Latest news with #Basquiat
Perth Now
6 days ago
- Entertainment
- Perth Now
Benicio del Toro treasures his signed copy of David Bowie film The Man Who Fell To Earth
Benicio del Toro says a signed copy of David Bowie's film 'The Man Who Fell To Earth' is one of his most treasured possessions. The 58-year-old actor is a Bowie super-fan and he was once lucky enough to work with the late rock legend on the 1996 film 'Basquiat', which is about the life of American postmodernist/neo expressionist artist Jean-Michel Basquiat. Benicio owned the 1976 science-fiction film 'The Man Who Fell To Earth' - which stars Bowie as alien Thomas Jerome Newton who is on a mission to transport water back to his drought-suffering home planet - and had to get his musical hero to add his signature to his copy. Appearing on the 'Soundtracking with Edith Bowman' podcast, he said: "My introduction to Bowie was 'Let's Dance' and on the other album that had 'Blue Jean', the follow-up, but I've always admired him. "But I do remember, you know, I had a laser disc of 'The Man Who Fell to Earth', I love that movie. Well, he did sign the laser disc for me. And I, I really treasure that, you know? It was like, I don't know, I had this thing of going, like, 'Hey, you gotta sign this.' And it was just very gentle. 'I just love that album 'Live Santa Monica '72' and 'Station to Station', 'Low'. "He had a lot of, like, you know crowd rock with Brian Eno. They had a lot of stuff going on." When working on 'Basquiat' with Bowie - who played pop artist Andy Warhol in the movie - Benicio admits it was a surreal moment being face-to-face with his idol. In a previous interview with UPROXX, Benicio - who can be seen in Wes Anderson's new film 'The Phoenician Scheme' - said: "I remember walking into the makeup trailer, and there he was. And he just sat right next to me. He was very normal. Very normal, very polite. I was just like beside myself sitting there looking at myself and going like, 'Can you believe it?' Looking at myself in the mirror, I'm sitting right next to David Bowie. But you know, he signed some things for me."
New York Times
12-05-2025
- Business
- New York Times
Can These Six Artists Predict the Fate of the Art Market?
The spring sales of modern and contemporary art often arrive in May with a steady drumroll of paintings whose estimates soar above $50 million — a sign of confidence in the industry's roster of ultrawealthy collectors who trade them like financial assets. Now that drumroll sounds like rain's pitter-patter as the world's leading auctioneers recalibrate for an art market rocked by economic uncertainty over the last three years and contend with new challenges, like tariffs. Of the hundreds of artworks for sale this season (including pieces by Picasso, Basquiat, Magritte and Matisse) there are only a couple above the $50 million threshold: a 1955 Giacometti bust estimated in excess of $70 million, and a potentially record-setting work by Mondrian valued at about $50 million. But without the spectacle of dinosaurs, bananas and cryptocurrencies in their big-name evening sales, the major auction houses are headed back to basics. It is a season of conventional offerings with very few headline-grabbing estates or deals at a time when these companies are suffering from layoffs; seeking outside investments; and weathering a 20 percent decline in sales within the industry's broader downturn that has seen global sales fall to $57.5 billion. 'The upper reaches of the market over $5 million are very quiet right now,' said Jacob King, an art adviser in New York. 'Material you would have seen in the day sale is now in the evening sale.' Despite those challenges, the auction houses are still betting on themselves to raise mountains of money within a single week at Christie's, Sotheby's and Phillips in New York. Their combined estimate is $1.2 billion to $1.6 billion. 'Last season was a tough one because we had to put together the sales brick by brick,' Lisa Dennison, a top executive at Sotheby's, said of the November auctions. 'Going into the May sales, we did feel the pipeline flowing a bit more.' Drew Watson, head of art services at Bank of America Private Bank, pointed out that some of the largest consignments of the season were announced in April, after President Trump's tariffs went into effect — giving some reason for optimism. 