2003
Except otherwise stated, all results include the premium.
See also : Freud British Royals Lalanne Supercars Big Six Formula One
See also : Freud British Royals Lalanne Supercars Big Six Formula One
FREUD
1
2002-2003 Portrait on a White Cover
2018 SOLD for £ 22.5M by Sotheby's
Since the death of Francis Bacon, Lucian Freud was the most outstanding living British artist. This role seems difficult to play. For several years he relentlessly uses the permanent access to the National Gallery granted to him by its management to re-examine ancient art.
In 2002 the Tate Gallery organizes a major retrospective displayed in nine rooms according to the chronology of his art. The conclusion of this journey is Freud's statement on the nude. He considers clothes like a façade that hides instincts and desires. He wants to see his models as physically comfortable as animals.
The links are also close with the Wallace Collection which wishes to organize an exhibition dedicated to Lucian Freud's recent works. This museum has one of the most beautiful female nudes by Titian, in Perseus and Andromeda. The nudes by Freud will have to be at a comparable level. He is looking for his Andromeda.
He finds Sophie who works for Tate Publishing. She is tall and slim with long legs. Titian's Andromeda is standing with one arm raised for anchoring to the rock. Freud knows that his reclining nudes are typical in his art. He puts Sophie on the bed with a raised arm, in full nudity.
Portrait on a white cover, oil on canvas 117 x 143 cm, is painted by Freud in 2002-2003 and will be exhibited at the Wallace Collection in May 2004. This painting was sold for £ 22.5M by Sotheby's on June 26, 2018, lot 6. Please watch the video shared by the auction house.
With family and friends the old artist still knew how to maintain a naked person in confidence, specially through his famous chatter. Julie and Martin painted in 2001 is a good example, sold for $ 17M by Christie's on November 12, 2014. With Sophie, chosen by Freud for her Andromeda body, it does not go as well. The sleeping nude of the Portrait on a white cover has clenched fingers in both hands and the artist obsessed with realism did not make them flexible.
In 2002 the Tate Gallery organizes a major retrospective displayed in nine rooms according to the chronology of his art. The conclusion of this journey is Freud's statement on the nude. He considers clothes like a façade that hides instincts and desires. He wants to see his models as physically comfortable as animals.
The links are also close with the Wallace Collection which wishes to organize an exhibition dedicated to Lucian Freud's recent works. This museum has one of the most beautiful female nudes by Titian, in Perseus and Andromeda. The nudes by Freud will have to be at a comparable level. He is looking for his Andromeda.
He finds Sophie who works for Tate Publishing. She is tall and slim with long legs. Titian's Andromeda is standing with one arm raised for anchoring to the rock. Freud knows that his reclining nudes are typical in his art. He puts Sophie on the bed with a raised arm, in full nudity.
Portrait on a white cover, oil on canvas 117 x 143 cm, is painted by Freud in 2002-2003 and will be exhibited at the Wallace Collection in May 2004. This painting was sold for £ 22.5M by Sotheby's on June 26, 2018, lot 6. Please watch the video shared by the auction house.
With family and friends the old artist still knew how to maintain a naked person in confidence, specially through his famous chatter. Julie and Martin painted in 2001 is a good example, sold for $ 17M by Christie's on November 12, 2014. With Sophie, chosen by Freud for her Andromeda body, it does not go as well. The sleeping nude of the Portrait on a white cover has clenched fingers in both hands and the artist obsessed with realism did not make them flexible.
Compare Blond Girl on a Bed, sold for £ 7.4M by Sotheby's on March 4, 2026, lot 18 and Portrait on a White Cover, sold for £ 22.5M by Sotheby's on June 26, 2018, lot 6.
Lucian Freud's "Blond Girl on a Bed" (1987) and "Portrait on a White Cover" (2002-2003) are both quintessential examples of his intense, unflinching approach to the reclining female nude—a subject he returned to throughout his career, drawing from art-historical traditions (Titian, Velázquez, Manet, Ingres) while subverting ideals of beauty with raw, psychological realism.
Key Details and Comparison
Blond Girl on a Bed is an important mid-career nude with excellent provenance and museum exposure, but its smaller scale and earlier date place it in a slightly lower commercial tier than the monumental late masterpieces. Portrait on a White Cover achieved a much higher price (£22.5M vs. current £6-8M estimate) due to its status as a rare, late-period work from Freud's final productive years, embodying the apex of his uncompromising vision. Market values for Freud have fluctuated with broader contemporary art trends, but both paintings underscore his enduring status as one of the 20th century's greatest figurative painters—prioritizing unflinching honesty over idealization.
Lucian Freud's "Blond Girl on a Bed" (1987) and "Portrait on a White Cover" (2002-2003) are both quintessential examples of his intense, unflinching approach to the reclining female nude—a subject he returned to throughout his career, drawing from art-historical traditions (Titian, Velázquez, Manet, Ingres) while subverting ideals of beauty with raw, psychological realism.
Key Details and Comparison
- Date and Period:
- Blond Girl on a Bed: Painted in 1987, during Freud's mature phase when his impasto technique had thickened significantly, emphasizing texture, weight, and physical presence.
