1993 Elf Master Karting, Paris Ayrton Senna Go Kart front clip
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This incredible piece is the front clip of the Go Kart # 2 driven by Ayrton Senna during the 1993 Elf Master Karting, in Bercy / Paris / France. It has been hand signed and dated in blue marker by Ayrton Senna.
On that December weekend, fans were treated to the final competitive head-to-head between Formula 1 giants Alain Prost and Ayrton Senna. And, predictably, the pair took it very seriously: four-time world champion Prost having tested extensively before the event; Senna, a three-time title holder, having a kart shipped to Brazil so that he could practise.
The format for the two-day event organised by French racer Philippe Streiff, wheelchair-bound since a pre-season F1 testing accident in Brazil in 1989, pitted over 60 drivers – more than a dozen of them contemporary grand prix racers – against each other around a 600-metre circuit.
Young karting stars, including Danilo Rossi, Nicola Gianniberti, Miku Santavirta and Sebastien Enjolras, strutted their stuff on the first day, with Rossi coming out on top in their final.
But it was the team events that fans had really come to see. Following two qualifying sessions, teams were made up of three drivers (one F1 star from each of the two sessions and one karting youngster).
And with Senna and Prost joined by Philippe Alliot, Paul Belmondo, Eric Bernard, Andrea de Cesaris, Yannick Dalmas, Betrand Gachot, Jean-Marc Gounon, Olivier Grouillard, Damon Hill, Johnny Herbert, Pierluigi Martini and Olivier Panis, the fans were in for a treat.
In the first relay, the Prost and Senna squads both hit trouble with their 100cc karts, leaving the team led by Minardi ace Martini to win.
The finale promised one last hurrah for Prost and Senna. Sadly for fans, Ayrton’s kart broke as he was reeling in erstwhile leader de Cesaris. The Italian soon fell behind Prost, leaving the world champion to uphold local honour.
Senna, who twice finished runner-up in the world karting championship, later gave a group of journalists a few tips on how to master karting.
“You have to drive sideways because go-karts are small, short-wheelbased and very quick to react. You are always sideways at some stage of the corner so that you can position yourself better to get a feel for the grip. In that respect it’s very different from a racing car.
“In a racing car, if you try to lean on it you just slide and go off. In a kart you have to be hard and aggressive, but also precise. You use your body a little bit and normally your back suffers from the seat, especially if you haven’t been in one for some time.”
Lot Title: Race-Used Ayrton Senna McLaren MP4/5 Windscreen – Monaco Grand Prix 1989 – TAG Heuer Livery – With Neil Trundle Provenance
Description: An exceptional and highly evocative piece of Formula 1 history, this original race-used windscreen comes from the McLaren MP4/5 driven by Ayrton Senna during the legendary 1989 Monaco Grand Prix weekend—one of the most iconic circuits and defining races in motorsport.
The windscreen, bearing the period-correct TAG Heuer branding, was used by Senna en route to a dominant performance, securing pole position and victory at Monaco—further cementing his mastery of the principality’s streets. Constructed from clear Perspex with its original black lower trim, the piece exhibits authentic race wear, including light scratches, surface marks, and patina consistent with period use, enhancing both its authenticity and display appeal.
This example represents a “medium length” configuration, consistent with Monaco specifications, where aerodynamic and visibility adjustments were critical for the tight, technical circuit. The shape, mounting points, and trim details align with known MP4/5 race components from the era.
Provenance: Accompanied by a signed letter of authenticity from Neil Trundle, Chief Mechanic to Ayrton Senna and Alain Prost at McLaren during this period. The letter confirms:
Use by Ayrton Senna in the 1989 Monaco Grand Prix (MP4/5)
Standard post-race removal and retention practices by team mechanics
Period-correct characteristics and configuration of the windscreen
Such direct team-issued provenance from a senior McLaren figure of this stature is exceptionally rare and significantly elevates the importance and collectability of the piece.
Condition:
Original race-used condition
Visible wear including scratches, minor scuffs, and aging to decals
Missing upper rubber trim (not uncommon due to period reuse practices, as noted in the letter)
Structurally sound and well-presented on a custom display mount
Display: Mounted on a bespoke wooden plinth with descriptive plaque, accompanied by the original certificate and period reference imagery—ready for immediate exhibition in a private collection, gallery, or museum setting.
Significance: Artifacts directly linked to Ayrton Senna—particularly from Monaco, where he earned the title “King of Monaco”—are among the most coveted in Formula 1 collecting. Components from the dominant McLaren-Honda era (1988–1991) are especially rare, with very few surviving outside institutional or team archives.
Estimate: Upon request
1976 Niki Lauda Ferrari 312 T2 rear wing
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Niki Lauda rear wing used on the Ferrari 312 T2 during the 1976 season.
"Caracciola" sculpture by Emmanuel Zurini
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Emmanuel Zurini. Bronze on black marble with patina nickel polishing80012
Theme: Caracciola.
Sculture: Bronze on black marble.
Patina: Polished nickel
Signature: Zurini
Time: Contemporary
Dimensions: 539mm X 189mm X 85mm
This is # 5 out of 8
Emmanuel Zurini , with an incredible understanding of line and form, sculpts automobiles, airplanes and boats off-shore, trapping in the material the object of his passion: speed. The love of beauty, has arguably the Zurini. . What book to look, it's essentially the spirit of an automobile, retaining only its elegance and power. Zurini, born in 1942, a schoolboy Prévert: studies short, head to the window he enjoys running, it becomes photographer of great price, published and exhibited. Begins, more than thirty years, with apparent ease, a career happy. In making good in his hands the tools of the stonemason, he pursued an obsessive and relentless pursuit of perfection volumes, drawing diagrams of simplified passionately, holding the rib horizontal lines, patiently sharpening edges, polishing and re-polished surfaces as if to give the material a transparent soul, carefully monitoring the fonts, the gold brick, until a mysterious form, the synthetic expression of a car and a dream of dazzling speed. These cars fluids seek the caress and restore the tactile tenderness of the creative act. Zurini despise the foil, and yet excels in the golden glow of bronze. Simultaneously, he uses the finest materials, the block of marble and granite, technical exercise dangerous. The stone has a meaning, it is charged in office, always the same. With the volume, the veins appear from all angles. The sculptor to harmonize and balance the whole. At maturity, Zurini can undertake all enlargements of the monumental work for which he has the temperament and the breath, the ... jewelry, because his hands have the delicacy of a blacksmith of the goldsmith.
"Elegance" sculpture by Emmanuel Zurini
Regular price
Emmanuel Zurini bronze sculpture from 1978
This is # 3 out of 8
Emmanuel Zurini , with an incredible understanding of line and form, sculpts automobiles, airplanes and boats off-shore, trapping in the material the object of his passion: speed. The love of beauty, has arguably the Zurini. . What book to look, it's essentially the spirit of an automobile, retaining only its elegance and power. Zurini, born in 1942, a schoolboy Prévert: studies short, head to the window he enjoys running, it becomes photographer of great price, published and exhibited. Begins, more than thirty years, with apparent ease, a career happy. In making good in his hands the tools of the stonemason, he pursued an obsessive and relentless pursuit of perfection volumes, drawing diagrams of simplified passionately, holding the rib horizontal lines, patiently sharpening edges, polishing and re-polished surfaces as if to give the material a transparent soul, carefully monitoring the fonts, the gold brick, until a mysterious form, the synthetic expression of a car and a dream of dazzling speed. These cars fluids seek the caress and restore the tactile tenderness of the creative act. Zurini despise the foil, and yet excels in the golden glow of bronze. Simultaneously, he uses the finest materials, the block of marble and granite, technical exercise dangerous. The stone has a meaning, it is charged in office, always the same. With the volume, the veins appear from all angles. The sculptor to harmonize and balance the whole. At maturity, Zurini can undertake all enlargements of the monumental work for which he has the temperament and the breath, the ... jewelry, because his hands have the delicacy of a blacksmith of the goldsmith.
"Offshore" sculpture by Emmanuel Zurini
Regular price
Emmanuel Zurini bronze sculpture names "Offshore" representing the speed boat of Didier Pironi in 1990
55 cms / 22" long
Number# 4 / 8
Emmanuel Zurini , with an incredible understanding of line and form, sculpts automobiles, airplanes and boats off-shore, trapping in the material the object of his passion: speed. The love of beauty, has arguably the Zurini. . What book to look, it's essentially the spirit of an automobile, retaining only its elegance and power. Zurini, born in 1942, a schoolboy Prévert: studies short, head to the window he enjoys running, it becomes photographer of great price, published and exhibited. Begins, more than thirty years, with apparent ease, a career happy. In making good in his hands the tools of the stonemason, he pursued an obsessive and relentless pursuit of perfection volumes, drawing diagrams of simplified passionately, holding the rib horizontal lines, patiently sharpening edges, polishing and re-polished surfaces as if to give the material a transparent soul, carefully monitoring the fonts, the gold brick, until a mysterious form, the synthetic expression of a car and a dream of dazzling speed. These cars fluids seek the caress and restore the tactile tenderness of the creative act. Zurini despise the foil, and yet excels in the golden glow of bronze. Simultaneously, he uses the finest materials, the block of marble and granite, technical exercise dangerous. The stone has a meaning, it is charged in office, always the same. With the volume, the veins appear from all angles. The sculptor to harmonize and balance the whole. At maturity, Zurini can undertake all enlargements of the monumental work for which he has the temperament and the breath, the ... jewelry, because his hands have the delicacy of a blacksmith of the goldsmith.