'You would expect that if people were really bearish about the art market right now that a lot of those high-end lots would not be coming to the market,' he said. But the market remains soft, and new ultrawealthy collectors scarce, increasing the pressure on auction houses to perform. Here are six bellwether artworks in the evening sales that may indicate the health of the art market. Alberto Giacometti 'Grande tête mince (Grande tête de Diego)' (1955), in excess of $70 million, Sotheby's Modern Evening Auction, Tuesday Giacometti was toward the end of his career when he created this bronze bust of his brother Diego, the artist's studio assistant and muse. The sculpture has the highest estimate in New York's spring sales and comes without a minimum financial guarantee from either Sotheby's or a third party to ensure the artwork sells, as is typical with expensive lots. The seller, the Soloviev Foundation, a nonprofit founded by the real estate tycoon Sheldon Solow, stands to receive a bigger payout if the work sells for its estimate. Solow, who died in 2020, acquired the work in 1980 from the Maeght family, which established the first private art foundation in France, the Fondation Maeght. The foundation is offloading the bust to support its philanthropies, which include the Metropolitan Museum of Art and Henry Street Settlement, according to its website. 'This one has always been the mother lode,' Simon Shaw, a Sotheby's executive who helped arrange the sale, said of the Giacometti, which was cast during the artist's lifetime. He described it as a 'great sculpture in the season where it would be the most exciting thing available by some significant margin.' Another cast of the artwork sold at Christie's in 2010 for $53.3 million; adjusted for inflation, the price today would be $78.1 million, suggesting the artwork has appreciated very little in the last 15 years. Experts said the one being offered at Sotheby's could sell for more because it is the only painted cast in the series. Piet Mondrian 'Composition With Large Red Plane, Bluish Gray, Yellow, Black and Blue' (1922), about $50 million, Christie's, Leonard & Louise Riggio: Collected Works, Monday When the Barnes & Noble founder Leonard Riggio died last year, he and his widow, Louise, had acquired an immense art collection, championing blue-chip minimalist art and donating to nonprofits like the Dia Foundation, as well as modern paintings by masters like Pablo Picasso, Rene Magritte and Fernand Léger that hung in their Park Avenue apartment. Louise decided to sell the apartment and consign nearly 40 artworks to Christie's, including a Mondrian painting that will be the auction house's most expensive artwork this season, with an estimate around $50 million. Mondrian is considered a pioneer of European abstraction, thanks to his early experiments in color and geometry in the 1920s. These days, the financial value of his paintings is tied to the proportion of red covering the canvas, making the Riggio example a potential record-breaker. (A previous benchmark was set in 2022 at Sotheby's, when a similar artwork sold to an anonymous buyer for $51 million.) But that Mondrian was sold during the market's height, leading industry analysts to debate whether the prestige of the Riggio name can overcome the economic uncertainty at play today. The auction house has also taken a large risk in providing a guarantee for all artworks, meaning that Christie's will need to buy in whatever fails to sell. 'They did a big house guarantee and are having trouble selling it off,' said King, the art adviser. 'It's good material, but these are big estimates and there is a lot of stuff to sell.' Olga de Amaral 'Imagen perdida 27 (Lost Image 27)' (1996), $300,000 to $500,000, Phillips Modern and Contemporary Art evening auction, Tuesday A tapestry by the 93-year-old Colombian artist Olga de Amaral marks her first appearance in a major New York evening auction — the latest symbol that yet another under-known female artist has moved from the fringes of the marketplace to its upper echelon. 'She's really a rediscovery, and finally coming out of the pigeonhole,' said Jean-Paul Engelen, a Phillips executive. 