- Portrait on a White Cover: Created 2002-2003, one of his very late works (Freud was around 80), representing the culmination of his lifelong obsession with the reclining nude. It reflects his final, even more forensic scrutiny of the body.
- Medium, Size, and Technique:
- Both are oil on canvas.
- Blond Girl on a Bed: Smaller format at 40.6 x 50.8 cm (16 x 20 in.), allowing for intimate, concentrated observation.
- Portrait on a White Cover: Larger (exact dimensions not always specified in reports, but typically grander scale in late nudes), with even heavier, layered impasto that conveys the "weight" of flesh and time.
- Subject and Model:
- Blond Girl on a Bed: Depicts Sophie de Stempel, one of Freud's long-term models (she posed for him over eight years). Freud described her as "a very bad model" in an endearing way—awkward and unprofessional like a young student—which suited his preference for natural, unposed vulnerability. The figure reclines on a patterned bedspread, her pose evoking awkwardness and gravity-defying mass, with thick brushwork highlighting the body's imperfection and "naked" (as opposed to idealized nude) quality.
- Portrait on a White Cover: Features Sophie Lawrence (an employee at Tate Publishing whom Freud spotted during his 2002 Tate retrospective). The model lies on a stark white cover, emphasizing isolation and scrutiny. It portrays an older or more mature body, with the late-style emphasis on sagging flesh, veins, and the inexorable effects of time.
- Artistic Approach and Significance:
- Both exemplify Freud's "naked portraits"—raw depictions that capture the sitter's physical and psychological reality without flattery. The earlier work (1987) shows his mid-career shift to denser impasto and more confrontational realism, while the later one pushes this further into monumental, almost sculptural territory, with the body rendered as heavy, mortal matter.
- They share thematic continuity in exploring vulnerability, awkwardness, and the human form's unidealized truth, but Portrait on a White Cover feels more distilled and valedictory, as one of Freud's final major nudes.
- Auction History and Market Performance:
- Blond Girl on a Bed: sold for £ 7.4M at Sotheby's Modern & Contemporary Evening Auction on March 4, 2026 (lot 18), from the Masterpieces of the Lewis Collection (formerly in the Saatchi Collection, acquired by the owner in 1997 via Acquavella Galleries). Pre-sale estimate: £6,000,000 - £8,000,000 GBP. It has strong exhibition pedigree (Hayward Gallery 1988, Saatchi 1990, Metropolitan Museum/Whitechapel/Reina Sofía 1993-94, etc.) and is extensively published in Freud catalogues and monographs.
- Portrait on a White Cover: Sold at Sotheby's London Contemporary Art Evening Auction on June 26, 2018 (lot 6), for £22.5 million GBP (hammer £19.7 million + fees; estimate £17-20 million). This was a record-breaking price for a Freud nude at the time, reflecting peak market enthusiasm for his late works in the late 2010s.
Blond Girl on a Bed is an important mid-career nude with excellent provenance and museum exposure, but its smaller scale and earlier date place it in a slightly lower commercial tier than the monumental late masterpieces. Portrait on a White Cover achieved a much higher price (£22.5M vs. current £6-8M estimate) due to its status as a rare, late-period work from Freud's final productive years, embodying the apex of his uncompromising vision. Market values for Freud have fluctuated with broader contemporary art trends, but both paintings underscore his enduring status as one of the 20th century's greatest figurative painters—prioritizing unflinching honesty over idealization.
2
2003-2004 The Brigadier
2015 SOLD for $ 35M by Christie's
Before he retired in 1994, the figure of Andrew Parker Bowles often appeared in news photos but he remained anonymous despite his imposing posture. Colonel commanding the Household Cavalry before his promotion to the honorary rank of Brigadier, he assured the bodyguard to Queen Elizabeth II.
This aristocrat had previously shared the royal children's passion for horses and polo. The Prince of Wales will much later marry Camilla newly divorced from the Brigadier. The hero attended the wedding without resentment.
Lucian Freud was fond of horses, too, and a longtime friend of Andrew Parker Bowles. He painted his portrait in 2003-2004. During 18 months at a rate of three times a week and four hours per session, the Brigadier came to sit in the artist's studio.
Lucian's process is unique in the history of portrait painting. He rushed to the face of his model to inspect a tiny detail that provoked an equally abrupt return to save it on the canvas. Then he saturated his guest in an endless chatter before being ready to proceed with another detail. Lucian was very witty, which was quite necessary to maintain the patience of his models.
The obsession of the artist was to create lifelike works at the opposite of the dryness of a photograph. His method totally different from Bacon's led also to a strong emotion but Lucian managed to keep the realistic features of his characters. The Brigadier is still admiring today his portrait by Freud, better than life even in the glare of the medals.
The officer is not Sue Tilley. Lucian had not imposed an acrobatic attitude to this dignified sexagenarian who was indeed required to take the same position again at each new session. The result looks like a classic military portrait excepted that it is extraordinary in its psychological rendering.
This oil on canvas 224 x 138 cm was sold for $ 35M by Christie's on November 10, 2015, lot 31 B. Please watch the video shared by the auction house.
"The Brigadier" is a monumental oil on canvas portrait painted by Lucian Freud between 2003 and 2004, measuring approximately 223.5 cm by 138.4 cm (about seven feet tall).
