Bentley Designers Auction Their Art For Charity

On Tuesday, December 1st, Bentley Motors staged an exclusive art auction at Bonhams, London, to raise money for The Christie, a specialist cancer centre in Manchester, which treats 40,000 patients a year and is an international leader in cancer research.



Like all car designers, the Bentley designers began their training sketching and crafting models before actually designing a full fledged automobile. By drawing on their talents (pardon the pun), members of the styling and design team for Bentley Motors have created individual pieces for the auction in varied mediums including sculpture, acrylic paintings, digital art and photography.

The New York Times mistakenly reported that there were 22 items up for bid, but there were 40. I think they may have meant 22 designers.. but there are actually 25. I do not know the results of the auction or the bid prices, but here are ALL the items that were included.

Like all art, it's very subjective, but there are definitely some pieces that are far better executed than others in the auction. The sculptures, in particular, were very interesting. No doubt the result of years of clay car modeling.

clicking on the images below will enlarge them:

Dirk Van Braeckel, Bloodline of Bentley (Lot 18):

One-off framed digital print, 244 cm x 78 cm

Daniele Ceccomori, Timeless Mulsanne (Lot 3):

Laser cut Perspex and walnut veneered base, 65cm x 45 cm x 25 cm

Frederic Dams, Layered Portrayal (Lot 13):

Aluminium, leather, wood veneer, engine turned metal, automotive paint, lacquer, etched Perspex and acrylic paint, 87 cm x 60 cm. Etched glass kindly donated by Cutting Technologies Ltd and Engine turning donated by Frazero Ltd.

Frederic Dams, Mulsanne Cornering (Lot 34):

Acrylic on canvas, 170 cm x 80 cm

Frederic Dams, Dynamism of a Continental at Speed (Lot 43):

Sculpture machined from digital data, with vacuum formed acrylic, 70cm x 25cm x 17cm

Darren J. Day, In_spiration (no lot.#, this item was withdrawn from the auction):

Machined digital sculpture mounted on trimmed engine turned base with vertical mirror
34cm x 60cm x 30cm. Engine turning kindly donated by Frazero Ltd.

Simon Cooksey, Bentley 8 Litre (Lot 28):

Acrylic on canvas, 150 cm x 50 cm

Darren J. Day, Bentley R-Type Continental 1953 by H. J. Mulliner (Lot 32):

Framed photomontage, 153 cm x 104 cm

Darren J. Day, Bentley S2 Continental 1962 D.H.C. by Park Ward (Lot 33):

Framed photomontage, 153 cm x 104 cm

Vitalis Enns, Bentley Mulsanne Tape Drawing (Lot 8):

Black styling tape on Perspex, 220 cm x 70 cm

Vitalis Enns, Bentley at Le Mans (Lot 9):

Acrylic on canvas, 170 cm x 70 cm

Vitalis Enns, Bentley Speed 8 Tape Drawing (Lot 10):

Black styling tape on Perspex, 280 cm x 180 cm

Richard Gilmartin, The 6.5 Litre Blue Train car (Lot 11):

Acrylic on canvas, 180cm x 60cm

Richard Gilmartin, The Flowing 'B' (Lot 12):
This lot is made up of two pieces: 1. A mascot which can be fitted to a Mulsanne radiator shell.

Chrome and Perspex, 6cm x 7cm x 10cm

2. Sculpture: Machined Aluminium, Perspex and Piano Black, 15cm x 12cm x 10 cm
Manufacturing of the models kindly donated by Materialise.

John Paul Gregory, Le Mans One-Two (Lot 15):

Acrylic on canvas, 170 cm x 70 cm

Richard Killgren, Speed 6 (Lot 29):

Acrylics on canvas, 61 cm x 92 cm

Rajesh Kutty, Sculpture of Speed (Lot 19):

SLS protoype resin, coated with copper and chrome.
Model produced and kindly donated by Materialise.

Rajesh Kutty, Complementing Facets (Lot 37):

Acrylics on canvas, 183 cm x 60 cm

Rajesh Kutty, Bentley Imprinted (Lot 38):

Etching on anodised Aluminium with couloured grooves, 120cm x 50cm x 35cm
Etching kindly donated by Cutting technologies Ltd.

