Magneto Issue 25

SPRING 2025 £12.95 PRINTED IN THE UK

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P E T E R S T E V E0N S ’ U N C 330 O M P R O M I S I N G 30 F 1 D E S IMcLaren G N S TF1O XP1 R Y LM 300 60 225MPh 270 90 240

H O W T H E U N L I K E LY F 1 D O M I N AT E D AT A N Sf1I XP1 N 1lm9 9 5 mclaren bare carbonfibre L E M dihedral doors 640bhP/tonne weigh just 7kg each (which includes the weight of the sideintrusion beam)

mclaren f1 XP1 lm

mclaren f1 lm road car Year of Production

1996

mclaren f1 lm road car eXamPles built

5

680bhP

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330 300 GANDINI’S OUTRAGEOUS mclarEn f1 road car Each carFERRARI containsRAINBOW 16g 550bhp/tonnE

of gold. thE foil is usEd for its highly EffEctivE hEat-rEflEcting propErtiEs

mclarEn f1 road car

3.2sEc 0-60mph

mclarEn f1 road car thE throttlE pEdal was hand-craftEd out of six sEparatEJAGUAR piEcEsE2A, mclarEn f1 road car of titanium

627bhp

THE PROTOTYPE 114 0 kg THAT ESCAPED THE CRUSHER

mclarEn f1 road car yEars of production

1993-98

mclarEn f1 road car ExamplEs built

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240.14m ph THE CARS THAT MADE PRODRIVE...

911 TO DACIA

270 240 210

March 31, 1998 ehra-Lessien Proving ground

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60 90 120

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XP5 PrototyPe TOP 50 WorLd’s fastest GREATEST Production car PININFARINA record set DESIGNS

CLASSIC CARS EVENT ORGANIZER

RACES

CONCOURS D’ELEGANCE

More information and calendar at www.peterauto.fr

Photo credits © Mathieu Bonnevie

RALLIES

BY APPOINTMENT TO HM QUEEN ELIZABETH II PHARMACIST & PHARMACY SUPPLIES LONDON

29 St. James’s Street, London, SW1A 1HD www.drharris.co.uk

BY APPOINTMENT TO HRH THE PRINCE OF WALES CHEMIST LONDON

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21 S TA R T E R Ecclestone’s cars, fast four-door Bentleys, carcollection qualification, Charlie Ross’ gavel, new Escort Mk1 RS, Broad Arrow growth and more

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MCLAREN F1 ROAD CAR

MCLAREN’S 1995 LE MANS WIN

BERTONE RAINBOW

PRODRIVE’S G R E AT E S T H I T S

Peter Stevens tells the design story of the world’s greatest sports car and the men who shaped it

Not designed to race, not expected to go the distance and up against much faster prototypes – but the F1 still won

Gandini’s second Ferrari would be his final effort for the Maranello-based outfit. Here’s why

From a rally-winning 911 to a Dakar Dacia via Formula 1 and Le Mans, David Richards’ Prodrive speeds past 40

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M A S E R AT I ’ S MAGIC 200SI

ALEX XYDIAS REMEMBERED

T H E J A G U A R T H AT M A D E T H E E -T Y P E

P I N I N F A R I N A’ S TOP 50 CARS

Basem Wasef’s flight of Fantuzzi behind the wheel of the light and mighty 1957 Maserati 200SI Spyder

In his final interview, So-Cal Speed Shop founder and hot rod hero Alex told Ken Gross how it all began

Never crashed and utterly original, E2A is a remarkable time capsule – a 65-year-long tale of luck and passion

Form, proportion, elegance and desire in great abundance; Pininfarina’s best design efforts assessed

179 ACQUIRE Buying a Maserati Merak, collecting Scalextric, Steve Goodwin’s reliefs, watches, books, products and more

204 T H E L AW Y E R: N U M B E R P L AT E S

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206 T H E C U R AT O R : BERNIE’S COLLECTION

208 THE DESIGNER: SPRINTS AND DRAGS

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THE INTERVIEW: R AW D O N G L OV E R

1959 Ferrari 250 GT LWB California Spider Competizione Chassis No. 1451 GT | Estimate: $10,000,000 - $14,000,000

1958 BMW 507 Series II Roadster Estimate: $2,100,000 - $2,300,000

1987 Lamborghini Countach 5000 QV Estimate: $550,000 - $650,000

1975 Lancia Stratos HF Stradale Estimate: $575,000 - $650,000

Editor’s welcome

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My memories of the 1995 Le Mans 24 Hours are mostly based around sitting in my friend Dug’s TR7, listening to Radio Le Mans and drinking small green bottles of French beer as rain hammered on the roof. Occasionally we would wind down a window to listen to the race cars and demist the glass.

Sometimes we’d even venture out to watch the racing – and we were amazed and excited by the progress of the McLaren F1s.

Thankfully, there are Magneto writers with better insights into that remarkable – and remarkably wet – race, which we celebrate in this issue. First, though, we set the scene with Peter Stevens’ recollection of his time on the F1, which I have found fascinating even after all that I’ve read on the car.

I once tried to relay my fandom of the McLaren F1 to Gordon Murray, who looked utterly bemused, having initiated the conversation by saying how much he enjoys Magneto.

I think I might have ruined his impression of the magazine by babbling at him like a starstruck idiot.

Elsewhere in this issue we have a selection of cars that are just as likely to turn any one of us a bit gaga, including the Bertone ‘Ferrari’ Rainbow concept, Jaguar E2A and a selection of Pininfarina’s greatest designs. Enjoy!

Finally, please check out our new Magneto driving tour of French châteaux on page 18. And, if you haven’t already done so, you can receive news and features via our Magneto email newsletter by signing up on www.magnetomagazine.com.

David Lillywhite Editorial director

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Contributors

Illustrations Peter Allen

PETER STEVENS What hasn’t Peter done? Heck, he’s now a Magneto columnist, too. But what we’re celebrating here is his illuminating feature on the design and development of the McLaren F1. He describes the ins and outs of working with Gordon Murray, Ron Dennis, Steve Randle and others to create the iconic supercar.

KEN GROSS He’s a journalist, an author, a concours judge – and was a great friend of hot rodder and So-Cal founder Alex Xydias, who passed away last year aged 102. Only weeks before, Ken had conducted the last-ever interview with Alex – and he’s now written it up into an evocative and eye-opening profile.

FELIX KILBERTUS When Pininfarina’s chief creative officer Felix Kilbertus got wind of our Top 50 on the coachbuilder’s greatest designs, he asked if he could contribute. “Woah!” we thought. “This could be tricky.”

But in fact Felix simply added his own pithy comments to Richard Heseltine’s deeply researched words.

B A S E M WA S E F New to Magneto, but a friend of ours through authoring the Meyers Manx book we published, Basem was lucky enough to sample Jonathan Segal’s Maserati 200SI for us. It’s a far cry from his own Land Rovers, V12 Mercedes and Italian motorcycles, but he is no stranger to exotic cars – and he loved it.

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1966 Ford GT40 Mk II Estimate: $8,000,000 - $11,000,000 USD A highly correct example of Ford’s titanic 7-liter second-series GT40, campaigned by Holman-Moody at the 1966 12 Hours of Sebring and 1966 24 Hours of Le Mans.

1957 Chevrolet Corvette SS Project XP-64 Estimate: $5,000,000 - $7,000,000 USD The most desirable Corvette in existence; a one-of-a-kind tubular space-framed, magnesium-bodied racing Corvette conceived by Zora Arkus-Duntov and built to unseat the likes of the Jaguar D-Type at the highest levels of competition.

MIAMI | 27 FEBRUARY 2025 THE OFFICIAL AUCTION OF MODAMIAMI EMEA +44 (0) 20 7851 7070 NORTH AMERICA +1 519 352 4575 info@rmsothebys.com

RM SOTHEBY’S X INDIANAPOLIS MOTOR SPEEDWAY MUSEUM RM Licenses LLC d.b.a. RM Sotheby’s Lic No. VI/1145028 /1

Who to contact

Editorial director

Managing director

David Lillywhite

Geoff Love

Deputy editor

Creative director

Managing editor

Advertising sales

Wayne Batty

Peter Allen

Sarah Bradley

Sue Farrow, Rob Schulp

Staff writer

Designer

Accounts

Elliott Hughes

Debbie Nolan

Jonathan Ellis

Marketing manager

Marketing and events

Lifestyle advertising

Advertising production

Rochelle Harman

Jasmine Love

Sophie Kochan

Elaine Briggs

Contributors in this issue Ted 7, Simon Aldridge, Thomas Alexander, Mal Bailey, Alberto Bernasconi, Jonathon Burford, Nathan Chadwick, Sam Chick, Paul Chudecki, Robert Dean, Richard Dredge, Daniel Du Cros, Andrew Frankel, Robert George, Martyn Goddard, Rob Gould, Ken Gross, Rick Guest, Richard Heseltine, Felix Kilbertus, Evan Klein, Matteo Licata, John Mayhead, Clive Robertson, Ricardo Santos, Rainer W Schlegelmilch, Tim Scott, Damien Smith, Peter Stevens, Tony Swinney, Joe Twyman, Basem Wasef, Rupert Whyte Single issues and subscriptions Please visit www.magnetomagazine.com or call +44 (0)208 068 6829

Geoff Love, David Lillywhite, George Pilkington Unit 16, Enterprise Centre, Michael Way, Warth Park Way, Raunds, Northants NN9 6GR, UK Printing Buxton Press, Palace Road, Buxton, Derbyshire SK17 6AE, UK. Printed on Amadeus Silk and Galerie Fine Silk supplied by Denmaur as a Carbon Balanced product. Made from Chain of Custody certified and traceable pulp sources

Who to contact Subscriptions rochelle@hothousemedia.co.uk Events jasmine@hothousemedia.co.uk Business geoff@hothousemedia.co.uk Accounts accounts@hothousemedia.co.uk Editorial david@hothousemedia.co.uk Advertising sue@flyingspace.co.uk or rob@flyingspace.co.uk Lifestyle advertising sophie.kochan2010@gmail.com Advertising production adproduction@hothousemedia.co.uk Specialist newsstand distribution Pineapple Media, Select Publisher Services

The making of Magneto RON WOULDN’T HAVE LIKED IT

ITALIAN ST YLE POLICE ON DUT Y?

For our F1 cover-feature shoot, McLaren’s expert crew turned the MTC’s showcase boulevard into a perfectly useful studio. It became progressively darker as bemused staff began to leave for the day.

Tellingly, the office light that stayed on the longest, well into the night, was that of Formula 1 team principal Andrea Stella. Thanks to Jule Schulte and all at McLaren.

You don’t often see a helicopter and a rainbow inside, but that’s what awaited us in a specially prepared hall at the Volandia Park and Flight Museum just outside Milan’s Malpensa Airport. We were there to shoot Bertone’s Rainbow, courtesy of the Automotoclub Storico Italiano, rescuer of Bertone’s famed collection of concept cars and prototypes.

© Hothouse Media. Magneto and associated logos are registered trademarks of Hothouse Media. All rights reserved.

All material in this magazine, whether in whole or in part, may not be reproduced, transmitted or distributed in any form without the written permission of Hothouse Media.

Hothouse Media uses a layered privacy notice giving you brief details about how we would like to use your personal information. For full details, please visit www.magnetomagazine.com/privacy.

ISSN Number 2631-9489. Magneto is published quarterly by Hothouse Publishing Ltd. Registered office: Castle Cottage, 25 High Street, Titchmarsh, Northants NN14 3DF, UK. Great care has been taken throughout the magazine to be accurate, but the publisher cannot accept any responsibility for any errors or omissions that might occur.

The editors and publishers of this magazine give no warranties, guarantees or assurances, and make no representations regarding any goods or services advertised in this edition.

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More from Magneto

M A G N E T O C H ÂT E A U X T O U R 2025 On June 26-30 bring your classic for Magneto and Club des Auto’s drive experience from the UK to the Dordogne in France, staying in historic châteaux. There will be culinary experiences, plenty of time to sample the luxury accommodation – including golf, pool, Cognac and winetasting – and the local area,

as well as interesting planned routes on the region’s best roads. Car storage provided for those flying home, and return driving routes, hotel recommendations and private plane bookings are available. £8250 per car (for two people). www.magneto magazine.com/events

THE CONCOURS YEAR 2024 Order the latest edition, featuring 50 of the world’s best concours and detailing every Best of Show and class winner, beautifully presented in this large-format

hardback book. Standard Edition: £75.00. Publisher’s Edition (limited-edition, slipcase): £115.00. www.magnetomagazine.com/ product/concours-year-2024

SUBSCRIBE TO MAGNETO Don’t miss out on any issues of Magneto. You can subscribe for one year for £54 including p&p (€62 or $68, plus postage), or two years for £94 including

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p&p (€108 or $120, plus postage). Magneto is delivered in strong cardboard packaging. www.magnetomagazine.com or +44 (0)208 068 6829

A U C T I O N S & P R I VAT E B R O K E R A G E

G O O D I N G C O .C O M

+1.310.899.1960

1965 ALFA ROMEO GIULIA TZ From The Ken Roath Collection Outstanding Example with Well-Documented Italian Racing History Retains Original, Matching-Numbers Engine Coachwork by Zagato Chassis 750081

1963 FERRARI 400 SUPERAMERICA SERIES II COUPE AERODINAMICO Displayed at the 1963 New York International Auto Show Multiple Platinum Award-Winning Restoration by Marque Specialists Motion Products Inc. Coachwork by Pininfarina Chassis 4251 SA

1953 BENTLEY R-TYPE CONTINENTAL FASTBACK Left-Hand Drive and Center Shift Two Owners from New Current Family Ownership Since 1956 Coachwork by H.J. Mulliner Chassis BC17LB

1955 FERRARI 250 EUROPA GT From The Ken Roath Collection Restored and Certified by Ferrari Classiche Multiple Award-Winning Restoration and Veteran of the 1000 Miglia The 1956 Brussels Motor Show Car Coachwork by Pinin Farina Chassis 0419 GT

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1955 FERRARI 375 MM BERLINETTA Custom-Built for Ferrari VIP Client Alfred Ducato Awarded First in Class at the 1956 Pebble Beach Concours d’Elegance® A Fixture in The Fred Leydorf Collection Since 1969 Coachwork by Pinin Farina Chassis 0472 AM

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THURSDAY MARCH 6 FRIDAY MARCH 7 LIVE AUCTIONS

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ONLINE BIDDING AVAILABLE VIEW AUCTION PREVIEW AND REGISTER TO BID INQUIRY@GOODINGCO.COM

C O N C O U R S O F E L E G A N C E G E R M A N Y. C O M

PRESENTED BY

Selling the Bernie Ecclestone Grand Prix car collection

International Historic Motoring Awards winners

4WD Jensen FF: the car that inspired a Porsche legend

New Escort Mk1 RS ‘continumod’ that’s Ford approved

Complete rework for Indianapolis Motor Speedway Museum

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Words David Lillywhite

Photography Tom Hartley Jnr

THIS SPREAD Tom and Bernie have been friends for two decades; Ferraris include Ascari, Hawthorn, Surtees, Lauda and Schumacher cars.