The subject is Andrew Parker Bowles, a retired British Army officer and former husband of Camilla Parker Bowles (now Queen Camilla), depicted in his ceremonial uniform as Brigadier, with elements like an undone tunic exposing his midsection, which becomes a focal point. Freud and Parker Bowles shared a long friendship starting in 1983, when Freud borrowed horses from the Household Cavalry for his paintings; this personal bond influenced the work, with sittings spanning 18 months in a slow, often silent process.
In Freud's career, "The Brigadier" holds significance as a key example of his late-period style, created in his early 80s and reflecting his mature focus on large-scale, psychologically penetrating portraits that expose human vulnerabilities beneath formal exteriors. Known for his unflinching depictions of flesh and the human form—often in nudes—this painting marks an experimental shift toward clothed subjects, yet maintains his signature earthy realism by subtly "stripping" the uniform to highlight the sitter's fleshy face, hands, and stomach, evoking a mix of melancholy, humor, and introspection. Critics have noted its compositional nods to historical artists like Édouard Manet and James Jacques Tissot (whose portrait of Colonel Fred Burnaby served as a reference), blending grandeur with inward vulnerability, possibly symbolizing themes like the decline of empire or personal regret. It premiered at Acquavella Galleries in New York in 2004 and later sold at Christie's in 2015 for $34.89 million, underscoring its critical and market acclaim as a masterpiece that captures the "soul" of its subject with technical brilliance. This work exemplifies Freud's evolution from early surrealism to intense, probing realism, solidifying his reputation for portraits that transcend likeness to reveal deeper emotional truths in his final productive years before his death in 2011.
This aristocrat had previously shared the royal children's passion for horses and polo. The Prince of Wales will much later marry Camilla newly divorced from the Brigadier. The hero attended the wedding without resentment.
Lucian Freud was fond of horses, too, and a longtime friend of Andrew Parker Bowles. He painted his portrait in 2003-2004. During 18 months at a rate of three times a week and four hours per session, the Brigadier came to sit in the artist's studio.
Lucian's process is unique in the history of portrait painting. He rushed to the face of his model to inspect a tiny detail that provoked an equally abrupt return to save it on the canvas. Then he saturated his guest in an endless chatter before being ready to proceed with another detail. Lucian was very witty, which was quite necessary to maintain the patience of his models.
The obsession of the artist was to create lifelike works at the opposite of the dryness of a photograph. His method totally different from Bacon's led also to a strong emotion but Lucian managed to keep the realistic features of his characters. The Brigadier is still admiring today his portrait by Freud, better than life even in the glare of the medals.
The officer is not Sue Tilley. Lucian had not imposed an acrobatic attitude to this dignified sexagenarian who was indeed required to take the same position again at each new session. The result looks like a classic military portrait excepted that it is extraordinary in its psychological rendering.
This oil on canvas 224 x 138 cm was sold for $ 35M by Christie's on November 10, 2015, lot 31 B. Please watch the video shared by the auction house.
"The Brigadier" is a monumental oil on canvas portrait painted by Lucian Freud between 2003 and 2004, measuring approximately 223.5 cm by 138.4 cm (about seven feet tall).
The subject is Andrew Parker Bowles, a retired British Army officer and former husband of Camilla Parker Bowles (now Queen Camilla), depicted in his ceremonial uniform as Brigadier, with elements like an undone tunic exposing his midsection, which becomes a focal point. Freud and Parker Bowles shared a long friendship starting in 1983, when Freud borrowed horses from the Household Cavalry for his paintings; this personal bond influenced the work, with sittings spanning 18 months in a slow, often silent process.
In Freud's career, "The Brigadier" holds significance as a key example of his late-period style, created in his early 80s and reflecting his mature focus on large-scale, psychologically penetrating portraits that expose human vulnerabilities beneath formal exteriors. Known for his unflinching depictions of flesh and the human form—often in nudes—this painting marks an experimental shift toward clothed subjects, yet maintains his signature earthy realism by subtly "stripping" the uniform to highlight the sitter's fleshy face, hands, and stomach, evoking a mix of melancholy, humor, and introspection. Critics have noted its compositional nods to historical artists like Édouard Manet and James Jacques Tissot (whose portrait of Colonel Fred Burnaby served as a reference), blending grandeur with inward vulnerability, possibly symbolizing themes like the decline of empire or personal regret. It premiered at Acquavella Galleries in New York in 2004 and later sold at Christie's in 2015 for $34.89 million, underscoring its critical and market acclaim as a masterpiece that captures the "soul" of its subject with technical brilliance. This work exemplifies Freud's evolution from early surrealism to intense, probing realism, solidifying his reputation for portraits that transcend likeness to reveal deeper emotional truths in his final productive years before his death in 2011.
2003 Ferrari Enzo
Ten years after the F50, the Enzo starts better. The marketing was similar, with 349 cars sold before the production to customers selected by the brand, but the requests from non-selected users made it increase to 399. The very expensive sale ticket was about $ 650,000.
Its designation is a tribute to the late founder of the brand at a time when Ferrari had a spectacular success in Formula 1 with Michael Schumacher as the lead driver.
