomberg.