Crispin Marshfield, Art Deco Poster (Lot 25):

One-off framed digital print, 140 cm x 110 cm

Dominic Najafi, Meet The Family (Lot 24):

Acrylics on canvas, 200 cm x 70 cm

Dominic Najafi, Bentley S1 Continental Flying Spur_ A Timeless Design (Lot 42):

One-off framed digital painting, 100 cm x 40 cm

Robin Page, Bentley Mulsanne Sketch on Canvas (Lot 5):

Acrylics on canvas, 100 cm x 55 cm

Robin Page, Living the Dream (Lot 6):

Acrylics on canvas, 75 cm x 60 cm

Robin Page, Ambience (Lot 7):

Acrylic on canvas, 100 cm x 75 cm

Timothy Potts, Birkin 137 (Lot 2):

Life size bronze cast of Tim Birkin driving, Approx. 100 cm x 60 cm x 80 cm

Timothy Potts, Design Inspiration for Flying ‘B’ (Lot 39):

Bronze sculpture, 50cm x 25cm x 50cm

Jonathan Punter, Bentley Speed Form (Lot 4):

Straight grain walnut with a veneered face, 100cm x 50 x cm 15 cm

Jonathan Punter, Fast Lane (Lot 36):

Acrylics on canvas, 140 cm x 40 cm

Raul Pires, Automobile (Front) (Lot 21):

Acrylic & oil paint on printed canvas, 166 cm x 83 cm

Julien Plougastel, Bentley Embiricos Form (Lot 20):

Sculpture, machined from digital data, 120cm x 50cm x 35cm

Andrew Plumb, Mulliner Park Ward (Lot 23):

One-off framed digital print, 110 cm x 66 cm

Lisa Reeves, Bentley Interior (Lot 27):

Leather trimmed sculptural wall hanging, 90cm x 60cm

Gareth Thomas, Blower Bentley & Brollies (Lot 14):

Acrylics on canvas, 150 cm x 50 cm

Alex Watkin, Blue Train & Brooklands Ink Drawing (Lot 22):

Framed pen and ink drawing, 100 cm x 70 cm

Alex Watkin, 3 Litres & Speed 6 at Silverstone (Lot 40):

Acrylic on canvas, using pallet knife and brushes, 170 cm x 60 cm

Jakob Annermalm, Mother Gun Front (Lot 30):

One-off framed digital print, 123 cm x 70 cm

Jakob Annermalm, Mother Gun Rear (Lot 31):

One-off framed digital print, 123 cm x 70 cm

George Bowen, Brooklands Interior Painting (Lot 16):

Acrylics on canvas, 80 cm x 60 cm

Brett Boydell, The Flying 'B' (Lot 17):

Acrylics on canvas, 135 cm x 77 cm

Brett Boydell, The Flying Birkin (Lot 35):

Acrylics on canvas, 113 cm x 74 cm

Group Project, Pixelated Picture ( item not up for auction):

The idea behind this work of art was to create a piece everyone involved in the Art Project could contribute to. The use of a pixelated image allowed all the artists their own interpretation of the colours of the squares they were invited to paint. The image came to life slowly; gradually showing its beauty by drawing energy from the intriguing concept that the image only becomes truly clear from a distance. The exciting scene from a classic Le Mans race was used because of its atmospheric, contrast rich lighting quality. This piece was not included in the auction, but will remain at the Crewe factory as a reminder of the Bentley Styling & Design Art Project.


Bentley designer Richard Gilmartin (above) has been raising funds to support the charity since 2001 and is the inspiration behind the exceptional project. Working with his colleagues, Richard aims to surpass his previous fundraising achievements by auctioning this unique collection.

Bentley Motors

12 Artist Designed Magis Puppies Up For Auction Thru Jan. 6

12 designers and artists from different disciplines have each dressed up a Magis Puppy for a charity auction in support of ASD (Action for Singapore Dogs).

Hirst Buys Bacon, Sothebys Makes Bread

Above: Tobias Meyer with Bacon's Self-portrait

There's been a lot of talk about art prices falling and auction houses suffering. However, just the other night, on November 14th, Sotheby's Evening of Contemporary Art Auction in New York set several records and hopes soaring.

Below is a reprint of an article written by Colin Gleadell for the UK's Daily Telegraph. I added the images for your entertainment and information.

Art sales: Damien Hirst's £16m for a slice of Bacon
Colin Gleadell on Damien Hirst's expensive purchase

Damien Hirst may have lost his title as the most expensive living artist at auction to Jeff Koons in New York last week, but he can still claim to be not only the richest artist in the world but also the one who spends the most on art.


Above: Francis Bacon, Self Portrait 1969, sold for $33,081,000 Sotheby’s New York, Nov. 14, 2007

Artist to artist: A 1969 self-portrait by Francis Bacon, which was bought by Damien Hirst bidding anonymously by telephone last Wednesday, he splashed out $33 million (£15.9 million) at Sotheby's on a 14" by 12" in self-portrait by Francis Bacon – easily a record for a small painting by Bacon, and surely one for an artist buying at auction.