Taking benefit of some Formula One lightweight technologies, the Enzo could reach 100 km/h in about 3.5 seconds and 200 km/h in 9.5 seconds, plus a top speed at 350 km/h. Some fans of previous models objected against its rude shape designed by the Pininfarina workshop for improving the aerodynamics and the driving experience.
Its 6 liter engine is a come back to a naturally aspirated Ferrari V-12, after the turbocharged V-8 of the 288 GTO and F40 and the 65° motor of the F50.
The Ferrari Enzo, produced from 2002 to 2004 and officially named Enzo Ferrari, served as a halo supercar honoring the company's founder, with an initial run of 349 units expanded to 400 (including a special donation to the Vatican for charity). Designed by Pininfarina under Ken Okuyama, it incorporated extensive Formula 1-derived technology into a road-legal mid-engine berlinetta, blending extreme performance with exclusivity.
Breakthroughs
The Enzo marked significant advancements by transferring Ferrari's F1 expertise directly to the street, featuring a carbon-fiber monocoque chassis for superior strength-to-weight ratio (dry weight of 1,255 kg) and a 6.0-liter naturally aspirated V12 engine producing 660 hp at 7,800 rpm and 485 lb-ft of torque at 5,500 rpm—Ferrari's most powerful road engine at the time. Innovations included the first use of carbon-ceramic brakes on a Ferrari road car, an electro-hydraulic F1-style six-speed automated manual transmission with 150 ms shift times, and active aerodynamics via adjustable front flaps, rear spoiler, and diffuser generating up to 775 kg of downforce at 300 km/h. The pushrod suspension with adaptive damping, variable valve timing, and integrated human-machine interface further enhanced handling and driver feedback, achieving 0-60 mph in 3.1 seconds, a quarter-mile in 11 seconds, and a top speed of 221 mph. These elements not only pushed boundaries in lightweight materials and aerodynamics but also set new standards for integrating racing tech into production vehicles without compromising usability.
Legacy
As part of Ferrari's "Big Six" halo lineage following the F50, the Enzo influenced subsequent models like the LaFerrari by pioneering hybrid precursors through its F1 tech, while spawning track-focused variants such as the 800-hp FXX (2005) and Evoluzione package, which advanced telemetry and performance data systems. It also underpinned the Maserati MC12, extending its chassis and engine to GT racing homologation. Culturally, it earned accolades as one of the top sports cars of the 2000s, appearing in films like Charlie's Angels: Full Throttle, though critiqued for styling by some outlets. Today, its rarity drives auction values over $3 million, symbolizing Ferrari's commitment to innovation and exclusivity, with ongoing tributes in events and collections reinforcing its status as a benchmark for modern hypercars.
The surge in Ferrari Enzo prices in January 2026—where four examples sold publicly for figures dramatically exceeding the prior auction record of around €5.4 million (~$5.9–6 million USD at the time, from a 2023 Monaco Car Auctions sale of the ex-Fernando Alonso car)—reflects a broader collector frenzy for "time capsule" or ultra-preserved examples of Ferrari's modern hypercars, particularly the "Big Six" (288 GTO, F40, F50, Enzo, LaFerrari, and sometimes extended to others). This includes low-mileage, highly original cars with exceptional provenance, Ferrari Classiche certification, factory options, and single- or few-owner histories, as demand shifts toward analog, driver-centric V12 hypercars amid electrification trends.
The Enzo specifically benefited from this momentum but was supercharged by the high-profile dispersal of the Phil Bachman Ferrari Collection (from the late Phil Bachman, a passionate collector and dealer) at Mecum Kissimmee on January 17, 2026—no-reserve, creating intense competition. This event reset benchmarks across Ferrari halo models (new highs for F50, 288 GTO, etc.), with the two Enzos there leading the charge. Subsequent sales at RM Sotheby's Arizona (January 23) and Paris (January 28) confirmed the new market floor, as buyers chased pristine examples even outside the Bachman provenance.
Its designation is a tribute to the late founder of the brand at a time when Ferrari had a spectacular success in Formula 1 with Michael Schumacher as the lead driver.
Taking benefit of some Formula One lightweight technologies, the Enzo could reach 100 km/h in about 3.5 seconds and 200 km/h in 9.5 seconds, plus a top speed at 350 km/h. Some fans of previous models objected against its rude shape designed by the Pininfarina workshop for improving the aerodynamics and the driving experience.
Its 6 liter engine is a come back to a naturally aspirated Ferrari V-12, after the turbocharged V-8 of the 288 GTO and F40 and the 65° motor of the F50.
The Ferrari Enzo, produced from 2002 to 2004 and officially named Enzo Ferrari, served as a halo supercar honoring the company's founder, with an initial run of 349 units expanded to 400 (including a special donation to the Vatican for charity). Designed by Pininfarina under Ken Okuyama, it incorporated extensive Formula 1-derived technology into a road-legal mid-engine berlinetta, blending extreme performance with exclusivity.
Breakthroughs
The Enzo marked significant advancements by transferring Ferrari's F1 expertise directly to the street, featuring a carbon-fiber monocoque chassis for superior strength-to-weight ratio (dry weight of 1,255 kg) and a 6.0-liter naturally aspirated V12 engine producing 660 hp at 7,800 rpm and 485 lb-ft of torque at 5,500 rpm—Ferrari's most powerful road engine at the time. Innovations included the first use of carbon-ceramic brakes on a Ferrari road car, an electro-hydraulic F1-style six-speed automated manual transmission with 150 ms shift times, and active aerodynamics via adjustable front flaps, rear spoiler, and diffuser generating up to 775 kg of downforce at 300 km/h. The pushrod suspension with adaptive damping, variable valve timing, and integrated human-machine interface further enhanced handling and driver feedback, achieving 0-60 mph in 3.1 seconds, a quarter-mile in 11 seconds, and a top speed of 221 mph. These elements not only pushed boundaries in lightweight materials and aerodynamics but also set new standards for integrating racing tech into production vehicles without compromising usability.
Legacy
As part of Ferrari's "Big Six" halo lineage following the F50, the Enzo influenced subsequent models like the LaFerrari by pioneering hybrid precursors through its F1 tech, while spawning track-focused variants such as the 800-hp FXX (2005) and Evoluzione package, which advanced telemetry and performance data systems. It also underpinned the Maserati MC12, extending its chassis and engine to GT racing homologation. Culturally, it earned accolades as one of the top sports cars of the 2000s, appearing in films like Charlie's Angels: Full Throttle, though critiqued for styling by some outlets. Today, its rarity drives auction values over $3 million, symbolizing Ferrari's commitment to innovation and exclusivity, with ongoing tributes in events and collections reinforcing its status as a benchmark for modern hypercars.
The surge in Ferrari Enzo prices in January 2026—where four examples sold publicly for figures dramatically exceeding the prior auction record of around €5.4 million (~$5.9–6 million USD at the time, from a 2023 Monaco Car Auctions sale of the ex-Fernando Alonso car)—reflects a broader collector frenzy for "time capsule" or ultra-preserved examples of Ferrari's modern hypercars, particularly the "Big Six" (288 GTO, F40, F50, Enzo, LaFerrari, and sometimes extended to others). This includes low-mileage, highly original cars with exceptional provenance, Ferrari Classiche certification, factory options, and single- or few-owner histories, as demand shifts toward analog, driver-centric V12 hypercars amid electrification trends.
The Enzo specifically benefited from this momentum but was supercharged by the high-profile dispersal of the Phil Bachman Ferrari Collection (from the late Phil Bachman, a passionate collector and dealer) at Mecum Kissimmee on January 17, 2026—no-reserve, creating intense competition. This event reset benchmarks across Ferrari halo models (new highs for F50, 288 GTO, etc.), with the two Enzos there leading the charge. Subsequent sales at RM Sotheby's Arizona (January 23) and Paris (January 28) confirmed the new market floor, as buyers chased pristine examples even outside the Bachman provenance.
1
2026 SOLD for $ 18M by Mecum
A 2003 Enzo was sold for $ 18M by Mecum in Kissimmee on January 17, lot S132, overall record in period for the Big Six series, more than tripling the old high of the Enzo).
Mecum Auctions car (chassis ZFFCW56A330135262):
In summary, that yellow Bachman Enzo's outlier price stemmed from its unmatched rarity, customization, condition, and provenance in a no-reserve frenzy.
Mecum Auctions car (chassis ZFFCW56A330135262):
- Mileage: 649 miles (still extremely low, delivery-mileage territory).
- Exterior: Giallo Modena DS 4305 (yellow; one of 36 Enzos in this color, one of only 11 U.S.-delivered Giallo Enzos).
- Interior: Not explicitly detailed in listings, but standard high-spec Enzo setup.
- Options/Accessories: Factory-customized (bespoke through Ferrari, most heavily optioned known); one-of-a-kind personalization for original owners (the Bachmans).
- History/Provenance: Ordered new and customized by Phil Bachman (prominent collector); part of the famous Bachman Collection; matching numbers (engine 79700, gearbox 280, body 108).
- Condition: Excellent, low-mile preserved; won numerous Best of Show awards (implying concours-level presentation).
- Auction: Mecum Kissimmee 2026 (Lot S132, January 17, 2026); sold for $17,875,000 (hammer $16,250,000 + fees; new world-record price for an Enzo at public auction, tripling prior records around $6M).
- Why special: Heavily factory-optioned/customized (unique spec); standout from a landmark collection sale that smashed multiple Ferrari records (e.g., also set highs for F50, 288 GTO); vibrant Giallo color adds visual drama.
In summary, that yellow Bachman Enzo's outlier price stemmed from its unmatched rarity, customization, condition, and provenance in a no-reserve frenzy.
2
2026 SOLD for $ 15.2M by Broad Arrow
- Broad Arrow Auctions car (chassis ZFFCW56AX30131242):
- Mileage: Under 450 miles (ultra-low, among the lowest known for any Enzo).
- Exterior: Nero D.S. (deep black, ultra-rare—only 11 U.S.-delivered Enzos in this color, plus one Canadian; total North American Nero D.S. around 12).
- Interior: Rosso (red) leather.
- Options/Accessories: Complete factory kit including two keys, car cover, owner's manuals pouch with flashlight, tool kit, tire inflator (still wrapped), wheel socket, and original three-piece luggage set with dust covers.
- History/Provenance: Delivered new February 2003 via Ferrari of Long Island (U.S. spec, one of 111 U.S.-delivered Enzos); sole owner from new (single-family preservation for 23+ years); supported by original pre-delivery inspection, Certificate of Origin with build photos, congratulatory letter from Ferrari, and CARFAX.
- Condition: Impeccable "time capsule"—preserved as delivered, no restoration mentioned; routinely maintained by the delivering dealer (latest service Nov 2024: oil/filter, fluids, battery, sticky buttons fix); mechanically near-factory.
- Auction: Broad Arrow at The Amelia Concours Auction (March 6, 2026, Ritz-Carlton Amelia Island, lot 182 ; sold for $ 15.2M from an estimate $12,000,000 – $16,000,000.
- Why special: Lowest-mileage Nero D.S. U.S. Enzo known; ultimate preservation survivor with zero modifications and full original accessories.
3
2003
2026 SOLD for $ 11.1M by Mecum
A 2003 Enzo was sold for $ 11.1M by Mecum in Kissimmee on January 17, 2026, lot S209.1.
A massive leap over prior records but ~$6.765 million below the yellow Bachman example. One-of-one in Rosso Dino (unique color); low mileage (3,746 miles); one of 127 US-spec Enzos (out of 400 total built); recent major service (December 2024); original window sticker. Highly desirable for rarity, but lacked the extreme low mileage, heavy customization, personal collection story, and concours pedigree of the top seller—resulting in strong but comparatively tempered bidding.
A massive leap over prior records but ~$6.765 million below the yellow Bachman example. One-of-one in Rosso Dino (unique color); low mileage (3,746 miles); one of 127 US-spec Enzos (out of 400 total built); recent major service (December 2024); original window sticker. Highly desirable for rarity, but lacked the extreme low mileage, heavy customization, personal collection story, and concours pedigree of the top seller—resulting in strong but comparatively tempered bidding.
4
2003
2026 SOLD for $ 9.3M by RM Sotheby's
A 2003 Enzo was sold for $ 9.3M from a lower estimate of $ 5M by RM Sotheby's in Arizona on January 23, 2026, lot 155.
Top sale of the Arizona auction; one of 111 US-market examples (out of 498 total Enzos); low mileage (746 miles from new); three private owners (including 17 years with the most recent); recently serviced; straightforward, high-quality presentation in classic Rosso Corsa. Solid, "everyday" pristine example (no extreme customization or ultra-rare color), yet still achieved a new high-water mark post-Kissimmee, confirming the model's elevated status even without Bachman-level hype.
Top sale of the Arizona auction; one of 111 US-market examples (out of 498 total Enzos); low mileage (746 miles from new); three private owners (including 17 years with the most recent); recently serviced; straightforward, high-quality presentation in classic Rosso Corsa. Solid, "everyday" pristine example (no extreme customization or ultra-rare color), yet still achieved a new high-water mark post-Kissimmee, confirming the model's elevated status even without Bachman-level hype.
2003 Ferrari F2003 GA
2022 SOLD for CHF 14.6M by RM Sotheby's
In 2003 Ferrari begins the Formula 1 season with the F2002, replaced from the fifth Grand Prix by the F2003 GA. The 2003 had a longer wheelbase to improve the aerodynamics. GA reads as a tribute to the late Gianni Agnelli, reminding that Ferrari was then a company of the Fiat group.
After the 16th and last Grand Prix, Michael Schumacher is the world drivers's champion for the sixth time, surpassing Fangio's record of five and including four consecutive seasons as Fangio had done.
In that highly disputed season against McLaren, Schumacher had one win with an F2002 and five wins plus two podiums with only one F2003 GA chassis while he used another chassis in three mid season Grand Prix with no win.
This highly successful F2003 still in full running order was sold for CHF 14.6M from a lower esimate of CHF 7.5M by Sotheby's in association with RM Sotheby's in a single lot auction on November 9, 2022. Please watch the video shared by RM Sotheby's, in which the car is narrated and driven by Michael Schumacher's son Mick.
A total of six F2003 GA had been built.
After the 16th and last Grand Prix, Michael Schumacher is the world drivers's champion for the sixth time, surpassing Fangio's record of five and including four consecutive seasons as Fangio had done.
In that highly disputed season against McLaren, Schumacher had one win with an F2002 and five wins plus two podiums with only one F2003 GA chassis while he used another chassis in three mid season Grand Prix with no win.
This highly successful F2003 still in full running order was sold for CHF 14.6M from a lower esimate of CHF 7.5M by Sotheby's in association with RM Sotheby's in a single lot auction on November 9, 2022. Please watch the video shared by RM Sotheby's, in which the car is narrated and driven by Michael Schumacher's son Mick.
A total of six F2003 GA had been built.
2003 Grand Rhinocrétaire by Lalanne
2025 SOLD for $ 16.4M by Sotheby's
Les Lalanne accumulate new subjects without obsoleting the old themes. On 23 and 24 October, 2019, Sotheby's sold the works that they were keeping in their home and studio near Fontainebleau. The lot 13 , sold for € 5.4M, was a Rhinocrétaire 2.55 m long in welded metal. Opening the beast unfolds the desk. This unique piece made in 1991 was certainly executed for the personal use of the artist.
The Grand Rhinocrétaire II, also identified as Grand Rhinocéros II, was designed in 2002. The 1/8 in gold patinated bronze, brass and leather from the 2003 edition, 130 x 260 x 61 cm, was sold for $ 16.4M from a lower estimate of $ 3M by Sotheby's on June 11, 2025, lot 105.
In the same materials as the example above, the 7/8 from the 2017 posthumous edition by Bocquel, 145 x 250 x 61 cm, was sold for € 5.5M by Sotheby's on May 24, 2022, lot 140.
The Grand Rhinocrétaire II, also identified as Grand Rhinocéros II, was designed in 2002. The 1/8 in gold patinated bronze, brass and leather from the 2003 edition, 130 x 260 x 61 cm, was sold for $ 16.4M from a lower estimate of $ 3M by Sotheby's on June 11, 2025, lot 105.
In the same materials as the example above, the 7/8 from the 2017 posthumous edition by Bocquel, 145 x 250 x 61 cm, was sold for € 5.5M by Sotheby's on May 24, 2022, lot 140.
2003 View from the Terrace by Hockney
2023 SOLD for $ 7.2M by Sotheby's
Watercolor is a wonderful technique for expressing the colors. David Hockney tries it in 2002 in portrait and still life, and in landscapes during a trip in Norway and Iceland.
He quoted by the way an old Chinese tradition that hand, eye and heart are all necessary to achieve a good picture. The fluid gesture to apply watercolor is indeed in the opposite of the oil painting.
California is a place of vivid colors, both in the lush vegetation and in the clothing of the people. Back in 2003 in his beloved Hollywood Hills home after a long stay in London, David had not lost his enthusiasm of nearly four decades for the Californian colors.
View from the Terrace features his own lush garden beyond a row of potted plants on the balcony bar, omitting the rule of the single perspective and the three dimensionality. The opus III in that title is a watercolor on paper in eight sheets 92 x 243 cm overall. It was sold for $ 7.2M from a lower estimate of $ 4M by Sotheby's on November 16, 2023, lot 119.
He quoted by the way an old Chinese tradition that hand, eye and heart are all necessary to achieve a good picture. The fluid gesture to apply watercolor is indeed in the opposite of the oil painting.
California is a place of vivid colors, both in the lush vegetation and in the clothing of the people. Back in 2003 in his beloved Hollywood Hills home after a long stay in London, David had not lost his enthusiasm of nearly four decades for the Californian colors.
View from the Terrace features his own lush garden beyond a row of potted plants on the balcony bar, omitting the rule of the single perspective and the three dimensionality. The opus III in that title is a watercolor on paper in eight sheets 92 x 243 cm overall. It was sold for $ 7.2M from a lower estimate of $ 4M by Sotheby's on November 16, 2023, lot 119.
2003 How Do You Do? by Ruscha
2025 SOLD for $ 6.8M by Christie's
In 1997 Ed Ruscha started a series with settings of rocky mountains whose snowy tops are lit by the exquisite light of dawn. The picture looks hyperrealistic although not related to an identified landscape. For his signature stenciled text in huge letters, he conceived an angular font with no round.
BLAST CURTAIN, with that title in two rows, is a rare example for which the artist managed later to find a correlation with the backdrop, possibly to please an admirer. Iron Curtain, for example, should have been more convincing for expressing the anxiety of modern life conditions. The valley is still in the darkness of the night.
This acrylic on canvas 163 x 163 cm painted in 1999 was sold for $ 5.6M by Christie's on May 14, 2025, lot 5B.
How do you do?, oil on canvas 183 x 315 cm painted in 2003, was sold for $ 6.8M from a lower estimate of $ 5M by Christie's on November 19, 2025, lot 4B.
Immediate post sale Grok thought :
Quote :
Christie's @ChristiesInc
Ed Ruscha’s ‘How Do You Do?’ from the Edlis | Neeson Collection achieves USD $6,785,000 in tonight’s 21st Century Evening Sale. The work highlights Ruscha’s enduring exploration of language, gesture, and the visual power of words.
Asking Grok to define significance in the career of the artist.
Grok thought :
The sale of Ed Ruscha's How Do You Do? (2003) for $6.785 million in November 2025 at Christie's represents a notable but secondary achievement in the artist's long career, underscoring the enduring strength of his later word-over-landscape works while highlighting the market's strong preference for his iconic 1960s output.
Context in Ruscha's Oeuvre
Ruscha (b. 1937) began superimposing text on dramatic, cinematic landscapes in the late 1980s, but the Mountain series — which How Do You Do? belongs to — crystallized in the late 1990s and early 2000s. These large-scale paintings feature archetypal, snow-capped peaks (often evoking the Paramount Pictures logo or generic "paint-by-numbers" sublime backdrops) overlaid with fragmented, floating phrases in his signature blocky typography. The series revives and matures Ruscha's lifelong fascination with the tension between words and images, a theme that dates back to his breakthrough 1960s word paintings (e.g., Oof, 1962–63) and liquid-toned text works, but shifts the backdrop from urban Americana (gas stations, Hollywood signs) to neutral, almost absurdly grandiose natural stages. "How Do You Do?" — a banal greeting rendered monumental — exemplifies the deadpan humor and linguistic subversion that define Ruscha's practice: everyday language disrupts the romantic sublime, creating ironic friction.
Market Perspective
While an impressive result (meeting its $5–7 million estimate and coming from the prestigious Edlis/Neeson Collection), $6.785 million is far from Ruscha's peak prices, which are dominated by rare, large-scale 1960s masterpieces.
Broader Career Significance
The Mountain series, including this painting, reflects Ruscha's late-career confidence and institutional acclaim (e.g., his 2023–2024 MoMA/LACMA retrospective ED RUSCHA / NOW THEN, the most comprehensive to date). At age 88 in 2025, strong secondary-market results for 2000s works signal sustained demand across periods, reassuring collectors that Ruscha's conceptual wordplay remains relevant decades after his 1960s innovations. The $6.785 million price reinforces the viability of his post-2000 production in a market too often fixated on vintage material, contributing to his status as one of the most consistently bankable living American artists (with career auction totals well exceeding $500 million). In short, it's a solid endorsement of Ruscha's late-phase experimentation rather than a career-defining pinnacle — those remain firmly rooted in the 1960s.
BLAST CURTAIN, with that title in two rows, is a rare example for which the artist managed later to find a correlation with the backdrop, possibly to please an admirer. Iron Curtain, for example, should have been more convincing for expressing the anxiety of modern life conditions. The valley is still in the darkness of the night.
This acrylic on canvas 163 x 163 cm painted in 1999 was sold for $ 5.6M by Christie's on May 14, 2025, lot 5B.
How do you do?, oil on canvas 183 x 315 cm painted in 2003, was sold for $ 6.8M from a lower estimate of $ 5M by Christie's on November 19, 2025, lot 4B.
Immediate post sale Grok thought :
Quote :
Christie's @ChristiesInc
Ed Ruscha’s ‘How Do You Do?’ from the Edlis | Neeson Collection achieves USD $6,785,000 in tonight’s 21st Century Evening Sale. The work highlights Ruscha’s enduring exploration of language, gesture, and the visual power of words.
- Ed Ruscha's 2003 oil painting "How Do You Do?"—a monumental 72x124-inch canvas from his Mountain Paintings series—sold for $6.785 million (with premium) at Christie's 21st Century Evening Sale, meeting its $5-7 million estimate and highlighting the artist's wordplay over dramatic landscapes.
- Sourced from the influential Edlis | Neeson Collection of Chicago-based collectors known for postwar and contemporary masterpieces, the lot reflects their legacy of acquiring blue-chip works now entering the secondary market.
- The sale contributed to a $123.5 million total for the evening, signaling continued art market resilience in 2025, buoyed by Ruscha's recent MoMA retrospective that amplified demand for his linguistic explorations.
Asking Grok to define significance in the career of the artist.
Grok thought :
The sale of Ed Ruscha's How Do You Do? (2003) for $6.785 million in November 2025 at Christie's represents a notable but secondary achievement in the artist's long career, underscoring the enduring strength of his later word-over-landscape works while highlighting the market's strong preference for his iconic 1960s output.
Context in Ruscha's Oeuvre
Ruscha (b. 1937) began superimposing text on dramatic, cinematic landscapes in the late 1980s, but the Mountain series — which How Do You Do? belongs to — crystallized in the late 1990s and early 2000s. These large-scale paintings feature archetypal, snow-capped peaks (often evoking the Paramount Pictures logo or generic "paint-by-numbers" sublime backdrops) overlaid with fragmented, floating phrases in his signature blocky typography. The series revives and matures Ruscha's lifelong fascination with the tension between words and images, a theme that dates back to his breakthrough 1960s word paintings (e.g., Oof, 1962–63) and liquid-toned text works, but shifts the backdrop from urban Americana (gas stations, Hollywood signs) to neutral, almost absurdly grandiose natural stages. "How Do You Do?" — a banal greeting rendered monumental — exemplifies the deadpan humor and linguistic subversion that define Ruscha's practice: everyday language disrupts the romantic sublime, creating ironic friction.
Market Perspective
While an impressive result (meeting its $5–7 million estimate and coming from the prestigious Edlis/Neeson Collection), $6.785 million is far from Ruscha's peak prices, which are dominated by rare, large-scale 1960s masterpieces.
Broader Career Significance
The Mountain series, including this painting, reflects Ruscha's late-career confidence and institutional acclaim (e.g., his 2023–2024 MoMA/LACMA retrospective ED RUSCHA / NOW THEN, the most comprehensive to date). At age 88 in 2025, strong secondary-market results for 2000s works signal sustained demand across periods, reassuring collectors that Ruscha's conceptual wordplay remains relevant decades after his 1960s innovations. The $6.785 million price reinforces the viability of his post-2000 production in a market too often fixated on vintage material, contributing to his status as one of the most consistently bankable living American artists (with career auction totals well exceeding $500 million). In short, it's a solid endorsement of Ruscha's late-phase experimentation rather than a career-defining pinnacle — those remain firmly rooted in the 1960s.