'She's no longer a craft artist or a Latin artist. She's just an artist.' Many of the other female artists featured this season are either bona fide auction stars whose work reliably sells for millions of dollars (like Agnes Martin, Georgia O'Keeffe and Cecily Brown), or rising talents with low estimates of $100,000 or less (like Danielle Mckinney, Emma McIntyre and Ilana Savdie). De Amaral stands somewhere between them, as an established artist whose value is still climbing after the opening of her first major European museum survey at the Fondation Cartier in Paris last October. The seller of the tapestry bought the artwork directly from de Amaral in 1996. The artist has woven grids of linen covered in gold leaf to create shimmering abstractions. Three more of her artworks are in New York's crowded day sales, including the 2006 tapestry 'Imagen Paisaje I (Landscape Image I),' which has a high estimate of $1.5 million at Sotheby's. That Phillips has chosen a lower-priced work for its evening sales is a sign that the auction house struggled this season to pull significant consignments from sellers, according to experts. The company's total estimate for the evening sales is far below its competitors and its top lot — a 1984 Basquiat painting with a high estimate of $6.5 million — is almost 90 percent less than the top lot offered in last year's equivalent sale. 'In this market, what we have, we feel we can sell well,' Engelen said. Jean-Michel Basquiat 'Baby Boom' (1982), $20 to $30 million, Christie's 21st Century evening auction, Wednesday Andy Warhol 'Big Electric Chair' (1967-68), about $30 million, Christie's 20th Century evening auction, Monday In 1985, posters promoting a show of collaborative paintings by Andy Warhol and Jean-Michel Basquiat featured the artists posing in boxing gear, as if squaring off instead of teaming up. Four decades later, Basquiat has knocked out all competitors — including the former champion Warhol — to become a bellwether in the art market, according to Christie's global president Alex Rotter. 'If you asked me to name one artist, it's Basquiat,' Rotter said. 'Over the past five years, he has the broadest attraction to people at different price levels.' After a prolonged buying frenzy for Warhol paintings, most prime examples now reside in museums and private collections that are reluctant to sell. His absence in the market allowed Basquiat to become a standard-bearer because his paintings and drawings still frequently circulate. The appearance of Warhol's 'Big Electric Chair' will test if the ultrawealthy's appetite for the artist has shifted. It is the lone Warhol piece estimated to sell for more than $10 million this season and shows Warhol's fascination with America's dark underbelly. 'Big Electric Chair' was featured in the artist's first European and U.S. museum surveys. In 2019, a multicolored version of the piece sold at a Christie's auction just above its low estimate at $19 million. The screen print is also competing in the same price range as Basquiat's 'Baby Boom' painting — one of the artist's most accessible works from 1982, widely considered the best year of his career. The painting is an art historical sendup of religious iconography, reinterpreting the holy family of Jesus, Mary and Joseph as the artist and his parents. Rotter said the Basquiat painting showed the evolution of the artist's style. 'It's '81 where the radical Basquiat comes out. It's '82 where he has confidence with the radicality.' Carroll Dunham 'Bathers Seventeen (Black Hole)' (2011-12), $250,000 to $350,000, Collection of Barbara Gladstone, Sotheby's, Thursday Sotheby's is holding dedicated auctions of artwork owned by two respected gallerists on the same night, a collection from the London gallerist Daniella Luxembourg with a high estimate of $41.1 million and a more modest group once held by Barbara Gladstone, with a high estimate of $17.2 million. Gladstone, who died last year at 89, was a generational force in the art world responsible for boosting artists like Robert Rauschenberg, Keith Haring and Elizabeth Murray into the limelight. Her namesake gallery has continued after her death, with four remaining partners running six locations around the world. There are only two artists in the dozen lots offered at Sotheby's that are still represented by the gallery: Alighiero Boetti and Richard Prince. Another artist, Carroll Dunham, disappeared from the gallery's website only a few weeks ago. Gladstone had held more than a dozen exhibitions of Dunham's artwork since 2004. (A spokesperson for Gladstone Gallery did not reply to requests for comment.) That subtle change has brought some intrigue to the sale of his painting 'Bathers Seventeen (Black Hole).' Although the work is estimated below his auction record of $591,000 in 2017 for 'Integrated Painting Seven,' Gladstone's personal ownership of 'Bathers' could provide a boost — even if Dunham and his gallery have parted ways. 'Works from her collection coming up for sale are iconic examples of each artist's work, and each is a vital piece of contemporary art history,' said Molly Epstein, a senior partner at the advisory firm Goodman Taft. Gladstone choosing to live with these works 'gives them even greater meaning,' Epstein added.
New York Times
09-05-2025
- Business
- New York Times
Where Christo and Jeanne-Claude Cast Their Spells
Hidden among the three-hour-long lines for sample sales, the luxury boutiques selling $4,000 bags and the street vendors hawking $100 knockoffs of those bags, in SoHo, is a time portal. The five-story building at 48 Howard Street is where, for roughly 50 years, the conceptual artists Christo and Jeanne-Claude lived and worked. Much has changed in the neighborhood since the 1960s, when the couple first moved there, renting two floors for just $150 a month. The property value has gone up — the median rent for a property in SoHo these days is $7,750, according to Zumper — but inside, the home remains almost exactly as it was when they occupied it. The top-floor studio still has Christo's sketches, art supplies neatly arranged in cookie tins and an unopened Coca-Cola bottle (their son, Cyril, loved Coke). Downstairs, where they ate and slept, trinkets and family photos surround the dining table and stools he built to furnish the space. Soon after Christo and Jeanne-Claude arrived in the neighborhood, in 1971, SoHo was rezoned to allow certain artists to live and work in their industrial lofts, further solidifying its status as a bohemia. Jean-Michel Basquiat, Barbara Kruger, On Kawara and Richard Prince had all lived in SoHo. Now, more than five decades later, many of the artists from that era have died or left the neighborhood, and the question of what to do with their studios arises. Jeanne-Claude died in 2009, and in 2020, so did Christo. Since then, 48 Howard's future has been uncertain. Their foundation uses the building as its office, but walls are deteriorating, paint is peeling and the facade has needed renovation. The possibility of opening the home up to the public is being explored, but that could mean having to make structural updates to get it up to code and make it accessible, an expensive undertaking possibly undermining its authenticity. 'I consider the apartment and the studio as part of our own archive, especially because Christo and Jeanne-Claude built the place with their own hands — he designed it, and he built literally everything from the walls to the furniture itself,' said Lorenza Giovanelli, the foundation's collection and exhibition manager. 'We want to find a way to keep their legacy alive, preserving the space where they lived and worked.' Christo and Jeanne-Claude were known for their massive, site-specific installations that explored themes of ephemerality and public space. They never accepted money from sponsors, financing their own projects, no matter the scale, so as to remain independent and avoid commercial influence. In 1995, they famously wrapped the Reichstag, the German parliament building, in 100,000 square meters of fabric. A decade later in New York, the couple installed 7,503 saffron-colored, nylon 'gates' in Central Park. They created fleeting, monumental pieces that were feats of engineering and negotiation. Their installations often involved intense debates with governments and were met with protests from environmentalists. The resulting works were owned by no one but could be experienced by everyone, changing the way the public interacted with art altogether. 'Our work is a scream of freedom,' Christo often said in interviews. Earlier this year, coinciding with the 20th anniversary of The Gates, The Shed held a retrospective spotlighting the couple's unrealized projects and, in Central Park, the public could view an augmented reality version of the work. It's no surprise that their works still resonate — in today's post-Covid New York, where many aspects of city life are largely unaffordable and public space feels increasingly threatened, the search for the kind of egalitarian wonder and excitement that Christo and Jeanne-Claude's art provided continues. At a moment when the creation of art at such a scale feels impossible without a corporate sponsor, when most visual stunts are shallow cries for publicity, the preservation of Christo and Jeanne-Claude's legacy feels urgent. And a crucial part of their oeuvre is that the inception of their grand, internationally known works happened humbly, in an unglamorous, gritty industrial building. Discovering SoHo Christo, originally from Bulgaria, and Jeanne-Claude, originally from Morocco, met in Paris in the 1950s. In 1964, they came to New York via the SS France. They brought with them two mattresses, a chair by Gerrit Rietveld and a painting by Lucio Fontana. Those items don't fit easily into suitcases, but Christo 'was a master in terms of wrapping and packing,' Ms. Giovanelli said with a smile. Like many artists of the time, the couple moved into the Chelsea Hotel. They were in search of a more permanent place to stay, and the sculptor Claes Oldenburg, who also lived at the Chelsea Hotel, suggested Christo and Jeanne-Claude check out 48 Howard. Mr. Oldenburg had a studio there and knew that several floors in the building were vacant. The building was owned by two brothers, Max and Ben Rosenbaum, who ran a tin roofsmithing business. They were charging $75 per floor in rent — Christo and Jeanne-Claude immediately decided to move in, taking over the top two floors. Christo and Jeanne-Claude had to 'literally build the walls, paint everything and scrub all the filth,' Ms. Giovanelli said. They called in other artist friends, including Gordon Matta-Clark, to help build a bathroom and closets. Then, they had to furnish the place. Having little money, the couple became 'professional scavengers,' Ms. Giovanelli said. 'They would literally walk up and down the streets of SoHo and Brooklyn and get furniture that other people discarded.' While Christo was shy, Jeanne-Claude 'was known for being shameless,' Ms. Giovanelli said. He'd pretend not to know her as she picked up chairs and tables from the street. The objects in the home 'have a patina of repeated use,' said Yukie Ohta, an artist and archivist in SoHo. 'They aren't quite dirty, but they are not as shiny as the Subzero refrigerators or as fresh as the Room and Board sofas that one might find in a renovated SoHo loft today.' In 1973, the Rosenbaums told Christo and Jeanne-Claude that they were planning to sell the building and had found a buyer. Jeanne-Claude asked whether she and Christo could buy it instead if she could match the offer plus a symbolic $1. The owners said yes, but finances were again a problem for the couple. 'We tried everything possible to get the money,' Christo said in a 2014 interview with T Magazine. 'At the time, we sometimes weren't even able to pay the rent for a few months. But the landlord, Mr. Rosenbaum, gave us a mortgage himself so that we could buy the building from him.' They ended up purchasing the building for $175,000. Dismal Dinner Parties At first, only Christo was recognized as the artist behind the pieces, but in the mid '90s, he started sharing equal credit for outdoor works with Jeanne-Claude. She also acted as his publicist and began hosting dinner parties, inviting influential dealers and gallerists. 'She was notorious for being a terrible cook,' Ms. Giovanelli said. 'They had no money at all, so she would cook flank steak and canned potatoes. That was it.' The evenings were often the source of gossip in the art world, Ms. Giovanelli added. They didn't always curate the guest list carefully, and some of the attendees didn't get along. In Burt Chernow's biography of the couple, the dealer Ivan Karp described one of the gatherings as 'a disastrous, bleak evening with some of the worst food served in a private home, ever!' Still, some people returned — two frequent dinner guests were Marcel Duchamp and his wife, Teeny. In 1981, Willy Brandt, who had served as the chancellor of West Germany from 1969 to 1974, visited the home to discuss a seemingly impossible project. Christo had been plotting to cover the Reichstag in fabric. The building has a dark history — in 1933, four weeks after Adolf Hitler became chancellor, it was set on fire. A pivotal moment in the Nazi regime's rise, the event would be used to rationalize mass arrests and the suspension of press freedom. German authorities repeatedly denied Christo and Jeanne-Claude permission to wrap the building. But they had the support of Mr. Brandt, who had come to 48 Howard to urge them not to give up. In 1992, however, Mr. Brandt died. The couple continued to push. The project became the subject of a roll-call vote in the German parliament in 1994, and Christo and Jeanne-Claude won by 69 votes. The following year, in his victory lap, Christo stated his mission plainly. 'Nobody can buy this project. Nobody can own this project. Nobody can sell tickets to this project,' he told The Los Angeles Times the week before its unveiling. 'This work will not exist because a president wants it, or because a corporation commissioned it, but only because of the artist, who is not rational.' Then, over 200 workers draped silvery fabric over the Reichstag. From conceptualization to realization, the project spanned three decades; it stayed wrapped for just two weeks. The display cost over $15 million, money the couple earned by selling Christo's sketches and models. It was 'the only time in history that the creation of a work of art was decided by a debate and a roll-call vote in a parliament,' Jeanne-Claude told Sculpture magazine in 2003. A 'Sacred' Space Christo's studio is 'the most sacred part of the house,' Ms. Giovanelli said. Stepping inside is like entering the great artist's mind. Every item is meticulously organized — a single marker used to create 'the red edge' is labeled and taped to a desk, a can of YooHoo is repurposed to hold pens. Technical drawings and maps abound — a plan with measurements for wrapping Snoopy's doghouse is hung on the wall next to a photo of Jeanne-Claude. Jeanne-Claude's imprint is all over, too. Where the radiator used to be, she traced the words 'I Love You' out of grime on the wall. In the living area, she also pasted pieces of paper with quotes she enjoyed around the space, one of which reads, 'to be is to do (Descartes) / to do is to be (J-P. Sartre) / do be do be do (Sinatra).' The public anger and institutional battles that came with every work were part of the art itself. 'For me esthetics is everything involved in the process — the workers, the politics, the negotiations, the construction difficulty, the dealing with hundreds of people,' Christo told The Times in 1972. 'The whole process becomes an esthetic — that's what I'm interested in, discovering the process. I put myself in dialogue with other people.' And though there were many triumphs — L'Arc de Triomphe, Wrapped in Paris and Surrounded Islands in Florida — there were also several occasions in which the years of fighting didn't lead to success. Starting in the 1990s, the couple wanted to suspend nearly six miles of luminous fabric over the Arkansas River. In 2011, two years following Jeanne-Claude's death, Christo received the permits necessary to bring the project to life. But then, environmentalists protested, a local opposition group called Rags Over the Arkansas River formed and students at Denver University's Environmental Law Clinic filed a lawsuit to halt the project. But only in 2017, after President Trump was first sworn in, did Christo announce he wanted to step away from it, in an act of his own protest. 'The federal government is our landlord. They own the land,' Christo told The Times following his decision. 'I can't do a project that benefits this landlord.' Though the physical installation never came to fruition, in a way, the work still existed through the conversations it sparked. And still proudly on display in the home today is a bumper sticker made by Rags Over the Arkansas River, which reads, 'Just say no to Christo.' Even now, the dialogues inspired by Christo and Jeanne-Claude's work, spawned from 48 Howard, are ongoing. 'The aura of the possible, which is what drew people to SoHo in the first place,' Ms. Ohta said, 'emanates from the building's bones.'
Yahoo
09-05-2025
- Entertainment
- Yahoo
TikToker Gives Himself a Tour of Madonna's $40 Million Gothic-Style Home: 'Guys, This Is Insane'
Fashion content creator Lyas took his 250,000 TikTok followers on a virtual walkthrough of Madonna's private Manhattan residence. 'Guys, this is insane. I'm in Madonna's house,' Lyas says as he opens and steps through a black French door and into the Pop Icon's space. The first thing he spots is a framed photo of Madonna, 66, alongside the late artist Jean-Michel Basquiat, proudly displayed in the entryway. He then climbs a staircase finished in glossy black into a mid-flight room, and then at the top of the stairs, a larger living room. The apartment's interiors lean into a dramatic, gothic aesthetic, complete with dark tones, statement pieces, and ambient lighting. Lyas walks past a mirror framed with sculpted tree branches and glides by glowing candelabras, all adding to the moody TikToker Lyas gives fans a solo tour of Madonna's gothic Manhattan home Madonna's apartment features exclusive Basquiat art, her many awards, and a signed photo from former president Barack Obama The video ends with Madonna smoking a cigar in her all-white glam room, presumably before her Met Gala appearanceAs he quietly explores the apartment, lighting the way with his phone, Lyas enters another spacious living area that features a massive black-and-white portrait of Madonna, captured by celebrated photographer Steven Klein. Lyas then creeps into Madonna's personal office — a room filled with iconic pop culture memorabilia. The shelves are cluttered with framed photos and keepsakes, among them her Golden Globe statues and her Rock & Roll Hall of Fame award. Further into the home, Lyas reveals another living area, one that showcases Madonna's eclectic tastes. A white couch anchors the room, complemented by a desk, a coffee table with fresh pink flowers, family snapshots, and artwork leaning on various walls. A piano sits near a fireplace, surrounded by staged guitars — a nod to the artist's musical legacy. 'This is giving coven,' Lyas says while scanning the shadowy décor. He finds a framed photo of Madonna with former President Barack Obama, complete with a personal signature from the world leader. The space also houses original artwork, including a piece by Keith Haring and a Basquiat sketch of Madonna. Additional treasures include collector's books and a vintage typewriter with pages from Who's That Girl (1987) — marked with hardened candle wax droplets. The tour continues into a private bar room adorned with mirrored walls and an eye-catching glass chandelier, before Lyas walks through a couple of hallways lined with contemporary art. The video ends with a surprise encounter: Madonna herself, casually smoking a cigar in her all-white glam room, which has the complete opposite vibe of the rest of the home. 'Oh, hi,' Lyas says upon entering, and is met with a cool, nonchalant greeting from the musician as she puffs on her cigar. Her all-white dressing room is complete with multiple mirrors, a vanity filled with beauty products, warm lighting from sconces, and a large chandelier. The video appears to have been filmed on Monday, the same day Madonna attended the 2025 Met Gala, wearing the very same all-white Tom Ford tuxedo seen at the red carpet event. Read the original article on People
Yahoo
26-04-2025
- Automotive
- Yahoo
Count Rossi's Street-Legal Porsche 917 in Photos
More from Robb Report A Rare Early Basquiat Painting Could Fetch $15 Million at Auction A 140-Year-Old Hamptons Home With Original Detailing Just Listed for $14.3 Million American Spirits Brands Exported a Record $2.4 Billion Last Year Best of Robb Report The 2024 Chevy C8 Corvette: Everything We Know About the Powerful Mid-Engine Beast The World's Best Superyacht Shipyards The ABCs of Chartering a Yacht Click here to read the full article. Count Rossi's Porsche 917 The race car was converted for road use in 1975 The dashboard was covered in suede The tan leather seats were commissioned from Hermes The 917 drove from the factory to Paris Gregorio Rossi di Montelera and his street-legal Porsche 917