Above: Damien Hirst's Platinum and diamond skull which received lots of press

In his excitement, the auctioneer Tobias Meyer, who knew Hirst was bidding, forgot the normal routine of noting down the buyer's registration number on the winning paddle. "I was too happy," he said. And why not?


Above: Tobias Meyer at Sotheby's

With that purchase, Hirst, who now owns four Bacons, joins an elite group of big spenders who last week allayed fears of a slump in contemporary art prices. The group includes the diamond dealer Laurence Graff and the hedge-fund manager Steve Cohen.


Above: Francis Bacon's Second Version of Study For A Bullfight #1, sold for $45.9 million

It is thought that Cohen bought the top lot of the week, Bacon's Study for Bullfight, for $46 million. And Graff spent nearly $30 million on two paintings by Warhol and one by Jean-Michel Basquiat.


Above: Basquiat, Untitled (Electric chair) 1981 - 1982, acrylic, gold spray paint and oilstick on canvas, Sold For 11,801,000 US$

He may have been in partnership with Larry Gagosian when the dealer bought a big Koons sculpture at the sales - the 8ft stainless-steel Blue Diamond, for $11.8 million.


Above: Koon's 8ft stainless steel Blue Diamond, sold for $11.8 million

On the surface it was a glittering display by the art world. More than 100 records were broken and $950 million was spent on contemporary art during the week.

This was itself a new record, close to the highest estimates for the sale set in the balmy early summer when credit crises were barely a glimmer in the eye of far-sighted Wall Street analysts.

Adding style to the occasion were the fashion designers Marc Jacobs, resplendent with blue hair and green scarf, and Valentino. Outbid as a buyer, Valentino successfully sold two paintings by Mark Rothko and a Hirst.

One of the Rothkos, which was sold for $21 million, cost $1.7 million at auction nine years ago. The Hirst made a record for a spot painting in 2003, selling for $438,000; Valentino sold it for $1.6 million last week.


Above: Jeff Koons' Hanging Heart, presently the world-record for art auction sales by a living artist; $23.6 million

The biggest mark-ups, though, came for Koons's $23.6 million Hanging Heart, for which the seller, the US property developer Adam Lindemann, had paid $4 million last year, and for Richard Prince's 2002 painting, Piney Woods Nurse, which was sold by the West coast collectors Nora and Norman Stone for $5.4 million.


Above: Richard Prince's Piney Woods Nurse, 2002, sold for $5.4 million

Bought by the London dealer Jay Jopling, the painting would have cost less than $100,000 when first shown four years ago.


Above: LUCIAN FREUD, Ib and her Husband (1992) ©The Artist, Oil on canvas, 16.8 x 14.7 cm Private Collection, sold for $19.36 million

Older generation artists in demand included Lucian Freud, whose portrait of his daughter, Ib and Her Husband, sold for $19.36 million, making him the most expensive living European artist at auction (in dollars), just ahead of Hirst; the American "Pop" artist Ed Ruscha, whose classic Burning Gas Station was sold by the collector Kent Logan for a record $6.98 million; and the junk-sculpture artist John Chamberlain, whose twisted wreck of car parts sold for a record $4.6 million.


Above: Ed Ruscha's Burning Gas Station, sold for $6.98 million

Among the rising stars attracting accelerating prices were the young Americans Mark Grotjahn and Jules de Balincourt, and the German Anselm Reyle, in all of whom Charles Saatchi has wisely invested.

However, there were some warning signs. At the main Christie's sale, 39 per cent of lots were sold at or below low estimates or not at all.

Nearly half the lots, carrying a combined low estimate of $173.5 million, had been guaranteed, and they realised just $176 million excluding auctioneer's commission. So profit levels must have been minimal.

US buying was also relatively low at around 50 per cent. In recent seasons this has been as high as 82 per cent for New York contemporary art sales, which are aimed mainly at the American market.

Sotheby's had made an even higher level of financial guarantees to sellers, regardless of the outcome of the sales, but, in contrast to last week's Impressionist sales, met it comfortably. The $316 million sale was Sotheby's largest of any kind, ever.

But there was sufficient evidence to predict that, come the next series of important Impressionist and contemporary art sales, in London in February, estimated prices and guarantee levels will be more conservative.

The bubble has not burst. But clouds are still gathering ominously.
__Colin Gleadell for the UK's Daily Telegraph




Click here to see Artnet's illustrated catalog of the Sotheby's Art Auction On November 14, 2007