“We have had about 75 written offers on individual cars, but we are exploring the possibility of selling the collection as a whole” Tom Hartley Jnr explains how he is working with Bernie Ecclestone to ensure the world’s greatest Formula 1 car collection finds the right home

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IN DECEMBER 2024, THE NEWS broke that Bernie Ecclestone is to sell his collection of Grand Prix and Formula 1 cars, with the process dealt with by UK specialist dealer Tom Hartley Jnr. There’s been no shortage of articles on the sale since then, including on the Magneto website, which was one of the first to release the news. Having seen the collection and interviewed Bernie about it a few years ago, however, we wanted to know more about how the deal came together, and how it will go forward.

“We’ve been very close friends for the best part of probably 20 years,” says Tom, when asked about his relationship with Bernie. “I first bought a car from him; we ended up doing a deal but we just got on particularly well. From there, we have always remained in quite close contact, and we have helped him over the years with his Grand Prix cars – a little bit of collection management, you could say.

“I never thought they would come

up for sale, but it’s simply some life planning for Bernie really. He’s 94 years old, and he just wants to make sure he gets his house in the best order it can be. We spoke about it for some time.

He has been collecting these cars for over 50 years, and it’s a very hard decision for him, because he’s never been a seller. He’s been a buyer, not a seller. He doesn’t need to sell anything.”

Tom continues: “But at the same time, he does have 69 great Grand Prix cars in a hangar which he isn’t getting to see that much these days, and he also realises the time may come when he might not be here, and then either his wife has got to handle the sale or the cars will one day pass through his son. But, you know, his son is four years old, so Bernie’s attitude is that if his son wants to collect cars he’ll do it on his own two feet one day. He’ll be his own man.”

Ecclestone’s other cars and bikes, which include a number of Isle of Man TT motorcycles, will also be sold at a later date, but for now the focus is on

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the GP and F1 machinery. The plan is for the 69 cars to move later this year to a purpose-built showroom in the Cotswolds, although that’s still under construction. As he points out, the Tom Hartley Jnr Ltd company was already busy before all this – “last year alone, we sold more than $400 million worth of cars, and not one of those was part of this collection,” he says – and there’s no rush to dispose of the Ecclestone cars.

“We speak most days, but not always about the cars,” Tom continues.

“Some days Bernie is interested to know how we’re getting on, and then other days he’s not so interested to know. I get the impression that he feels the cars are in safe hands, and it’s being dealt with as he’d like it to be dealt with. And hopefully we’ll get a sale of them at some point.

“At the moment, we’re trying to sell the collection as a whole. That’s the focus, not to split it. For the time being, we’ve had a lot of offers. We’ve received about 75 written offers on

THIS PAGE Bernie has all the Brabhams from his time with the team; Auto Union is Audi-sanctioned Type C recreation.

individual cars. But we are not looking at selling individual cars at the moment. We are exploring the possibility of selling the collection as a whole; that’s where we are for the next few weeks, and to see how we get on with that.

“There has never been, there has never, ever been, a collection of cars of this magnitude, offered for sale at any one time, both in value and in historical importance.”

Tom’s own personal collection includes several Formula 1 cars that he says absolutely aren’t for sale, and he has long been fascinated by all Grand Prix machinery. His view is, perhaps unsurprisingly, that F1 cars are currently undervalued.

“I have no intention of selling any of my Formula 1 cars. Number one, I like them, but number two, I think there’s huge growth in Grand Prix cars, huge growth in Formula 1 cars.

They’re way undervalued when you compare them. We sold two Ferrari 250 GTOs last year, and when you

Magneto

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compare the price of a 250 GTO and what it achieved versus some of these Grand Prix cars and what they achieved, there is huge growth in the Formula 1 market.

“F1 is getting bigger every year.

It had never been of much interest in North America, even though Bernie had races there since the 1970s, and even before that. Yet it had never really taken off. But now there’s been the Netflix series Drive to Survive, and there are now three Formula 1 races

THIS PAGE This rare view shows the full extent of the GP and Formula 1 greats, headed by Schumacher’s V10-era F2002.

in North America in each calendar year. If you look at the Miami GP, if you look at the Las Vegas GP, you can see the buzz out there.”

Tom continues: “There are really not many North American collectors of Formula 1 cars. I can think of a couple, in a world where North America dictates the values of the collector car market in every other genre apart from this one. So if you have suddenly got three or four people collecting Formula 1 cars, three or four people in the whole of North America, the values of F1 machinery will completely change.”

What’s interesting about Formula 1 cars compared with, say, pre-war Grand Prix cars, is that their histories are generally extremely well known

and understood. Tom rightly points out that the better the history of a chassis, the more valuable the car is. A machine driven by a World Champion, or one that’s achieved a Grand Prix win by a World Champion, is more desirable; a World Championshipwinning car even more so.

The older the car, the more races it’s likely to have competed in during a season. Tom gives the example of Mike Hawthorn’s 1958 Championshipwinning Ferrari Dino, which he drove exclusively through ’58. With more recent F1 cars, there will be several chassis in one calendar year. It’s a fascinating genre – but for now we’ll all be hoping that the Ecclestone cars can stay together as one collection.

THE WORLD’S MOST EXCLUSIVE M OTO R S P O RT E V E N T

12–13 APRIL 2025

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Words Nathan Chadwick

Bentley’s lastchance saloon Forty years ago the Turbo R reinvigorated an ailing Bentley marque, turning the tide of sales away from Rolls-Royce for the first time in decades. It sired a line of fast four-doors that continues to this day

TURBO R (1985-1997)

ARNAGE (1998-2010)

MULSANNE (2010-2020)

FLYING SPUR (2005-NOW)

The preamble

The Mulsanne Turbo of 1982 had already provided 50 percent more power than a standard model, but it took one critical commute home for development engineer Mike Dunn to change Bentley’s history. Finding himself outpaced on local roads by a lowly Ford Escort, he retuned the Turbo’s suspension and offered it as an upgrade. It was so popular it was soon developed as a model itself – the Turbo R.

Vickers, the then-owner of Bentley and Rolls-Royce, developed the Arnage and Silver Seraph on the same platform. Engines were to come from BMW – a Cosworth-tuned twin-turbo V8 for the Bentley and a V12 for the Rolls. But then Volkswagen swooped in to buy Bentley, just as both models were being launched. Bentley went to VW, while BMW kept hold of Rolls-Royce. Cue an engine-supply headache...

The first independently designed Bentley since 1930 wasn’t meant to happen.

The Flying Spur was supposed to replace the Arnage, but Bentley boss Franz-Josef Paefgen hated the idea and demanded a new car, keeping key bits of the Arnage: RWD and the L-series V8.

What began as a four-door Continental GT developed into a standalone model in its own right, despite shared visual DNA and engines. The third-generation Flying Spur (2019-2024) was developed on a new platform.

What you got

Upping the roll stiffness to 50 percent, increasing the damping and adding a Panhard rod to the rear subframe revolutionised the handling, while fuel injection gave 300bhp. The result was the sportiest Bentley since maybe the R-type Continental – or even further back...

In the end, 59 BMW-engined cars were built (seven Green Labels and 52 Arnage Birkins). To make the Red Label, Bentley pulled out the old 6.75-litre L-series engine, strapped on two turbos and had it finessed at Cosworth. Power started at 395bhp, but grew over time.

Standard Mulsannes offered 505bhp and 752lb ft, but the 2014-on Speed had 530bhp and 811lb ft. The model could hit 190mph all-out, and flick past 60mph in 4.8 seconds. Building one took rather longer: 400 hours.

The latest model, launched in September 2024, does without the mighty W12 that launched the car.

Instead, it has a hybridised twin-turbo V8 with 782bhp and an electric range of 50 miles. A full EV is due to join the line-up in 2027.

The aftermath

Bentley, an afterthought to Rolls-Royce for decades, soon reversed fortunes; 7500-plus Turbo R models were built.

BMW agreed to supply engines until 2002. Despite so-powered cars being more modern, lighter and easier to look after, as well as sportier to drive (it’s 220kg lighter), the allure of the old L-series couldn’t be ignored for the majority of Bentley owners. Just shy of 7400 built, not including the Azure and Brooklands.

The one to have

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The last-of-the line Turbo RT Mulliner had 420bhp and 634lb ft, plus a wider track.

To petrify your passengers, there was a speedometer for the rear, too. Only 56 were built. Hold onto your wine glasses back there...

A Final Series of 150 units offered 500bhp, 738lb ft and a Mulliner cabin with cocktail cabinet and Naim stereo.

The car sold well for the first five years, but demand fell by around half per year from 2016 onwards. L-series V8 production finished at the same time as the model, after 61 years: 7929 were built.

The WO Edition celebrated 100 years of Bentley with bespoke paint and interior trim featuring a piece of the crankshaft from WO Bentley’s personal car.

Along with the Continental GT, the Flying Spur has been a massive success.

More than 54,000 have been sold since 2005.

A new one from Mulliner, perhaps – 39 billion different trim options are available. How would you spec yours? There’s no prize, but we’d love to see what configurations you could come up with...

Entries Invited Important Sports, Competition and Collectors’ Motor Cars Goodwood, Chichester | 13 April 2025

ENQUIRIES +44 (0) 20 7468 5801 ukcars@bonhamscars.com bonhamscars.com/members

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide

Less than 10,000 miles from new 1986 FERRARI TESTAROSSA £80,000 - 100,000 * No Reserve

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HAVE YOU EVER WONDERED about gaining fresh qualifications as a mature student? Maybe? Not at all?

Well, perhaps you will change your mind about that now...

A new course has recently been launched in Italy to teach the intricacies of managing a major car collection. It’s currently in Italian only, but an English-language version is on the way. And if you’re wondering what ‘intricacies’ there can be to looking after a bunch of old vehicles, think again. As the course documentation points out, managing a large, dynamic car collection requires in-depth but fast-changing economic, cultural and technical skills at the very least.

MAMAC – the Executive Master in Management delle Automobili da

Words David Lillywhite

Photography Alberto Bernasconi

Back to school?

Suddenly it’s tempting

Collezione – consists of 188 hours of training over a period of nine months, on campus, digitally and on location at car collections.

Four major areas are covered: management, including marketing, sales, business skills, teamwork and networking; market trends and dynamics, such as valuations, auction knowledge, event management and understanding classic cars as an asset class; culture, incorporating automotive history, design, research methods, legal and tax aspects, and museum organisation; and technical skills, including mechanical and restoration techniques, conservation, video, photography and 3D modelling.

The course is claimed to be customisable to students’ individual

Corrado Lopresto is behind the new MAMAC course to teach the intricacies of managing a major car collection. Where do we sign up?

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needs, and it includes one-to-one sessions as well as group work, selfassessments plus simulation and gaming tools that are used within the classroom. Outside of the study areas, there’ll be visits to events, collections, restoration facilities and archives, along with speeches by well known opinion leaders and market players.

At the heart of this new course is Italian car collector and architect Corrado Lopresto, who is best known in ‘our’ world for probably the finest collection of Italian concept cars and prototypes on the planet.

The course will be run by the LIUC Business School, part of the private LIUC University in Castellanza, near Milan, Italy. It is priced at €10,000.

Info at www.liucbs.it/catalogo/mamac.

BELOW Car collector Corrado has worked with Italy’s LIUC University to deliver the course.

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9 -10-11-12-13 APRIL 2025 Artist: Alfredo de la Maria

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th WORLD SHOW FOR VINTAGE, CL ASSIC & PRESTIGE AUTOMOBILES, FUTURE CLASSICS, MOTOR SPORT, CLASSIC TUNING, MOTORCYCLES, SPARE PARTS, RESTOMOD, RESTORATION, YOUNG CLASSICS & WORLD CLUB MEETING

Tickets online: www.technoclassica-tickets.de HERE ON SALE NOW!

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Words David Lillywhite

Photography Thomas Alexander

ROWAN ATKINSON, DESIGNERS Ian Callum and Peter Stevens, World Land Speed Record holder Andy Green, TV’s Richard Hammond, Pebble Beach Concours d’Elegance chairman Sandra Button, Prodrive founder David Richards and social media sensation Supercar Blondie, aka Alex Hirschi, were among the 400 guests at the 2024 International Historic Motoring Awards (IHMA) presented by Lockton Performance, which took place at the Peninsula London hotel at the end of 2024.

Many of the world’s most important car collectors were also in attendance, including Miles Collier and Fritz Burkard, along with teams from the Petersen Automotive Museum, Revs Institute, Goodwood, Mercedes-Benz, Silverstone, Brooklands Museum, Audrain Motorsport, Jaguar Land Rover and plenty more.

After months of nominations,

shortlisting and intensive judging by an international panel of 34 experts, the winners were announced on the night by broadcaster and racing driver Amanda Stretton, following an impassioned speech on the advantages of classics over modern machinery by Rowan Atkinson. Uniquely, the Car of the Year award was decided by the public, resulting in thousands of votes.

Now in its 14th year, and back in the ownership of co-founders and Hothouse Media owners Geoff Love and David Lillywhite, the 2024 IHMA celebrated the elite of the collector car world with the support of Lockton Performance, Hortons Books, Classic & Sports Finance, the Petersen Automotive Museum, Nyetimber, the Yohan Poonawalla Collection and SBX Cars, as well as Octane and Magneto.

The winners of the only truly international awards event in the collector car industry were as follows:

Awarding the world’s greatest Now owned by Hothouse Media, the 14th running of the International Historic Motoring Awards saw a full relaunch at the new Peninsula London hotel

Book of the Year, sponsored by Hortons Books The Last Eye Witness, by Doug Nye (Porter Press International) Brilliantly bringing early motor racing (1902-1914) to life through MauriceLouis Branger’s period photography and Doug Nye’s commentary.

Breakthrough Event of the Year The Oberoi Concours d’Elegance Uniting India’s rich motoring heritage at The Oberoi Udaivilas, Udaipur, this showcased 81 cars including royal collections from five principalities.

Club of the Year, sponsored by Lockton Performance Vintage Sports-Car Club The VSCC’s 90th anniversary shows just how organisations can embrace modern challenges while preserving their heritage. Its pop-up hillclimb at Chateau Impney was exceptional.

Starter Museum of the Year, sponsored by the Yohan Poonawalla Collection Revs Institute The revolutionary Active Matter philosophy of this wonderful museum located in Naples, Florida transforms automotive preservation through dynamic conservation. Its innovative gallery workshop allows visitors to witness live restoration, while 2024 saw breaking ground for a dedicated Archives and Research Centre.

THIS SPREAD Fritz Burkard and daughters with the 1934 Bugatti Type 59 Car of the Year (above). Philip Porter, Arjun

Oberoi, Patrick and Sylviane Peter, Sandra Button, Miles Collier, and Robert and Petra Kudela (below, from left).

Specialist of the Year Jim Stokes Workshops Over a period of almost 45 years Jim Stokes Workshops has grown from one man into a group of companies employing more than 50 people. The recent addition of a state-of-theart in-house engine dyno means that every powerplant the firm builds or rebuilds is checked, tuned and perfected before reaching the road.

Young Achiever, sponsored by the Petersen Automotive Museum David Kibbey Having started out in the Hagerty Youth Judging Program at the age of nine, David went on to found the Northville Concours d’Elegance in 2021 with fellow enthusiasts Chase Ziegler and Drew Lehnert. The event takes place at the Northville Mill Race Historical Village museum.

Motor Sport Event of the Year Goodwood Revival Meeting When it rains, Goodwood shines – and it’s an epithet that was never truer than in 2024, when the Revival also made motor sport history as the first Historic racing event to mandate sustainable fuels across its entire programme. In addition, it saw the unveiling of the relocated Tyrrell Shed, at a special opening ceremony hosted by the Duke of Richmond.

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Industry Supporter of the Year Historic & Classic Vehicles Alliance Since the HCVA’s formation back in 2021, a number of pivotal steps have ensured that the historic motoring industry can be more confident of its future. In the past year the HCVA has been instrumental in furthering the accountability of the UK’s Driver and Vehicle Licensing Agency (DVLA), as well as introduced HCVA Heritage Matters Days (HMD).

Bespoke Car of the Year, sponsored

by Octane magazine Auto Union Type 52 ‘Schnellsportwagen’,

by Audi Tradition and Crosthwaite & Gardiner Although the plans for this pre-war V16 supercar were drawn up during the 1930s, by none other than Ferdinand Porsche, it has taken nine decades for the car to actually be built.

It was created for Audi Tradition by top Historic motor-racing specialist Crosthwaite & Gardiner, after years of painstaking research.

THIS PAGE Alfa Romeo 8C stars at IHMA reception; Supercar Blondie, TV’s Richard Hammond and Rowan Atkinson.

Personal Achievement of the Year Bruce Meyer Bruce’s dedication to automotive heritage extends a long way beyond traditional collecting.A transformative influence on the Petersen Automotive Museum exemplifies his philosophy that every vehicle carries a story worth preserving, devoting equal enthusiasm to both prestigious collections and grassroots enthusiasts alike.

Outstanding Use of Media Goodwood Road & Racing Goodwood Road & Racing’s multiplatform approach to storytelling is truly comprehensive. It extends well beyond Goodwood’s own events, to international gatherings such as the Grand Prix Historique de Monaco and Rétromobile in Paris.

Restoration of the Year, sponsored

by Classic & Sports Finance Talbot-Lago T26 Grand Sport by Saoutchik, restored by Chropynska The five-year restoration of Robert and Petra Kudela’s Talbot-Lago T26 Grand Sport Saoutchik exemplifies the highest levels of preservation, meticulously returning the car to its 1948 Paris Motor Show specification and culminating in a Best of Show nomination at Pebble Beach.

Rally/Tour of the Year, sponsored

by SBX Cars The Peking to Paris Motor Challenge,

by HERO-ERA Following the historic route of the 1907 original, 2024’s Peking to Paris

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Motor Challenge tested 100 crews across over 14,000km of demanding terrain. The 37-day odyssey took in nine countries and eight time zones, representing one of motor sport’s most gruelling endurance events.

Motoring Event of the Year, sponsored by Magneto magazine The 73rd Pebble Beach Concours d’Elegance 2024 marked a watershed at Pebble Beach. It saw a shift towards post-war vehicles, which outnumbered pre-war classics by more than 20 percent, and also the first Preservation car to win the coveted Best of Show award – a 1934 Bugatti Type 59 (see below).

Car of the Year 1934 Bugatti Type 59 Uniquely, this award is decided by a public vote. Thousands joined in, and the runaway winner was Fritz Burkard’s ex-King Leopold of Belgium 1934 Bugatti Type 59, the first-ever Preservation car to take Best of Show at the Pebble Beach Concours.

Lifetime Achievement Sylviane and Patrick Peter Embarking on a well earned retirement after decades of serving up the world’s best classic car events are Sylviane and Patrick of Peter Auto. As well as their hallmark events such as the Tour Auto and tier-one race meets across France, the team has masterminded the Chantilly Arts & Elegance Richard Mille and the sensational Le Mans Classic festival.

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SELL YOUR COLLECTOR CAR WHERE THE BIDDERS ARE Consign today at Barrett-Jackson.com or call 480.421.6694 to speak to a consignment specialist.

Experience the Barrett-Jackson Auctions live exclusively on A+E Networks’ FYI and HISTORY channels.

ALL THE CARS, ALL THE TIME. Streamed live on Barrett-Jackson.com

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Words and photography Martyn Goddard

Eye witness The car that came from another planet

THIS PAGE The outrageous and otherworldly Stratos Zero opened up a whole new dimension for Lancia and the Bertone styling house.

Piloting a four-wheeled spaceship? All in a day’s work for one car scribe – and our man was there to capture it on film

IN JULY 1990 I BOARDED A FLIGHT with Supercar Classics managing editor Ian Fraser. We were bound for Bertone’s styling studio in Turin, to drive the legendary Stratos Zero. This was my first trip with the boss, whom I admired for his publishing success with Car and now SCC: a great scribe and collector.

In fact, he owned a Stratos Stradale, so he was aptly qualified as a test pilot.

On arrival at Bertone, a modernist masterpiece in the shadow of the Italian Alps, we were ushered into the boardroom with a view of a cobbled parking area surrounded by trees. As we downed the obligatory espresso, we were also able to take in a couple of Marcello Gandini’s show cars: the Lamborghini Bravo and Athon, the supporting acts for the Stratos.

Then Nuccio Bertone entered. I’d met him on previous visits, and he always seemed to wear a grin and 36

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radiate enthusiasm. He had not a word of English, Ian not a word of Italian, so Bertone PR – and so much more – Gian Beppe Panicco translated the interview. When the talking was over, we headed for the parking lot.

We stood with Nuccio, expecting the car to descend from the sky like a spaceship. The Stratos Zero, being a true concept, was the result of a totally freethinking Gandini. He had been given a brief to produce a show car never to be put into production, eye candy to promote Bertone.

Our first sense of the Stratos was not the whine of a jet engine, but the spluttering of a Lancia V4 driving up the ramp from the prototype garage.

No amount of talk prepared us for the visual impact of the silver wedge; very low, with no visible entry point. It came to a halt, and the driver exited via the windscreen, the steering wheel

having been moved forward first.

While Ian and the Bertone team talked, I started shooting the car’s many interesting aspects. Supercar Classics always championed detail images often missed by the casual viewer, who quite naturally were seduced by the automobile as a whole.

Meet-and-greet over, it was now down to the all-important test drive.

Back in the boardroom, there was a discussion; there were complications with the insurance and prova plates, compounding Ian’s reluctance to pilot the one-off car on the busy local roads carrying numerous gravel-laden tipper trucks. Panicco had a solution: he knew of a section of dual carriageway not yet open to the public. The Zero was loaded into a transporter and delivered to our very own test track.

Only in Italy, I thought at the time.

Ian was able to pilot the spaceship

on smooth new Tarmac, getting to grips with its twitchy steering, as I hung out the back of our Fiat hire car for tracking shots. Turning the show machine around at the end of the road was problematic due to the poor steering lock and rear visibility, not to mention a fear of body damage.

I joined Ian for a ride, and wow! I’d never been recumbent in a car lower than the Armco as we sped past. It was a hot day, and the humidity and sunshine soon steamed up the screen.

Drive over, we returned to HQ in wonder at the Zero – a timeless show car that was never going to be produced, yet had been made to such a standard it could be driven on the road, no fragile plaster-and-clay show queen. It had enticed Lancia to enlist Bertone to work together to produce one of the truly great rally cars, the Stratos. The rest is history.

2025

16TH – 19TH JULY

DRIVING IN THE LAST

PARADISE 2025

s e i r t n E open! now www.ennstal-classic.at

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Photography www.legacyandart.com

The Object Have gavel, will travel Auctioneer Charlie Ross cherishes his tool of the trade that’s fallen on sales worth billions HAVING CONDUCTED GOODING & Co’s auctions since 2003, Charlie Ross has established himself as one of the world’s leading car auctioneers – and this gavel has accompanied him all along the way. Over the past two decades it has sealed the sale of thousands of cars, with a total worth of hundreds of millions of dollars.

Record-breaking Ferraris, Le Manswinning Porsches, Duesenbergs once owned by Hollywood stars, the King of Belgium’s Bugatti... It has had countless eyes upon it in anticipation of the famous words: “Going once.

Going twice. SOLD! Congratulations.”

The gavel, a present from Charlie’s mother-in-law in the 1970s, hasn’t sold cars alone. The money it has generated for charity admirably takes its revenue into the billions. Obscure lots sold under its thud are fun and varied; highlights include a yoga session with Sting – which was fiercely contested

by Elle MacPherson and Jemima Khan – and a self-portrait of Frank Bruno that Charlie describes as “having looked like it was painted by the boxer before he had taken his gloves off”.

One of the funniest was a charity auction where a local vet had gifted the neutering of a cat to raise funds for an operatic society. Charlie enquired of the purchaser: “I assume, madam, that you do have a cat?” “No, but I do have a husband,” came the response.

The gavel has seen action on five of the world’s seven continents. Its huge significance means so much to Charlie, he says it’ll accompany him to his grave.

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Words Paul Chudecki

Photography Jensen Museum

IT PERHAPS SHOULDN’T COME as a surprise that the publicly known story of Porsche’s four-wheel-drive 953, and the highly lauded 959 that followed, makes no mention of the major part a British specialist sports car played in the model’s development.

Indeed, reference to this input is virtually impossible to find today.

Yet, in the mid-1960s, when chief engineer and test driver Manfred Bantle was in the early stages of developing a 4WD system for Porsche production, one such car caught his attention: the Jensen CV8 FF. Launched at October 1965’s London Motor Show, this all-wheel-drive game-changer used British inventor Harry Ferguson’s revolutionary Ferguson Formula setup – as pioneered on the Ferguson P99 Climax, the first-ever 4WD Formula 1

machine. Immediately after the show, Porsche ordered a car for evaluation.

Eventually, on June 29, 1967, an Interceptor-style FF (which replaced the one-off CV8 FF in late 1966), chassis no. 119/008, was collected from Jensen’s West Bromwich factory by engineer Walter Bemsel, and driven back to the Stuttgart works. It was registered under a special dispensation scheme operated by HM Customs & Excise, and it wore the temporary registration plate LEA 977E. Bantle then extensively tested the Jensen FF at the Weissach test track for the rest of 1967 and throughout 1968, including dismantling it to learn exactly how Ferguson’s system operated. In July, Jensen MD Carl Duerr and technical service manager John Walker were invited to visit

Stuttgart to meet Dr Ferry Porsche and Bantle, in order to discuss the latter’s evaluation. Following a recent front driveshaft/hub failure, Porsche’s suggested modifications were then incorporated into subsequent FFs. With evaluation of the Jensen completed in August 1968, the dark blue car was passed to Porsche System Engineering in Zug, Switzerland. It was subsequently sold and returned to England, and by early 1969 it had been allocated the plate PMW 888H. It was Bantle’s extensive knowledge of Ferguson’s system and its driving characteristics that formed the basis of the 953’s 4WD system; indeed, the Porsche, victorious on its Paris-Dakar Rally debut in 1984, used a similar rear/ front bias: 63/37 percent against the FF’s 60/40 (although the 953 differed

in having driver-adjustable bias).

Where the Jensen FF resided upon its initial return to the UK is unknown, but in around 1974 chassis 119/008 was sold by Edinburgh Jensen dealer Rossleigh to one Campbell Smith. In 1976 he crashed the car into a stone wall, damaging the body substantially.

Sold at auction later that year, the FF was bought by Scotland-based classic bike collector Gerald Malin. After he died, the still-unrepaired Jensen was sold by Sotheby’s in October 1988, passing to a Walter Scott on Orkney.

Upon his death, in 2016 119/008 was acquired by the Jensen Museum, which plans to soon begin restoration and thus give this historically significant FF long-overdue recognition.

With thanks to the Jensen Museum, www.jensenmuseum.org.

The 4WD Jensen that inspired a Porsche legend British sports car’s FF system paved the way for the iconic 959 – and the original test car is finally to be restored THIS PAGE Seen now at the Jensen Museum, the FF is awaiting longoverdue restoration.

It is accompanied by an official letter of thanks, while a diagram detailing 119/008’s front driveshaft/hub failure after 2253 miles of test driving at the Weissach track suggests modifications that were incorporated on subsequent FFs.

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14th Edition

21 - 24 August 2025

The battle of the prancing horses, but not only...

For the first time ever, the host brand will be Porsche. We will feature 40 Italian brands, 40 Porsche and 40 Ferrari,

The battle of the prancing horses, but not only... all produced before 1985, along with selected lightning strikes at the organizer’s discretion.

For further information and registration: www.passione-engadina.ch For further information and registration: www.passione-engadina.ch

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Words David Lillywhite

How to build a new Escort Mk1 Early news of the Ford-approved ‘continumod’ told only half the story in terms of what’s involved

BELOW Exacting R&D has led to the stunning £295,000 Boreham Escort Mk1 RS road car.

THERE ARE RESTOMODS AND there are restomods. Some are basic upgrades on the originals, some are 3D renders or one-offs that we all know are doomed to failure, and some are extensively revised works of engineering art. For the last category, think Eagle E-types and Singer’s ‘reimagined’ 911s, among others.

Now there’s the £295,000 Boreham Motorworks Ford Escort Mk1 RS to add to the line-up, billed as a ‘continumod’ and seen widely on websites and social media. It features the usual diversive LED lights and reworked interior of the majority of this genre, and it could easily be dismissed as ‘just’ another restored and modified classic car. Let’s face it, there are other Escort restomods

built on new shells out there already.

Except… the Mk1 RS is a brandnew car built with the full approval of Ford Motor Company, with no need for a donor. It’s a huge project, which has involved creating the first-ever full-digital model of an Escort Mk1, then using that to analyse the structure right down to the spot welds, just as an OE manufacturer would do. The weak areas have been located – it won’t be any surprise that those thin screen pillars are among them – and new ways of strengthening the shell, while also reducing weight where possible, have been found. It seems that not all of the traditional reinforcements that were developed for competition 50-odd years ago are as effective and/or necessary as once thought for an ultimate road version.

The bulkhead, engine and gearbox crossmembers and mounts, and the transmission tunnel have all been digitally altered and analysed to accommodate the choice of traditional Twin Cam and ‘Bullet’ four-speeder or modern 2.1-litre/five-ratio ’box. The 42

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original rear leaf springs have been replaced with a new take on the raceand rally-default multi-link coilover back end, while the front MacPherson strut set-up has been reworked.

To get to this point, several authentic road and competition Escorts were scanned and analysed, and the digital model built up, corrected (original dimensions could vary by over an inch) and modified. Pressing tools were then created to produce those panels that can’t be bought in suitable quality, and the first all-new car is being hand-built on a jig.

For potential buyers of the 150 road cars promised, there is an in-house virtual-reality system that allows paint

‘The project has involved creating the first-ever full-digital model of an Escort Mk1’

Words David Lillywhite, Mark Dixon

Ferrari is Best of the Best Rare 250 LM is latest recipient of renowned award – itself celebrating its first landmark decade

and interior options to be analysed and chosen in mind-boggling detail.

We’ve walked around the car, sat in it, peered underneath it – and all in VR. How is this all possible from a restomod outfit? It’s down to the fastgrowing parent firm DRVN, itself part of the huge McDermott Group.

It has bought up (among others) the Coventry automotive engineering consultancy Penso, and restoration and race specialist Alan Mann Racing, still run by Alan’s son Henry.

Renowned designer Wayne Burgess is heading up Boreham’s ten-strong design team, joined by former Ford competition department engineers.

This has brought OE-level facilities to the restomod world. The Ferrari 355

by Evoluto is another DRVN project, while also under the banner are Koenigsegg London, JE MotorWorks, Evolution E-types, ITG air filters and others. Expect much more in 2025, including further Ford developments.

For additional information, search for Boreham, Evolution and DRVN on www.magnetomagazine.com.

ABOVE The latest digital tech has enabled Boreham to analyse, recreate and enhance the original Escort to produce a car for the 21st century.

IN A MERE TEN YEARS, THE Peninsula Classics Best of the Best Award has become an institution, celebrating the concours car chosen from nine premier Best of Show winners worldwide. Every year the winner is announced at a Peninsula hotel, and this year it was back to Paris, to coincide with Rétromobile.

The judging panel, including Jean Todt, the Duke of Richmond, Ralph Lauren, Henry Ford III, Gordon Murray and Ian Callum, made their choice from the 2024 Best of Show winners of Cavallino Classic, Chantilly Arts & Elegance, Concorso d’Eleganza Villa d’Este, Concours of Elegance Hampton Court Palace, Goodwood Cartier Style et Luxe, Pebble Beach Concours d’Elegance, Salon Privé, The Amelia and The Quail, A Motorsports Gathering.

From these nine world-class cars, The Peninsula Classics Best of the Best Award for 2024 went to the ’64 Ferrari 250 LM, chassis 6053, which won Best in Show Competizione at Cavallino Classic last January.

Owned by Chris and Ann Cox, the 250 LM is unusual in never having sustained any serious crash damage despite being widely campaigned in

period – not least in the Daytona 24 Hours and Le Mans 24 Hours.

Its history, as can be common for competition cars, is convoluted. It was delivered to UK concessionaire Ronnie Hoare in October 1964 and sold to George Drummond, who took several wins in British events before entering the Daytona 24 Hours with Innes Ireland and Mike Hailwood. A gearbox failure forced retirement, but 6053 went on to race in several other events in Europe and Africa, before passing to Paul Vestey in 1968.

He already had a 250 LM engine and transaxle from chassis 6167, which had been wrecked on the Targa Florio – and that motor had been scrutineer-approved for use at Le Mans. Thus he installed it in 6053’s body/chassis unit and entered the ’68 24 Hours. Yet again gearbox trouble cursed the car, and it had to retire.

Fully restored in 2021 by Ferrari Classiche, 6053 is now back in perfect 1964 condition with Rosso Cina paint and Bleu seats. Rarer than a 250 GTO, with a great history and possessing the coveted Red Book, it firmly deserves to be honoured as the Best of the Best.

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Words Nathan Chadwick

XJ-S (1975-1991)

XJR-S (1988-1993)

Replacing the beloved E-type was always going to be tricky, but even Jaguar was surprised by the public’s dislike of the new XJ-S’s rear buttresses. Poor sales of 14,800 nearly saw the car cancelled. A revamp for 1981 and the arrival of a straight-six engine helped sales lift during the 1980s: 73,207 were built.

Tom Walkinshaw’s TWR ran Jaguar’s XJ-S touring cars and Group C efforts, and offered tuning and bodykits in ’84.

However, Jaguar and TWR formed JaguarSport to develop sporty models. XJR-S initially had a big bodykit and 318bhp 5.3-litre V12. Later this grew to a bespoke 328bhp 6.0: 837 built.

ASTO N MA RTIN DB7 (1994-2003)

F-T YP E P ROP OSA L S (1980-1990) With the XJ-S deemed too lardy to be a true E-type successor, Jaguar proposed a replacement F-type (XJ41/XJ42). After many millions spent, new owner Ford took one look at the plans for a car somehow even heavier and bigger than the XJ-S – and cancelled them. It upgraded the Browns Lane factory instead.

XJ-S at 50: A cat with seven lives (so far) XJ S (1991-1996) Ford instead revamped the XJS, losing the hyphen in the process.

The car got a 4.0-litre straightsix and 6.0 V12, plus styling revisions to follow: 27,406 built.

X K8/X KR X100 (1996-2005) A much-revised XJS platform played host to a new AJ-V8 in naturally aspirated (XK8) and supercharged (XKR) form. Ontrend retro-tinged Geoff Lawson/ Fergus Pollock styling, too: 90,064 of all X100 types sold.

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Jaguar’s XJ-S spanned 21 years officially, but its spirit would live on for much longer, thanks to Tom Walkinshaw’s TWR and Jaguar itself. It’s now been resurrected – with a familiar name to thank…

Having seen the F-type plans up close, Walkinshaw and Ian Callum saw the potential for a TWRlaunched XJ-S reskin. Jaguar said no, so Tom took it to Aston CEO Walter Hayes, who said yes.

A modified XJ-S chassis formed the basis for a Callum-designed body. It was a smash, selling 7000; a supercharged straightsix gave way to a V12 in 1999.

T WR SUPERCAT (2025-) Walkinshaw’s son Fergus has relaunched the TWR name with a new car: a 660bhp supercharged V12 XJS restomod designed by Khyzyl Saleem and Magnus Walker set for summer deliveries.

A Perfect Start to Summer

T H E 5 0 0 M I L E H I S TO R I C R OA D R A L LY W I T H A S P E C I A L H E R I TAG E C AT E G O RY F O R V I N TA G E A N D P V T C A R S f u l l d e ta i l s a n d e n t r y i n f o r m at i o n

w w w. t h r e e - c a s t l e s . co. u k

E V ENT PA R T NER S

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Words David Lillywhite

Will this be the best motor sport museum in the world?

The Indianapolis Motor Speedway Museum is getting a complete rework but also selling some of its greatest cars.

We find out why

SUDDENLY, ALL EYES ARE ON the Indianapolis Motor Speedway Museum, following the announcement that it’s to sell 11 of its cars through RM Sotheby’s, including two of the most prized – and valuable – of them all: the 1956 Mercedes-Benz W 196 R streamliner and the 1965 Le Manswinning Ferrari 250 LM. As you probably know, the W 196 R was to be offered via a private sale at the Mercedes-Benz museum on February 1, while the 250 LM was set to be one of the stars of the Paris sale on February 5, both just after this issue of Magneto went to press (see www.magnetomagazine.com for the results). The rest are to be offered at ModaMiami at the end of February.

So why is the museum selling its jewels? And what will it do with the money? The facility has been closed to the public since May 2024 to allow a complete rework, and it is due to re-open in April 2025. The interior will be virtually unrecognisable to how it was previously, and it’ll concentrate on Indy cars – which is why the

non-Indy cars are being moved on.

The cost of the rework totals $89 million, but the funds from selling these cars can’t be used to finance it directly, as museum president Joe Hale explained to us: “It’s all about museum best practice. The American Alliance of Museums says that when you de-assess items from your collection, you’ve got to reinvest the proceeds back into your collection base rather than capital improvements.

“So we have still got to raise the money for the museum. We’re not going to be touching the principal [sum]. But let’s say we end up – and I’m just using a number – with $100 million, and we want to take five percent of that a year. That’s $5 million we can spend… so we really can broaden our collection.”

He continued: “The museum will be 50 in two years’ time. And, to be honest, it hadn’t changed too much from when it was built. When you walked in, you basically saw the whole museum; there wasn’t really a lot of mystery or a path to follow, or any

kind of a learning experience.”

The new set-up will not only concentrate on giving visitors a true journey through the museum, but also encourage participation, learning and careers in motor sport. By adding a mezzanine and opening up the previously out-of-bounds basement, it has doubled in size. This will allow innovative features such as a 20x80ft LED screen that wraps around and above the space, giving an immersive experience of the race-day startline, and a qualifying zone, where visitors can qualify on simulators, pick up a fuel hose and tyres, and test their reflexes.

There will also be a display of winning cars, along with a Roger Penske gallery and, in the basement, two rotating galleries, which can be combined into a single large one. The first exhibit there will be the four-time winners of the Indy 500. A second phase should include a restoration shop open to visitors. The aim is to become the world’s best motor sport museum. We’ll see the results in April.

More details at www.imsmuseum.org.

THIS PAGE New exhibits will give visitors a truly interactive journey through the Indy museum, as well as encourage participation, learning and careers in the motor sport realm.

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aston.co.uk/evolution

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Proving its (Cos)worth Turbos are going out of fashion and the internalcombustion engine still rules. So say the experts at Cosworth, winner of the Royal Automobile Club’s 2024 Dewar Trophy

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“THE WHOLE POINT OF A hypercar is that you remember every journey, even if you’re just nipping out to pick up milk,” says Cosworth managing director Bruce Wood. “The engine is a visceral part of that, which can’t be replaced by electrification.”

The tepid response to EV hypercars and the significant depreciation in value of the EV performance cars already on sale rather demonstrates his point, which is further bolstered by the enthusiasm and – more pertinently – ready buyers for the likes of the Aston Martin Valkyrie, GMA T.50 and T.33, Bugatti Tourbillon and Red Bull RB17. All five cars have one thing in common: they use Cosworth engines. More pertinent still, Bruce has contracts to produce ICE powerplants well into the 2030s.

“The hypercar space we’re in is

more similar to the luxury watch market than transport – these cars are not bought to get from A to B,” he says. “The thing that draws people to them has nothing to do with transport – it’s about art, luxury and the buying process – but the key part is the internal-combustion engine. It is the heart of the car, and in the ‘wheeled luxury goods’ market, the ICE will continue to dominate for well past the next decade.”

All five cars share another similarity – they’re all naturally aspirated; quite a turnaround for Bugatti in particular.

As Bruce explains: “Turbocharging is incredibly effective for the mainstream, but it does blunt induction and exhaust noise, and the throttle response. It also introduces more demands on the frontal area, and you have got to have intercoolers;

THIS SPREAD Highly skilled specialists work with the world’s top car marques to hone engines – such as the Valkyrie’s V12 (right and below) – to the ultimate spec.

Words Nathan Chadwick

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at the very top of the market, where people are buying for the experience, it does blunt the visceral involvement.”

The Bugatti project also meant kissing goodbye to the W16, which can trace its origins back more than 30 years to the Volkswagen Golf VR6. It simply wasn’t conducive to high-revving natural aspiration – hence, Bruce explains, the switch from a W16 to a V16. Removing the turbochargers, yet also reaching the demand for ‘more is more’ in terms of power output – a Bugatti prerequisite – also provided a challenge.

“The Veyron had about 1000bhp, the Chiron 1400bhp, and the next Bugatti had to take that step forward: rightly or wrongly, the marque’s demographic doesn’t expect a drop down to 1000bhp,” he says. “The addition of 800bhp from the hybrid system, plus 1000bhp from the engine, ticked the box for Bugatti’s

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That might suit one company, but it simply wouldn’t work for the exacting standards of Red Bull, and particularly Adrian Newey. “We talked to him for two years about the engine – from a turbocharged V6 to a V12 – but we all knew we were going to end up with a naturally aspirated V10 because that’s the era of Formula 1 he fell in love with,” Bruce says. “So that has 1000bhp and revs to 15,000rpm…”

Then there are the V12 engines for Gordon Murray and for Aston Martin.

“When we did the Valkyrie, we thought ‘crikey, nobody’s going to better that’ – and then no sooner had we done it, Gordon wanted another 1000rpm,” Bruce laughs. “A lot of people think that because GMA’s V12 followed the Valkyrie’s, they are just variations on theme – but not at all. Other than a few O rings and bolts, there is no common part – which from a business perspective is kind of frustrating.”

He explains that a wider narrative framed the GMA’s specification: “Gordon saw his new project as book-ending the analogue hypercar – as he says to most people, the Lamborghini Miura was the first supercar, which was 3.9 litres. So the GMA T.50 is 3.9 litres, manual and naturally aspirated – it’s very analogue

THIS PAGE Top engine developer Cosworth has been fundamental in creating iconic hypercar units, including the V12 for the GMA T.50.

in today’s world of hypercars.”

Analogue it may be, and Cosworth’s powerplants are vertiginous in their abilities to reach high revs – but how do you make such engines tractable for a road car, and a non-racing driver?

“Variable valve timing on the inlet and exhaust is a great enabler for a unit that can be driveable at the lower end, and have the performance at the top end,” Bruce says. “We also pay a lot of attention to detail with cam profiles, VVT and ancillaries, such as separate oil pumps so that we have highpressure piston squirt jets. A lot of small elements that if added together are very effective for driveability.”

He points to positive reviews of the GMA’s driveability as proof of that, although even he has his limits. “It’s fascinating how many people are brave enough to keep their foot in to 12,000rpm to hear the noise – it’s an incredible experience,” he laughs.

It’s experience of a different kind that will be the bedrock of the internalcombustion engine’s longevity, Bruce believes. “Every big car company can make an engine for a few hundred dollars – there’s a good 150 years of development. However, for all the current generation’s sophistication, they still fundamentally use a piston

to convert the energy from burning fuel in the cylinder into a rotating crankshaft – it’s a simple premise,” he says. “One of the reasons why it’s quite hard for electrification to make as big an impact as people thought is because essentially we’re 100 years behind the point where batteries, motors and inverters are able to be built at the same level of economy as an internal-combustion engine.”

Bruce points to developments such as diamond-like carbon coatings for piston pins, camshafts and followers, and metal matrix composite pistons (aluminium-ceramic alloy), which give a few fractions or percentages of thermal efficiency, as cutting-edge developments for ICE cars. Then there’s the engine blocks themselves: “They are still cast aluminium, but the alloys available these days are fantastic compared to 30 or 40 years ago. This tends to be driven by the materials or aerospace industries, but has (automotive) benefits, too.”

With the advent of alternative fuels, he feels that the internal-combustion engine is here to stay. “It’s a triumph of development over design, simply because it’s got 100-plus years behind it,” he smiles. “It’s very difficult to overcome that with anything else.”

Starter

Broad Arrow moves into Europe Huge plans afoot for American auction house, with big-name appointments, new Villa d’Este sale and major expansion plans

BELOW 1948 Ferrari 166 Spyder Corsa by Ansaloni is the first car to be allocated to Broad Arrow’s inaugural Villa d’Este sale.

Words David Lillywhite

MARKET WATCHERS IN EUROPE may well have been watching the growth of Broad Arrow Auctions in the US with distant interest, but suddenly the game has changed – the company is crossing to this side of the pond, and it’s not messing around.

First off came the appointments of a few heavyweight specialists. Then the announcement late last year that Broad Arrow is to replace RM Sotheby’s as the official auction house of Concorso d’Eleganza Villa d’Este.

And, although it was still a closely guarded secret as Magneto went to press, there are more big moves on the way, along with a presence at Rétromobile in Paris. Just before Christmas, we spoke to president Kenneth Ahn and EMEA region head Karsten Le Blanc about the plans.

Karsten first: “The company is now about three years old,” he said. “With nine of the ten co-founders being US based, and the US the dominant market that it is, it was obvious that we were going to focus first on establishing ourselves there. But with our ambitions of becoming a more global, internationally active auction house and private sales business, we were always moving in Europe.

“We made our first baby steps in 2023 when we hired two people in Germany, with a showroom and an office. And then, in April 2024, we established our UK presence based at Bicester Heritage, and four more car specialists came on board, including Joe Twyman, Robert Glover and Harry Wassell. Matt Coles also joined as a memorabilia specialist, with a particular strength and focus on modern Formula 1. In fact, we’ve already run three successful online memorabilia sales out of the UK and

Switzerland since he has arrived.”

Karsten continued: “We also hired Yves Boitel, who had been the righthand man of Lukas Hüni in Switzerland. We need to expand into France and Benelux, maybe Italy. So we have been very much focused on that, and we have, in fact, agreed a number of hires. They are not public yet, but we are quite excited about announcing those.”

The conversation continued, but it was clear that Karsten and Ken were keen to reveal more – which eventually they did. “We have recruited Gregory Tuytens from Bonhams, who has led the Zoute sale,” said Kenneth, “along with Paul Gaucher, who’s also from Bonhams and led the Bonmont sale in Switzerland, [Bonhams international chairman] Philip Kantor, who has been a staple in the industry for a long time, and Bonhams head of European operations, Valérie Simonet in France.”

This is major news for Broad Arrow and a big blow to Bonhams, clearly.

And then there is the Concorso d’Eleganza Villa d’Este auction, taking over from RM Sotheby’s.

“That is a major coup for us,” said Karsten. “It is the most prestigious concours event in Europe, and super well established. BMW AG, being the owner, is obviously a blue-chip partner to be working with, so for us to have been chosen as its new partner for the next three years is a real endorsement.”

“It was important to align ourselves with a world-class event,” confirmed Kenneth. “In terms of how we are going to be different, a couple of things right off the bat. One is that RM used to do an auction only once every two years. It always had Monaco Historic Grand Prix [every other year]. We will be holding an auction annually in partnership with Concorso d’Eleganza Villa d’Este.

“The second thing is that we’re expecting about 70 cars, versus,

historically, between 40 to 50. What we have discussed with BMW is that we want this to be very successful for not only the Saturday [at Villa d’Este], but on the public day on Sunday at Villa Erba, which is where the auction takes place. Let’s try to make this more of an integrated event versus having ‘concours on this side and auction over there’.”

All this points to a confidence in the UK and European market that might surprise some, but Karsten was quick to give his opinion: “Europe is not homogenous. The UK is a difficult market right now. Brexit has made it a smaller, more local market for auctions, but also for dealers – the VAT and the export etc are cumbersome, expensive and time consuming. So it’s become a smaller market, although it’s a very competitive one because I would say the UK has probably most of the top ten biggest car dealers in the world.

“France has been a strong market for live auctions in the past few years.

Germany traditionally was never an auction market, but in the past year or so there have been a few auctions by our competitors that were done so successfully. Switzerland seems to be a growing market, albeit a very local market, again, due to its own Swiss VAT and import duties, because it’s outside the EU just like the UK.” Ken confirmed this, and added: “I think from a client engagement and dialogue and momentum perspective, [a sale] once a quarter seems to be a good pace, so our regular cadence would be once a quarter in the US, and then eventually building to four in Europe/UK, so that we’re relevant throughout the year and we’re always there to help clients buy or sell.”

Broad Arrow’s first European sale will take place at Villa Erba, Cernobbio, Italy on May 24-25, 2025.

Info at www.broadarrowauctions.com.

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XP5 was the fifth experimental F1 prototype built. A test, marketing and press car initially, it was also driven

by Andy Wallace to a productioncar record of 240.14mph at a VW test track in March 1998.

MUCH HAS BEEN WRITTEN ABOUT THE McLaren F1 road car; it is now almost 30 years since five McLaren GTRs finished first, third, fourth, fifth and 13th at Le Mans in June 1995.

The F1 had been launched three years earlier at the Monaco Sporting Club in May 1992. During those 33 years, myth, hearsay, rumour and more have both enhanced and clouded the history of a sports car that continues to fascinate enthusiasts.

Readers may remember returning to the village, town or city where they grew up, only to find that they barely recognise the place after many years’ absence. To quote from LP Hartley’s The GoBetween: “The past is a foreign country: they did things differently there.” Memory is, of course, an unreliable tool when either writing or reading an article or a book. We edit our recollections and find it very difficult to recall complete conversations, even though they can give veracity to a tale.

However, a telephone call from Gordon Murray in the autumn of 1988 is not easily forgotten. He asked if we could meet to discuss a new project that he had in mind for McLaren, to which he’d moved after his very successful time at Brabham as chief designer. I’d first met Gordon at Brabham in 1978, when I was working as a freelance designer. First thing on Thursday mornings, I always used to walk up the road in north London to pick up my copy of Autosport.

On that morning there was a small piece about Brabham having a new sponsor; I was on the phone immediately to offer my services to the

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The leather used for the cockpit’s one-plus-two seating was shaved to half its original thickness. Air-con and a bespoke Kenwood ten-CD audio system sans radio were the only luxuries afforded to F1 occupants.

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team. It was something you could do back then...

I asked for Mr Ecclestone, and was put through to him. I told him that I had experience of racecar liveries. “Can you be here by 12:00pm?” he requested. I arrived at Brabham’s headquarters in Chessington, south London by midday, and introduced myself to the receptionist who had earlier answered my call. “Ah yes, Mr Ecclestone is expecting you. I’ll let him know you are here.”

Mister E, as I still like to refer to him, came bouncing out of his office. “Come with me to the Formula 1 workshop. Lauda’s in there and he is not happy,” he said. As I followed him in, Niki immediately shouted to the boss: “Bernie, this car looks like shit. I am never going to drive a car that looks like shit. How did this shit happen?”

What we were looking at was a fairground ride.

All over a red BT45 were stripes of light green, dark green, gold, orange, dark blue, light blue and white, and hidden among this spectrum of colours was the word ‘Parmalat’, the new sponsor.

Very calmly and quietly, Bernie explained that this is Peter Stevens, he is a designer and he will have some new proposals for how the car will look, by tomorrow afternoon. He looked straight at me: I smiled and nodded “yes”.

What I did not know at the time was that,

earlier in the year, Lauda, having become tired of the politics at Ferrari, had approached Ecclestone and expressed an interest in driving for the latter’s team, saying that he would bring his sponsor Parmalat with him.

At that time, he had been shown the plain redpainted, first iteration of the Brabham BT46.

This was the radical ‘surface-radiator’ car that Gordon Murray had designed for the 1978 season. Ecclestone had previously done a deal with Alfa Romeo to supply its 12-cylinder engines for the 1976 Grand Prix season’s BT45, since when the overweight, fuel-thirsty and unreliable units had given Murray a continual challenge to try to reduce weight wherever he could. The surface cooling was one such attempt.

The car was a disaster, which overheated even on its early tests in the freezing winter of 1977-78.

It was quickly put away and the earlier BT45s were prepared for the coming season. Lauda had instructed Parmalat to create a proposal for how the cars should look; my visit was just the day after his first look at the ‘fairground ride’.

By Friday afternoon he was happy, and Bernie was happy that Lauda was happy. I had shown a red car with dark blue Parmalat lettering on a white stripe and, as an alternative, a white Parmalat

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XP1 LM is the prototype built ahead of five production LMs – one for each of the F1 GTRs that finished at Le Mans in 1995.

on a dark blue stripe, for Brabham to evaluate.

We were off and running with the new scheme. It was applied to the wide-nosed 45s and then the much-revised 46, front-radiator version, where it looked pretty good. It was during this Parmalat period that I met Gordon quite a few times.

Since I was still working for Lotus at that time, I suggested to Murray that the roof terrace of my then girlfriend and later wife’s flat in Olympia would be fine for meeting up: beer could be taken, and it would be private. He told me that McLaren was looking to build a road car and he needed advice on how to find a young designer to work for him. As Gordon explained McLaren’s ambitions for the model, it became clear that a student wasn’t what he wanted. I impressed upon him that a road machine was very, very different from a race car – an example being that the complexities of the legal homologation process were, unlike then-current practice in F1, not an invitation to circumvent the rules.

I also said he needed someone who had some

experience of working with composites and production methods. A long stint at Lotus and continuing work on the TWR Jaguar XJR-15, the first all-carbon road car, had given me that experience. After a couple more beers, I said that I was convinced I was the best person for the job. This might have been a compelling suggestion, because suddenly the gig was mine.

In my mind was the thought that the days where one person could design a complete race car were long past, and even more so for a fully compliant road model. No, a very integrated team would be needed. It would be a steep learning curve for McLaren. I quietly let three friends at Lotus know that the project looked interesting. Things were a little slow at Lotus following the takeover by General Motors; the front-wheel-drive Elan had been launched, joint projects with GM were being pursued but were mired in a good deal of politics, and a completely new car project was looking unlikely.

Barry Lett was a very experienced packaging engineer who had been working with me on the

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M300 project; this was to be a Cadillac Northstar V8-engined high-performance sports car – but quite who was going to pay for it was not clear, and the man in charge of the project was bonkers.

Meanwhile, Mark Masters had been heavily involved in the brake development of the Lotus Omega project, and had then moved to the M300.

Mark Roberts was a superb illustrator who worked on cut-away drawings, and brochure and instruction manuals, for almost all Lotus projects.

We four ‘Norfolk Mafia’ were joined at McLaren Cars by Tim Feast, an experienced gearbox and drive-line designer who had been working on an Allard Group C race car; Mike Lock, who had worked with Gordon Murray as a tool designer; and a young David Doody, to work on locks, hinges and a dozen other detail components.

Then there was the arrival of Steve Randle, a brilliant young engineer who after a short spell at Jaguar, where he was to be involved with the TWR XJ220 supercar, had probably realised that working for your dad might not be the best start to a career in engineering. His father was Jim Randle, chief engineer at Jaguar. Harold Dermott,

The ThroTTle pedal was hand-crafTed ouT of six separaTe pieces of TiTanium

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the man who had run the tiny Midas Cars company, was known to Murray through the latter’s fascination with Harold’s Richard Oakesdesigned, entirely structural, composite, frontengined sports car. Harold was to be in charge of developing a production strategy for the McLaren.

Another fellow, David Thomas, was in charge of purchasing, and later came Paul Martin, who had a great understanding of composite-carbon lay-up requirements, and would prove invaluable when we came to build both the prototypes and the production cars. Murray’s move from the McLaren Formula 1 team to McLaren Cars suited both Ron Dennis and Mansour Ojjeh; they had plans for the group to expand way beyond the highly successful F1 racing team to something that would include a road-car division (about which Gordon was very enthusiastic). Creighton

Freed of air restrictors, XP1 LM’s race-spec 6.1litre V12 produces 680bhp. It set a 0-100-0mph record of 11.5 seconds in 1999 with Wallace at the wheel. Top speed was kept down to ‘only’ 225mph due to GTRderived rear wing.

McLaren spent 3000-pLus hours Making each carbonfibre chassis

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Brown moved across from the race team to become the commercial director.

No one at McLaren had any experience with motor-industry-style clay modelling. It’s totally different from ceramicist’s clay: it is heated to 70ºC to soften it, and it hardens as it cools and can then be sculpted. As such, I had a free hand to order a clay-heating oven and a full-size castiron surface plate with the latest Stiefelmayer measuring equipment and, of course, to hire a couple of very experienced clay sculptors.

Nobody knew more about modelling than Gordon Shrigley, who had worked with me on both freelance projects and at Lotus. We had a way of working that was always a stress-free delight; often we did not even have to use words.

He’d peer over my shoulder, spot where I was looking and lightly touch the model just where the issue was. Our shared belief was that it was always best to solve a surface problem by removing clay rather than adding more. We had this phrase that “the model should weigh less at the end of the day than at the start”; it seemed to fit in well with the McLaren philosophy.

We were joined by clay modeller Brian Davey, who looked after the scale model for the wind tunnel and the car’s interior. Brian was a classic Essex man, always up for a joke and relaxed in his approach to a material that is not nearly as easy to work with as it appears. “It’s only clay – there’s plenty more in the oven,” he would say.

Both Gordon and Brian were happy for me to work on the clay to show what I was looking for, which is unusual in the design industry; they just reserved the right to ‘tidy up’ my efforts. The modelling studio was right next to the Formula 1 team’s pattern shop, and a tough Scotsman who worked there, Alex McMinn, was fascinated by the clay process and asked if he could join the team. He turned out to be a super-enthusiastic McLaren F1

1.2mm: The Thickness of The carbonfibre body panels

worker, who was great for working on the windtunnel models. When the time came to start the full-size clay model, Brian introduced me to another Essex man to help with the big task of applying more than two tonnes of hot clay to the wooden armature. He was Lenny Ellis, built like a bear and a keen biker, who tragically died trying to start his reluctant early Norton soon after leaving us at the end of the modelling process.

‘Old Shrig’ and I used to sit quietly in the studio after everyone had left, often with a pizza or curry, and just look at what we’d achieved during the day.

We’d discuss small changes, fixing minor things that we knew could be better. Murray sometimes used to ask what on earth we had been doing, leaving so late. “Getting it right,” I used to say.

Once we’d all settled into our design-office spaces, Gordon arranged a briefing session during which he laid out his plans for the project.

A central seating position was fundamental to the concept, along with a mid-mounted, normally aspirated V12 (a supplier had still to be found),

ABOVE

Chassis no. 10R was the development car for the 1996 season. The only F1 GTR not to be officially raced, it was also the first GTR to be made road legal,

by McLaren.

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light weight and a smaller footprint than potential competitors. We sort of decided between ourselves what our tasks might be and how we should make them overlap for easy communication. Our little team quickly gelled into a group of designers who all shared the same objective – to produce a car that would be as good as we could make it.

There was no ‘fastest-ever’ approach, just the desire to do a very good job. One of the things I’d learned from many years working with race teams run by David Price and Richard Lloyd was that in high-stress situations, such as at the Le Mans 24 Hours, a collective sense of humour is essential. This is also true for a project such as the McLaren F1, and those of us from the roadcar industry found we were having to educate those from a racing background about the difference in methods of the two. Not because they were daft and we were brilliant, but because the objectives of the disciplines were so far apart.

Weekly progress meetings were always lively – we were happy to express our opinions. Both Barry Lett and I were insistent that we should produce a proper seating buck, so that we could evaluate how the three seats would work and how much space the cockpit would take up.

It was nearly a year before I started sketching how the car might look. The temptation to start straight away was enormous, but until we knew how long the engine was, how much space the gearbox would take up and a dozen other dimensions, it would be a waste of time. Once we had the dimensions of the brilliant BMW V12 from Paul Rosche’s team in Munich, we could define the wheelbase and a good approximation of the track.

Shrig, Brian, Alex and I were then able to build the first wind-tunnel model. We knew how much room the occupants needed, and where the frontaxle and rear-wheel centrelines had to be. We modelled the centre section with the windscreen and side glass, but made several different front and rear sections with long and short overhangs and high and low body-surface heights. This was so I could establish an aerodynamic drag and lift/ downforce objective. Then sketching could begin.

The whole approach was different. Normally a project would start with a wall full of idea sketches, and you’d pick some things you’d like, but that didn’t seem appropriate to this kind of car. It made everyone else feel comfortable; they realised the design bit wasn’t coming from a flaky stylist who hadn’t a clue what was going on. When you’ve only got a few people it’s essential everyone has faith in each other and trust in their input, which was the principal thing that worked well with the F1. In this entire new team there were no egos or pretensions – we all just wanted to make a really good car.

My initial thought was that because there was no McLaren design history that I could look at, we were, to a degree, starting from scratch. This meant approaching the car from a point of view of technical excellence, which indicated that it

ABOVE F1’s final styling already evident in this early Stevens sketch. Scale model being prepared for the wind tunnel.

had to be really good in the wind tunnel and very stable at high speeds. I used those logical thoughts rather than something like “I think a McLaren should look like this”.

We were clear that this had to have a long life – it should not look silly after two years, as most of these kind of cars did. I was very aware that it shouldn’t rely on styling gimmickry, and I was determined it should not have a wing on the back like an F40. I had done wings on cars before, normally because they’re the only way to get the thing to work well aerodynamically, but once you start by knowing you don’t want the wing, you can do the aerodynamics in a way that works fine. The F1 does have a little flap at the rear that comes up to balance the car when you brake hard from high speed; it just puts a little more of the download to the back. But it’s just a flap, not a styling feature, and it also directs a bit of air down the ducting to the rear brakes as a side effect.

The design had to be more timeless than ‘of the moment’: it had to have a long life. It also had to be easily understood as a form. The surfaces had to be very smooth and simple where it first met the air, but should become more complex as

the air moved rearward where the roof intake starts and a series of air outlets manage the hot ‘heat soak’ air after a fast run. Finally the rear body surface would have a simple air outlet mesh.

We had started aerodynamic work by using the National Physical Laboratory tunnel in Teddington, almost opposite the Autocar offices – if only they had known what was in the back of Harold Dermott’s Peugeot estate. This was the tunnel that the McLaren Formula 1 team used, and was not always available to us. The thing with Formula 1 aero development was that what the teams were looking for was improvement rather than actual drag coefficient numbers, and the numbers I was seeing were not as expected.

Murray then suggested I start aerodynamic research work at what had been the Brabham wind tunnel, but by then had been taken over

by Yamaha. The results were very strange. While at Lotus I had collaborated closely with John Davis, the Formula 1 team’s active-suspension and aerodynamics engineer. He was a delight to work with, almost always with a sandwich in one hand and a pencil in the other. He had a very disciplined approach to running an aero programme: never more than one change at a time; write notes before and after each run; and always note the date and time of each run. I learned so much from John about both discipline and the method for making progress in the tunnel. Less about sandwich fillings...

At the Brabham tunnel odd, wild fluctuations in results from one run to another caused me to go line by line through the results. When a simple change was made, with the following run being about a minute after the previous one, the results weren’t as expected. But when a complex change took up to 15 minutes, the results were what I imagined they would be. I then realised that after runs in quick succession the moving floor belt became too hot to lean on. After a long pause, the belt cooled, as did the air in the tunnel. A ‘bloody

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stylist’ saying that the tunnel was unreliable...

We were looking for real figures that could be compared with those of what we considered to be our competitors. Our aerodynamic drag figures were coming out way higher than I expected, more than for the Lotus Esprit that John Davis and I had tested so often – and the first Esprit was not particularly brilliant. I ended up using the MIRA (Motor Industry Research Association) tunnel that I was familiar with and trusted. We later used MIRA’s full-size tunnel to check the actual car, and its drag coefficient was 0.32Cd, as my scale-model research had indicated. The great thing with the F1 project was that there was both time and budget to do these things properly. Murray had come to the first few test sessions, but was then happy to let me carry on the work because I guess he could see I had a bit of an idea that I knew what I was doing.

The weekly meetings were often enlivened by Steve Randle’s discussions with Gordon. On one occasion we were deliberating the F1’s braking, and Steve said: “If you’re on the Autobahn doing over 200mph, and a truck pulls out to pass another, half a kilometre ahead, you’ll hit it. Doesn’t matter what car you’re in, what brakes you’ve got – you have somehow got to dodge round it, because you ain’t going to be able to stop. That’s physics.”

Barry and I quite often said that a Formula 1 car’s body surfaces was not as good as a Ford Fiesta’s, despite the race cars costing something like £9 million each at 1990 prices, and that we would be doing them rather better... Popular!

Was carbonfibre a challenge for production?

Yes! In fact, just before the F1 I’d designed the Jaguar XJR-15, and I was finishing it off when I started at McLaren. Murray was quite happy about that, because we were using carbon and finding out about its suitability for production. A couple of times he came down to TWR and had a look at the XJR-15. At the time, the 15, being the first full carbon monocoque, roof spider and body, was very expensive. Now people do a similar thing and they’ve learned a lot more, so it’s cheaper.

With the F1 we had no opportunity to change our

minds once we’d tooled it, expensively… We did it in the old-fashioned way with proper pattern makers, so we had a chance to look at the masters before making the tools, and to see how they had come out. It was probably the last analogue supercar, in that all the body was hand-drawn by my brilliant Norfolk-based friend Jim Router.

The masters were made at Canewdon in Essex.

They understood that they had to keep all the highlight lines perfect to make the body curves look dead right on the patterns.

The support from Ron Dennis during the F1’s design and development was remarkable. By his own admission he knew nothing of the process of designing a high-quality road car, but he trusted us with his money. He didn’t like the smell of the modelling clay and hated the way it could stick to the soles of shoes, but he was fascinated by the way the car emerged from the clay, even though he couldn’t judge what size it would be.

To help him, I produced a full-size tape and air-brush illustration on translucent Mylar film overlaid on a complete package drawing of the car. Standing next it, he said: “It can’t possibly be that small, can it?” I took the Mylar film away and Early interior sketch highlights unusual three-seat layout. Late-stage full-size clay model mirrors final car.

BELOW

there was the package drawing. Ron was stunned.

One of the great things about the F1 project was the breadth of design opportunities that it offered, from the little leather roll that held the Facom titanium tools, to a complete set of unique luggage.

I’d looked at several potential manufacturers for the latter, and was not very impressed. An Italian journalist friend then suggested Modena-based Schedoni, who made luggage for Ferrari.

It proved difficult to explain exactly what I wanted, so I got Brian to make a clay model of the briefcase. He had little tools that could produce a leather-grain finish as well as both single- and twin-needle stitching and a closed-zip fastener effect. We took tools from the clay and made a perfect glassfibre model, which Brian painted in such a way as to produce a perfect ‘leather’ case.

Because I was going to Italy via the Geneva Motor Show, I took the train from Switzerland to Modena with the model carefully stowed in a cardboard box. At the Italian border, both passport and customs men came on board to check documentation and luggage. I was asked what was in the cardboard box. I opened it, and the customs man took out the briefcase – it weighed about the same as a real thing.

He tried to open it, and then he passed it to his colleague. They became quite noisy, demanding to know what it was and how they could see inside. I explained that it was a ‘maquette’, or model. I then said it was a secret project for Ferrari, to be made at the marque’s supplier, Schedoni. They quickly put it back in the box, put the lid on, looked furtively around to make sure no one had seen it, then winked and said “shhh!”

People often still ask me how it was working with Gordon. His often-obsessive fascination with engineering, detail design and motor sport in particular shone through much of his method and presentation. We quickly understood what he was looking for, and worked very hard to achieve those objectives. Reading both John Barnard and Adrian Newey’s books on their careers, this trait would seem to be a prerequisite for succeeding in the tough world of top-level motor racing.

That Barnard endeared himself to his loyal team of supporting engineers despite a mercurial temper, contrasts with Murray’s more relaxed approach to people management. That he seems to have saved almost every scrap of paper, rough sketch, train ticket, list of objectives, engineering drawing and notebook is a tribute to his personal filing system and long-term objectives. Easy to work with? Not always.

Fascinating to work with? Absolutely.

With the McLaren F1, the concentration and extreme hard work that were required during my four years working on the project left me unable to properly evaluate the car at that time. Now I can look back over what is more than 30 years since we started the project, and I can gain some pleasure from seeing it in context. I always intended that the design should be timeless rather than ‘of the minute’ – and that is what I think we achieved.

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McLaren F1

1995 Le Mans victory

Words

Andrew Frankel

Illustrations

Ricardo Santos

Magneto

1995 Le Mans victory

82

McLaren F1

THE SCALE OF MCLAREN’S ACHIEVEMENT in winning Le Mans in 1995 deserves restating.

The headline will be known to many: it was and remains only the third time in the race’s 102year history that the event has been won by a manufacturer at the first attempt. But, of course, one of those previous occasions was guaranteed, because someone had to win the very first race – so, with all respect to Chenard et Walcker , it’s not as if any other team against which it competed in 1923 was any more experienced.

And while caps are rightly doffed to Luigi Chinetti’s heroic near-solo drive to victory in a private Ferrari in 1949, he was at least in a car designed to race. The McLaren? Not so much.

Indeed, I well recall Gordon Murray telling me that had racing been even at the back of his mind when designing the F1, it would have been done if not entirely, then substantially differently.

Let’s not forget, either, that a McLaren didn’t only win Le Mans in 1995; other F1s came third, fourth and fifth, too. Nor were they anything close to being the fastest cars out there: the quickest F1 qualified in a mere eighth place, some 11.0 seconds off the pole time of the Welter Racing WR Peugeot on pole. Even in its GT1 category the F1 was only fourth fastest in qualifying, behind a trio of well developed Ferrari F40s.

But even this was not the greatest bar to potential victory faced by the McLaren teams.

The fact was the F1 GTR was a brand-new racing car developed in a ridiculously short period of time. In May 1994, Murray went to a round of the emergent BPR sports car series simply to scope out what level the opposition would be at should McLaren give in to its customers’ demands and build a racing F1. By February the following year, the F1 GTR was on the grid at Jerez.

You only have to look at what the racing F1 became when fully developed into superlight ‘long tail’ configuration in its final full season of competition in 1997, to see what a dip in the water the original 1995 F1 GTR really was. The engine had less power even than the road-going version thanks to the restrictor size it was forced to run, the gearbox was essentially standard,

allowing for only very limited ratio choice, and the suspension geometry was left as per the road car’s, too, as was the ride height. Yes, the interior was stripped and made more race relevant, while an aero pack – based on a single day of runs in the National Physical Laboratory tunnel – was developed, but save the bigger carbon brakes made possible by 18in rims, the car really was a race-prepped street machine and not much more.

What this meant was that not only had the car been developed to a fraction of its full potential, not only was that potential itself limited by the F1’s road-going design (one is reminded of Porsche’s artful craftiness the previous year, when it had won by turning a Porsche 962 into a road car, then back into a ‘GT’ racing car, and thereby experiencing no such problems), but also very few thought the car had a chance of lasting anything like 24 hours. In particular, that road-going transmission with its multi-plate carbon clutch was known to be a weak link, and it had already failed earlier in the season in races a small fraction of the duration of Le Mans.

In the Autocar office where I worked, the opinion was clear: the McLarens had no chance.

We thought the F1s might be quick, and most of the teams that lined up for the start had some outstanding talent on the driving roster, but we could see no way that, if I may paraphrase Samuel Beckett, its light would not just gleam for an instant, then it would be night once more.

Yet I still went, driving down to La Sarthe in an E36-generation BMW M3 whose 3.0litre straight-six engine was absolutely not just one half of McLaren’s 6.1 V12, whatever you may have read. By then controversy was already stalking the infant F1 programme, however. And what’s more, it came from within.

Because if you’d spoken to Ray Bellm at the time – one of the customers who had persuaded McLaren to build a racing F1 – he’d have told you it was understood that this was a customer programme, and that those customers would not have to compete against a factory team. Yet there at the test day and on the grid was McLaren’s own F1 GTR, the development mule

ABOVE

Few had faith that the F1 had a chance of lasting anything like 24 hours – particularly its carbon clutch.

The F1s were quick, and most teams had at least some outstanding driving talent – but no one expected the result that transpired.

OPPOSITE

McLaren F1 1995 Le Mans victory

‘it soon became clear that the race weekend was going to be wet.

Very wet indeed’

no less, brought up to raceworthy specification.

Surely this was a Works entry? Au contraire, said McLaren. It was just that the company had a wealthy Japanese client who wished to sponsor an F1 at Le Mans, but that all the other teams had their sponsorship opportunities sewn up and didn’t want to cheese off existing patrons by rewriting their contracts to include another name. So McLaren just let its own car be used, and asked Paul Lanzante to run it. Whatever the rights and wrongs of the situation, to say things got properly scratchy between Bellm and McLaren is something of an understatement.

And so the stage was set. Seven F1s were entered, the first of the key players among them being that Ueno Clinic-sponsored ‘not Works’ car driven by already double winner Yannick Dalmas, Michael Schumacher’s ex-team-mate JJ Lehto and, at the sponsor’s request, a Japanese driver, Masanori Sekiya. But there was also the Westsponsored F1 of Jochen Mass and John Nielsen (its owner, Thomas Bscher, didn’t get to drive it), the Harrods-sponsored one of Andy Wallace plus Bells Derek and Justin, and Bellm’s Gulf-sponsored car driven by him, Mark Blundell and Maurizio Sandro Sala. I write about my own experience of this very machine on the Magneto website...

And then, as if having a brand-new, underdeveloped car of suspect reliability going to a track unlike any other – one that it hadn’t raced on before, for a duration none had ever tried to get close to – was not enough of a challenge for the McLaren crews, it soon became clear that the race weekend was going to be wet. Very wet indeed. And no F1 had ever raced in the rain.

In the end, some 22 of the 48 Le Mans 1995 starters would fail to see the finish, half of whom went out through accident damage, with the weather playing a role in virtually all incidents.

Wallace once told me that compared with the full ground-effect Group C prototypes he had been used to, the F1 “had no downforce whatsoever”. At times skipping from puddle to puddle in the night, it was all he could do just to hang onto the thing.

To me, standing trackside wearing inadequate wet-weather clothing, it seemed to rain from start to finish – although I note that more official estimates put it at between 16-17 hours, making this still probably the wettest Le Mans on record, even if 1958 did run it close.

It was no surprise to see the WSC prototypes that had dominated qualifying disappear off into the distance at the start – their performance was in a different league to that of the GT cars – but the general view was that it would still be difficult for one to win, because the regulations allowed the GTs a 100-litre fuel tank but the prototypes a mere 80 litres. Only the Courage Porsche driven by the dream team of Mario Andretti, Bob Wollek and Éric Hélary looked likely to threaten the podium.

The rain began less than an hour into the race, and stayed until late on Sunday morning. And the much vaunted McLaren-owned F1? Relatively

speaking, it was nowhere. Dalmas was at the wheel, and he just sat back and let things develop, driving so slowly that years later Lehto told me: “I thought the race was over before it had begun.”

In fact, Yannick was just being smart. Once a few pitstops, mechanical issues and accidents had put most of the prototypes out of the running or reckoning, and the F40s had proven fragile, too, the McLarens took control, with Mass and Nielsen out front. By midnight the top five cars were all McLarens, the West car leading the Harrods, leading the Ueno Clinic.

And then we thought, just maybe, they’d last; that the weather which seemed so prejudicial to the McLarens’ chances might actually become their saviours by taking all that strain off their transmissions. The F1s had another advantage, too, as JJ was keen to tell me: “The car was built around this big V12 engine, and while some drivers felt the back end was heavy and hard to control, I just loved it, especially in the wet. It had loads of traction, a lot of torque, incredible throttle response. You could do anything with it.”

The outcome of the race turned on four occurrences. First was the West car’s clutch failing and, within an hour of having it changed, Nielsen being caught out by cold carbon brakes on a wet track and crashing out for good. Next was Andretti’s Courage getting tangled up with another car in the Porsche Curves, hitting the wall and losing six laps while having its rear wing and suspension replaced. And then there was JJ. Eighteen months earlier, Lehto had broken his neck in a testing accident at Silverstone. He later told me: “Le Mans was the first time I knew I had fully recovered.” His speed in the wet was, frankly, ridiculous. As Paul Lanzante was moved to point out: “Before the race we had decided on

the lap time we should try to stick to. JJ appeared to think that still applied in the wet…”

Some say he was five to ten seconds a lap quicker than anyone else out there; JJ reckoned he’d heard it was as much as half a minute.

Lanzante was in his ear asking “are you sure you can maintain this pace?” while in the car all was calmness and serenity.

“Whatever anyone says, I wasn’t pushing. I was enjoying – and there’s a difference,” Lehto recalled. “Once you find the lines, the rhythm and the grip, everything else just flows. Everyone was so nervous, but I was completely relaxed, wondering what all the fuss was about. I was being careful with the ’box, keeping off kerbs, taking nothing out of the car.”

He closed in on the leading, Justin Bell-helmed Harrods car at a terrifying rate, then overtook.

Justin was pulled in and replaced by the 53-yearold Derek, who showed you don’t win Le Mans five times just by being lucky. The gap stabilised, then the cars ran neck and neck.

Which way it would have been resolved will remain forever unknown thanks to the fourth event, which was that the clutch on the Harrods car started to drag. When it came in for Wallace’s final stint, no gears were to be found. Pulling away on the starter motor only flattened the battery. In the end the car was jammed in a high gear and, begging one last favour of that clutch, Andy just managed to get going. But with an hour remaining it was too late: the only threat to Dalmas in the Ueno Clinic car was the Andretti Courage, itself slowed by having to stay out too long on old tyres rather than lose the time spent changing them.

How did we, the crowd, feel? A bit robbed to be honest. Yes, we were delighted the McLaren had seen off all-comers, but I, and everyone I knew,

wanted the Harrods car to win. If the thought of Derek winning his sixth Le Mans to equal the record of Jacky Ickx – and at that age – wasn’t sweet enough, the idea of the first father/son victory since Louis and Jean-Louis Rosier won in 1950 was irresistible. And, of course, there was Andy Wallace, as good a candidate for best bloke in motor racing as I know, hero of the 1988 Jaguar triumph and thoroughly deserving of a second trip to the top step. But it wasn’t to be. The F1 GTR development hack, chassis 01R, a car that was never meant to be in the event and one some thought should not have been, claimed the only prize that really mattered, making Sekiya the first Japanese driver to win the world’s greatest race.

I still see that car quite a lot, because it lives on ‘The Boulevard’ at the McLaren Technology Centre. Its value means it is rarely, if ever, allowed out (and whoever gave the order to have it cleaned after the race should be put in stocks and pelted with rotten tomatoes by the Woking yeomanry).

I dwell not on how the victory was achieved, but on the fact it was achieved at all: by a car never designed to race, developed in an impossibly short timeframe, at an event many multiples of times more difficult than anything it had done to date, and in weather it had never seen before.

It is worth reflecting on the fact that when, in 2011, Porsche – the most prolific Le Mans winner of them all – announced it would return to the event, it took five years and three attempts to win. The F1 GTR was conceived, developed and delivered in little more than one. Of course, designing a prototype from scratch is a rather more time-consuming task than converting an extant road car, but I still think it ranks high on the list of achievements of any group of people, in any field of racing in the history of motor sport.

McLaren F1 1995 Le Mans victory 86

Magneto

‘it still ranks high on the list of achievements of any group of people, in any field of racing’

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McLaren F1 1995 Le Mans victory

DURING PRACTICE AND QUALIFYING FOR the 63rd Le Mans 24 Hours, the teams running McLaren F1 GTRs encountered gearbox issues, with many experiencing failed clutch-release bearings. With the cars only having competed in four-hour races up to that point, it was generally assumed that the transmissions wouldn’t last a full day. That, along with the fact they’d be competing against the much quicker WSC prototypes, meant that even Gordon Murray conceded the absolute best he could hope for was a class victory.

Now, whether the overall race-winning factorydevelopment car – entered under Kokusai Kaihatsu Racing, prepared by McLaren, run by Lanzante Motorsport and sponsored by Ueno Clinic – was fitted with an upgraded clutch component, or merely benefitted from astute lubrication management of its gear-selection mechanism, depends on who you ask.

Imagine knowing your car’s transmission will most likely be rendered useless at some point by something as innocuous as carbon brake dust in the clutch housing... but you go racing anyway.

Astonishingly, the six customer teams who had bought racing versions of McLaren’s brilliant F1 road car did just that, with three of them finishing in the top five overall. One of those team’s drivers, five-time Le Mans winner Derek Bell, recounts various moments of what he calls “a wonderful event”. The way he starts off, though, would suggest that knowing how close he came to actually winning still rankles a bit.

“These customers, who’d spent a fortune on the cars, go to Le Mans knowing they can’t win,” he says. “Now that wasn’t just my team, that was everybody. And then, McLaren, who had told us there wouldn’t be a factory entry [technically true], carried out a full 24-hour test and specially prepared a car for the race that we never knew would be going in the first place.

McLaren, basically, was a little naughty I think.

“So we went into it with open eyes, and for me, I thought driving with my son Justin and Andy Wallace would be great, and McLaren would be wonderful because I had a long association with

It’s been 30 years since five-time Le Mans winner Derek Bell came within an hour of a potential sixth title. Here’s how he remembers it all playing out

it, having done the British Grand Prix for Bruce years before. And I was getting paid. So I did it, and we surprised ourselves just how well we ran.

“Of course, in the dry we qualified eighth in class, knowing that basically we weren’t going to last. But then it started raining, and when the Nielsen car [no. 49, West Competition] had its clutch issue, we took the lead. God knows why, but it seemed that every time I got in the car, we were leading; and every time I got out, still leading. It was amazing, and also properly wet.

“The actual conditions were shocking, It was bloody terrifying in the wet, really. It seemed like one of us would spin, and then one of the other leading cars would spin. We all had them. The car would just aquaplane off the road in a flash, and you’d be like: ‘Hello, what the hell was that?’

“When I spun, it was usually coming out of a corner where I had just caught the kerb, drifting too far, and I sort of went ‘oh, you stupid bastard’ and carried on. But you are always a little bit tentative because you’re just driving as fast as you dare. And we were driving well, despite not having the supposed advantage of the Ueno Clinic car’s Michelin tyres.

“I guess it must have been sometime before

daylight, I remember I got out and Justin took over. It seemed like 30 seconds, but more like 40 minutes, later the team called me and said: ‘You’re going out again.’ I said: ‘I only just bloody got out.

What’s wrong with Andy?’ because it was his turn. They said: ‘Oh, he’s absolutely knackered, and Justin’s just spooked himself.’ He’d had a lurid spin, which lost us time, but it also actually blew his mind a little. So they called him in a bit earlier because his lap times had gone off.

“I remember seeing Justin’s face – his eyes were like bloody poached eggs when he came in.

I’m totally sympathetic with him, or anybody who has one of those lurid spins, but I still thought: ‘Oh, bloody marvellous.’ But, what can you do? I just had to get after it for another hour and a half or whatever in the wet.

“The McLaren was really surprisingly good to drive, and stunningly fast on the straights. We never said we were going to run at a certain speed. We gave ourselves a rev limit and just drove as fast as that allowed. What was staggering is that we ended up all running so well in the rain.

I thought the car needed more downforce, but they took some off it to get the speed we needed for that bloody great straight, not knowing that in the rain it wouldn’t be such an advantage. All I can say is that the car had perfect balance and such a sweet, normally aspirated engine.

“It was sort of just before dawn, and all the boys could see. Andy got in, did his stint, and then I know Justin got in again as the track was drying out, and one of the guys on the pitwall said: ‘He’s just put in some stunning laps.’

“You can hardly read the bloody lap boards, but I remember it was my final stint and we were still in the lead. I realised JJ Lehto was behind me. I came around past the pits and the board showed I was something like 31 seconds ahead, and I thought: ‘This is when all the public in broad daylight see Derek Bell, age 53, being overtaken by the young star, and that’s the end of my career.’ I also remember thinking: ‘OK, I’m going to have to drive quickly now.’ Anyway, I handed the car back after my 50 minutes, and saw that I had pulled out six seconds on JJ. It sounds pathetic, but it kept that buzz going. And I thought: ‘Thank God for that. I didn’t get overtaken by the Ueno Clinic car.’

“Then I got in for my last run, and by this time, the clutch-release bearing was playing up and I just couldn’t get the car into the next gear. So, basically, we just cruised around and came third.

“Of course we wanted to win, but I’m not bitter that we didn’t. It’s one of those things. The car was phenomenal – an astonishing feat of engineering.

Apart from one transmission component that let us down, none of us really had major problems.

“It was the most memorable race of my career for many reasons, but mostly to race with my son on Father’s Day and with another British driver in Andy Wallace. It was a bloody good team. We couldn’t have done it one without the other.”

1986 SAUBER C8 MERCEDES THE MOST SUCCESSFUL C8

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COLLECTION

McLaren F1 1995 Le Mans victory

A whistle-stop tour of McLaren Special Operations’ Heritage division – haven of all things F1

McLaren F1

IN A NEAT BUT UNASSUMING BUSINESS park in Woking, Surrey, just a few minutes’ drive from McLaren’s rather more grand Technology Centre (MTC), you may spot an MSO sign on one of the units as you drive by. McLaren Special Operations was born out of the company’s customer-care division, originally established for the F1 road car. Today, it’s a two-division business comprising Bespoke, which facilitates McLaren’s in-house personalisation programme, and Heritage, heartland of the F1.

We’re met at the door by MSO Heritage manager Michael Wrigley, who’s quickly into his stride: “We have looked after our F1 customers since the 1990s,” he says. “This used to be mostly for routine servicing, but these days the cars come in for refurbishment, recommissioning and restoration, too. We’re also beginning to do more restoration and bespoke enhancements on models such as the P1 and several other older cars. On the Bespoke side we have a dedicated team creating custom versions of our modern product range, including the 750S, Artura and GT.” With the remaining 100 F1 road cars scattered across the globe, usage patterns and storage facilities must differ greatly between every car that comes in? Michael talks us through the process: “Our first step is always to thoroughly understand the car and its condition. This starts with a safety check that asks questions such as: Does it leak fuel from old bag tanks? How old are the tyres? It culminates in a full shakedown test and analysis at a private circuit.

“This allows us to present the customer with a transparent programme of the repairs we think need to be done, as well as things we’d recommend – always in line with their expectations and wishes, of course. It’s about building a relationship that allows us to understand where the customer sees the value in their car. Is it as an investment piece that will mostly be on static display, or do they want to drive it? Either way, they will likely want to be able to show that it has had the maintenance, care and love that it deserves – which is, of course, in our interest as well.”

Given the steep rise in F1 values, MSO’s F1 Certified programme, launched in 2018, was a no-brainer. What’s the uptake been like? “The

ABOVE

BMW Motorsport S70/2 V12 and its exquisite carbonbodied home after receiving the full MSO treatment.

programme is really coming of age now,” says Michael. “We have a number of cars booked in this year. Again, it starts with a thorough inspection.

Is it still as it left the factory? If not, how can we bring it up to standard? That may not necessarily include colour and trim, but items that might have been materially affected. We will then go through our history and produce all the documentation that goes with it to complete the certification.”

MSO’s neatly curated archive room is a key aspect of F1 Certified. “We have a complete archive of the cars, including all the build manuals, allowing us to do anything from a simple service to an entire rebuild following an accident. We also have a lot of stock of various body panels and other parts. We sometimes need to retool, because many were originally made with limited build numbers in mind. But with more than 20,000 drawings in the archive, we also have the drawings to remake them. So while we’re not saying we have every single part in stock, we certainly have the ability to make every single part if need be.”

Where significant innovations have taken place, the MSO team has also started redeveloping items.

“The F1’s original bag fuel tanks needed to be replaced every five years. But with more aggressive

modern fuels, that time has reduced. To tackle this, we’ve developed aluminium tanks; a much more durable solution – especially for cars that are being parked for long periods. We’ve also developed new brake discs because we could no longer use the original compound, and tyres that meet modern specs when they’re remanufactured.

“When the cars were first built, they were designed to be used. They were expensive, but they weren’t at the level they’re at now. As they increase in value and people use them in different ways – or not at all – they have different requirements.

We have to keep up with that. And I’m sure we’ll find other things that need to be developed.”

‘Custodians of the F1’ isn’t a tag MSO takes lightly; remember those reports of McLaren buying old laptops off eBay? Michael says: “That’s a great example of how we have worked to ensure that our services develop and change alongside the requirements of the cars. We had to ensure that we maintained both old and modern electronics to allow us to keep talking to the cars and keep them talking to us. We still have the original Compaq laptops, and we go to great pains to keep them running. We don’t have to use them much, but they’re there when we need to refer back to them.

“We’re incredibly proud of our F1 road-car heritage and the heights it’s reached,” he concludes.

“Back in the 1990s it was about producing that absolutely pure vehicle, the greatest car ever made. The fact they didn’t sell quite as quickly as McLaren thought almost wasn’t the point. The point was that it built the F1. And now we get to take care of them, which is a great honour.”

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RAINER SCHLEGELMILCH / MOTORSPORT IMAGES

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Magneto

1976

Bertone

Ferrari 308 GT Rainbow

How the great Gandini’s relentless quest for the new, along with a touch of expediency, resulted in the most enigmatic Ferrari of all

1976

Bertone

XX

Ferrari 308 GT Rainbow

Magneto

1976

Bertone

“EXTRACT FROM LIMITATIONS AND impositions a strong, stubborn and constructive sense of rebellion.” That’s the advice Marcello Gandini gave young designers as he received an honorary degree in engineering from Turin’s Polytechnic University on January 12, 2024, in an event that would turn out to be the 85-year-old Master’s last public appearance.

Make of that what you will, but there’s no denying he walked the talk. A creative fiercely committed to his craft, Gandini suffered no fools and remained relentless in his quest to push the boundaries of automobile design throughout his career. His stern resolve to outdo himself at every turn may seem increasingly alien to a world where even car enthusiasts need a double take to tell a new model apart from its predecessor. But, during the golden years of Turin’s carrozziere, it was a way of life.

As independent design studios, the entire

Ferrari 308 GT Rainbow

Ferrari 308 GT Rainbow Bertone 1976

business of firms such as Bertone, Pininfarina and, later, Italdesign hinged on being perceived as the cutting edge of car design. With that precious reputation on the line at every year’s major motor shows, wowing the crowds of Paris, Turin or Geneva was essential in order to keep the commissions coming in.

This was an industry that thrived on innovation and surprise, and it’s fair to say that few other designers did it more than Gandini over his first few years at Bertone. Cars such as the Miura, Marzal, Carabo and original Stratos boosted the Turinese company’s reputation to unprecedented heights, to the point of allowing Nuccio Bertone to drive a wedge – pun definitely intended – between Ferrari and Pininfarina.

The latter had been the Prancing Horse’s tailor of choice since 1951, but things were ripe for a shake-up after Fiat’s partial takeover in 1969, which brought in new management and a renewed focus on the growth of the road-car business. And, while Pininfarina’s Dino 246 was a sales success for Maranello, its gorgeous curves were fast becoming yesterday’s news in a period in which car design was evolving at breakneck speed.

In this context, it’s easy to imagine how the presentation of the Lamborghini P250 Urraco prototype at the 1970 Turin Motor Show could have been what ultimately sent Ferrari knocking on Nuccio Bertone’s door. The ‘junior’ Lambo’s sharp lines and dramatic wedge shape made the Dino 246 look positively ancient, while its 2+2 cabin gave it a higher sales potential.

Ferrari and Fiat sought Bertone’s services to get something different, and the Dino 308 GT4, presented at the 1973 Paris Motor Show, was exactly that. As Marcello Gandini recalled years later, it was Enzo Ferrari himself who chose the 308’s design, picking one of the most elegant and subdued among the many proposals presented to him. Nonetheless, the new car’s chunkier, strikingly angular appearance was a complete departure from anything that had come out of Maranello up to that point.

The motoring press didn’t universally love the Dino’s bold new look upon the model’s launch, but no one could deny that it was a cleverly packaged vehicle. The 308 GT4 was only 65mm longer than the outgoing 246 (4300mm vs 4235mm), even though the wheelbase had been stretched by 210mm to a total of 2550mm. That was 100mm more than the competition from Sant’Agata, which made the Dino’s rear seats a little more usable, if not exactly commodious.

The Dino 308 GT4 may have lost some of its predecessor’s sex appeal, but Maranello’s gamble seemed, at least initially, destined to pay off.

Considering that it was launched right as the Arab oil embargo put the world’s auto industry on its knees, the debut of the Dino 308 GT4 could be regarded as a success by period Ferrari standards. Indeed, by the end of 1974, the model’s first full year on the market, 764 Dino 308 GT4s had rolled out of the Maranello

OPPOSITE Cabin is spartan but still sums up the futuristic feel of the era.

to shave 100mm from the wheelbase, yet the finished product’s overall length barely changed due to the much more pronounced front overhang.

The Rainbow is also a whopping 160mm lower than the 308 GT4, and 70mm wider.

That height reduction wasn’t due solely to the Rainbow’s more rakish roof profile, but also to the reduced diameter of the wheels compared to those of the 308 GT4. That’s because, while the rims’ diameter remained the same at 15 inches, Bertone equipped the Rainbow with lowerprofile 50-section Pirelli P7s instead of the 70-section Michelins used on the 308 GT4, with a staggered set-up for a broader rear track. The custom set of split-rim alloys reflects the Rainbow’s sharp-edged design language, and their deep square-section indentations echo those found on the vehicle’s body sides.

As was often (but not always) the case with Italian dream cars of this era, the Rainbow’s dramatic and innovative exterior was offset by a spartan and much more traditional interior. The cabin sees the 308 GT4’s standard steering wheel and gauges installed on a simple dashboard made of an aluminium facia sandwiched between two thick-padded elements covered in black leather. The same material covers the seats and door panels, with white leather inserts jazzing up the otherwise rather sombre composition.

But the Rainbow’s whole raison d’etre was its roof, designed around a simple manual

BELOW Ingenious – and brilliantly simple – retractable roof works as well today as it did when Rainbow was new.

Bertone

no one has ever accused the Rainbow of that.

Now, it has to be said that the star of the Bertone stand at the 1976 Turin Motor Show hails from a decidedly less celebrated period of Marcello Gandini’s career. Having revolutionised sports car design first with the Carabo, then with the Stratos and Countach, his relentless quest for new ideas devolved in the late 1970s into a series of increasingly contrived designs that never quite had the same impact as his earlier efforts.

In styling terms, a definite fil rouge connects the Alfa Romeo Navajo (presented at the 1976 Geneva show), the Ferrari Rainbow and the Jaguar Ascot shown in Geneva in ’77. Although there’s no indication that he was ever out to create a trilogy, Gandini’s attempt to take the wedge shape and razor-edge surfacing he once pioneered, and push them to their most extreme consequences, defines the three projects.

Many vehicles have been cited as ‘inspirations’ for Tesla’s obnoxious Cybertruck. Still, if there ever was a moment in which automotive design got closest to that ‘brutalist’ aesthetic, the Bertone Rainbow could be it. Its body surfaces show only the tiniest amount of crowning – or, in places, none at all. The same goes for the edges, whose radiuses are pin sharp.

Coherently with its intended role as a showstopper, the Rainbow’s proportions are much more extreme than those of the production 308 GT4. Bertone’s men cut down the GT4’s frame

1976

factory’s gates. That, however, would remain the 308 GT4’s best year, because orders nosedived the moment Pininfarina’s 308 GTB two-seater was unveiled in ’75. Those 12 months saw the 308 GT4’s production tally drop to 598 units – and the model’s downward spiral continued unabated until 1980, when production ended with only 112 examples built for the year.

Now, most people consider the fact that Pininfarina’s 308 trounced the GT4 sales-wise as the main reason why Ferrari’s dalliance with Bertone was brief. But that’s not true.

According to Bertone’s long-serving PR Gian Beppe Panicco, the company’s relationship with Ferrari was already over before the 308 GT4 entered production, regardless of its design merit or commercial fortunes. That’s because as soon as the news that the new Dino project was going to Bertone reached Sergio Pininfarina, he immediately began retaliatory manoeuvres against his cross-town rival. Furious for what he considered a ‘betrayal’ on Ferrari’s part, but determined not to lose his most prestigious client, Pininfarina wasted no time voicing his displeasure to the relevant people in Turin and Maranello to ensure it would never happen again.

Embittered and disappointed by the whole experience, by 1976 Nuccio Bertone and Marcello Gandini had already left the whole Ferrari ‘thing’ behind. Both knew they would never get to make another one – and they didn’t particularly feel like doing so, either. The 308 GT Rainbow may have a Prancing Horse badge on the nose, as well as an engine from Maranello, but it was never meant to be a Ferrari at all.

In those years, the Bertone carrozzeria’s bread and butter was the Fiat X1/9. The firm’s factory in Grugliasco built and sent to Fiat’s Lingotto plant between 70 and 80 X1/9 bodies per day, mainly thanks to the demand coming from the American market. However, Nuccio Bertone knew that a larger, more powerful car would have sold even better across the pond.

And that, according to Panicco, was the main impetus behind the Rainbow.

The prototype ‘became’ a Ferrari solely because Bertone had a spare GT4 engine and chassis lying around, and Maranello, albeit begrudgingly, allowed the firm to badge it as such. But at the Rainbow’s core, the car was actually a study about how the X1/9 concept could evolve in the near future: larger, more powerful and with a roof that was easier to operate and store.

If it wasn’t for the Ferrari badging, there’s nothing on the 308 GT Rainbow to suggest its chassis and running gear’s origins – and that was deliberate. The car was a Bertone study, first and foremost, with the Ferrari engine serving as nothing more than an expedient and attentiongrabber. As Gandini himself put it years later: “I did not see much point in designing a Ferrari concept that looked like a Ferrari.” Sure enough,

Ferrari 308 GT Rainbow

Ferrari Rainbow

I N TE RCLASSICS BRUS S ELS

IN T ERC LAS S IC S M A A ST R I C H T

BRUSSELS EXPO

MECC MAASTRICHT

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Ferrari 308 GT Rainbow

the public about what a Ferrari should look like – and so it paid a heavy price. Because it didn’t conform to what everyone expected a Prancing Horse to be, few knew what to make of it, and thus it was mostly ignored.

As for Bertone’s idea of an updated, larger and more powerful X1/9 to fully take advantage of the Americans’ enthusiasm for mid-engined sports cars, that fell on deaf ears, too. That’s because, when the Rainbow was presented in late 1976, the attention of Fiat’s management was focused on much more pressing issues.

In December, mere weeks after the Turin show, Gianni Agnelli announced the controversial sale of 9.1 percent of Fiat’s shares to Libya’s Arab Foreign Investment Company, in exchange for a cash infusion worth 350 billion lira (equivalent to around €2bn today), which relieved some of the company’s crushing debt burden. Italy’s most prominent private enterprise was fighting for survival, so selling a few thousand more sports cars in the US was hardly a priority.

The X1/9 thus soldiered on, with only minor improvements until 1982, when Fiat’s withdrawal from the US threatened to end its production.

Desperate to keep the model alive and its factory humming, Bertone took over the entire production cycle and sold the car under its own brand for a few more years, but Fiat’s divestment killed any

chance of a replacement ever seeing the light.

The Rainbow quickly fell off the radar after its somewhat disappointing motor show debut. It joined Bertone’s corporate collection, and went out only for the occasional media opportunity – the highest profile of which may be its brief cameo in 1981’s The Cannonball Run. Nuccio Bertone passed away in 1997, and sadly it didn’t take long for the company’s fortunes to wane in his absence. Its manufacturing business collapsed in 2008, and the Rainbow nearly ended up as one of the five prototypes sold at auction in 2011 to help keep Bertone’s design studio afloat.

The latter ultimately filed for bankruptcy in 2014, and only a last-minute intervention from Italy’s Ministry of Cultural Affairs saved the rest of the Bertone collection from being broken up and sold piecemeal at auction in 2015.

Automotoclub Storico Italiano now owns the collection, which resides at the Volandia Museum, and the Rainbow continues to puzzle onlookers as it did nearly 50 years ago. It’s a testament to an era when designers worked with their foot hard on the accelerator and their gaze locked on the horizon, ready to, in Marcello Gandini’s words: “Fight to never do what someone has already done.”

Thanks to Luca Gastaldi of the Automotoclub Storico Italiano and Massimo Delbò for their substantial assistance with this feature.

Bertone

ABOVE A meeting of the minds: Nuccio Bertone and Marcello Gandini discuss their latest concept.

1976

mechanism that allowed the driver to open it in a single movement without leaving the seat.

After releasing the catch on the windscreen header, the driver (or the passenger) needs only to gently push the aluminium roof panel as it rotates upwards until it catches on the two rails guiding its slide into a space behind the seats.

Because the metal panel would have impeded rear visibility when retracted, Gandini solved the problem by integrating a transparent section.

The transition from a coupé to an open car takes mere seconds – and given that rainbows appear just as it stops raining, that’s what led Nuccio to choose it as the project’s name.

The system is brilliant in its simplicity, but careful consideration during construction was made to ensure the movement was smooth and required minimal effort, as Panicco recalls. He also gives credit for the Rainbow’s roof mechanism – and the fact that it still works perfectly after nearly half a century – to the brilliance of Bertone technician Ezio Cingolani, the same person who, ten years previously, had made the Marzal’s massive gullwing doors work.

Yet for the retractable roof’s ingenuity, it’s not difficult to see why it never caught on. Firstly, it could work only on a two-seat targa configuration, because the panel has to be small enough to fit vertically behind the passengers’ seatbacks. Storing the roof that way also means it has to be very thin and flat, because any significant curvature in the car’s roofline would mean a bulkier panel. Moreover, anything that happens to be on the roof’s surface, be it water, dirt or dust, inevitably ends up falling to the bottom of the special compartment.

The Bertone Rainbow debuted at the 1976 Turin Motor Show wearing a pearlescent white colour that was a personal favourite of Nuccio’s, with the body’s deep side scallops finished in contrasting black for maximum effect. However, that’s not the colour it wears now; according to Gian Beppe Panicco, this was changed purely for practical reasons. The original pearlescent paint proved delicate and complex to match when damaged, so when the Rainbow was refurbished in 1978 it was resprayed in the metallic blue it sports today in order to make easier any necessary minor repairs. For the same reason, the Stratos Zero was repainted in metallic silver and remained so for a long time.

In a road test published in the March 1981 issue of Road & Track, the writer John Paulding defined the Rainbow as “probably the most successful show car ever built”. To say that’s a massive stretch would be an understatement, however. In fact, as Panicco explains in no uncertain terms, as a show car the Rainbow was kind of a flop for Bertone, thanks in no small part to the fact that it wore a Ferrari badge.

In his view, the concept went against strong preconceived notions from both the press and

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40 years of Prodrive

IT WAS OH-SO CLOSE. THE PRODRIVEdeveloped Dacia Sandriders missed a place on the podium of the 2025 Dakar Rally by just under 24 minutes, after a gruelling 14 days of racing. A win would have rounded off Prodrive’s 2024 40th anniversary celebrations perfectly.

Not that we regret waiting, because this feature wouldn’t have been the same without that latest chapter in Prodrive’s remarkable history. Sure, we know it best for World Rally Championshipwinning Subarus, but the Banbury, UK-based team can also count Touring Cars, