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1965 Aston Martin DB5 Convertible fetches record $2 million in Paris

Aston Martin and Ferrari may occupy similar territory in the current market for new cars, or at least overlap, but when it comes to their respective classics, they're in different leagues. While some classic Ferraris can sell at auction for eight figures, the highest prices ever paid for classic Astons work out to seven. That makes this latest result something of a world record. At its recent auction, held at the Grand Palais in Paris during the Retromobile classic car show this past weekend, venerated auction house Bonhams sold a 1965 Aston Martin DB5 Convertible (one of just 35 left-hand-drive models made) for the equivalent of $2.14 million. That makes it the highest price ever paid for a production DB5 - coupe or convertible - in the history of automobile auctions, driving the most successful automobile auction Bonhams has ever held in Europe. It was not, strictly speaking, the most ever paid for any Aston, however. That honor, according to Sports Car Market, goes to the 1955 DB3S racer that Gooding & Co. sold for $5.5 million at Pebble Beach last year. Nor was it the most expensive DB5 (modified or otherwise), after the highly modified one from the James Bond movies Goldfinger and Thunderball sold for $4.6 million back in 2010. This latest record easily eclipsed other production DB5s, though: The most we'd ever seen a standard model sell for was $1.65M at RM's auction in Monterey last year. Other high-priced Aston auctions include a Zagato-bodied 1960 DB4 GT "Jet" ($5M, Bonhams 2013), another DB3S ($3.7M, RM 2012), a '57 DBR2 ($3.4M, Christie's 1985), a Ghia-bodied '56 DB2/4 ($2.3M, RM 2013) and a series of DB4 GTs that have gone for between $2.2 and $2.7 million.

Aston Martin reveals Vantage GTE art car for Le Mans

The Gulf livery is undoubtedly one of the most iconic in all of motorsport, but at the 24 Hours of Le Mans this year, Aston Martin will be running an altogether more original color scheme. Looking like something between a television test pattern and a 3D projection viewed without the requisite glasses, the livery is actually designed as an optical illusion, to distort perception and trick the eye into thinking the car is moving even when it's sitting still. Of course it still features the unmistakable Gulf logos, and is made up of alternating bars of orange, yellow, blue, and black. It's the work of German artist Tobias Rehrberger, renowned for his abstract experimental art, and will appear on the #97 Vantage GTE this coming weekend when the famous endurance race gets under way in Western France. ASTON MARTIN UNVEILS REHBERGER VANTAGE GTE - Aston Martin Racing unveils 24 Hours of Le Mans art car - Design revealed to racing fans in Le Mans town centre - Unique effects on Vantage GTE created by artist Tobias Rehberger 8 June, Le Mans: Aston Martin Racing is today unveiling a 24 Hours of Le Mans art car designed by artist Tobias Rehberger. The unique creation gives the Gulf #97 Vantage GTE the illusion of movement and speed, even when static. Rehberger is renowned for his abstract art and optical effects that distort perception and has received numerous international prizes and awards, including the Golden Lion for best artist at the 2009 Venice Biennale. Aston Martin Racing invited him to design a livery that would work with the Gulf Vantage GTE's lines and colours in a way never attempted before. Thirty years since the first art car ran in the 24-hour race, Rehberger set out to create a design that uses geometric shapes and patterns to give the car, when static, the impression of movement and speed. The German artist, who will attend Saturday's race as a guest of Aston Martin Racing, explained: "My design for the Aston Martin art car is rooted in my interest in distorted perception and related phenomena like auto moving patterns, optical effects, camouflage and visual confusion, which I have addressed in many works before. "In this case, the design is based on a geometric optical effect pattern.

Aston Martin lead designer doesn't fear the future

Marek Reichman is the chief creative officer of Aston Martin, so he oversees the creation of some of the world's most desirable vehicles. This includes not only the production cars from the venerable British brand, like the DB11 coupe and convertible, or the all-new Vantage, but also "Specials." These limited-edition, extremely expensive, outrageous and drool-worthy custom vehicles are developed by Aston's special advanced engineering skunkworks, like the Vulcan and Valkyrie. And, now, with the revival and reimagining of Lagonda as an electric and autonomous ultra-luxury sub-brand, he's also responsible for creating a full line of vehicles to fill out its offerings — a limousine, a coupe and an SUV. Speaking at the global launch of the brand's new Vantage — long its best-selling vehicle and the entry-level gateway into the Aston universe — Reichman is cautiously optimistic about the future of the traditional sports car. In part, because he believes that some humans will always crave speed and feel. "Washing clothes became automated, building refrigerators became automated. Everything becomes automated, because we see it as advanced," Reichman says. "But there will always be a segment of the population that wants that experience. That engagement." Of course, as technology advances toward the alleged inevitability of our electric and autonomous future, and rules regarding who can own or drive what kind of car lead or follow, this segment may become increasingly restricted. Reichman lives in Oxford, England, which will become the first city in Europe to completely ban carbon-emitting vehicles in the start of the next decade, so he is well aware of these impending changes. "At the high performance end it might become the province of the rich, who will need private spaces to use these vehicles," he says. "But what will happen with the Morgans or the Lotuses of the world — the more accessible brands? There may still be a place for them." View 17 Photos This sense of possibility stems from Reichman's belief that the next generation can hold simultaneously divergent ideas. "I think there is always going to be a space for the personal need and desire for performance driving. I see it even in kids today," he says. "They believe in the world of electrification. That that is their inevitable future.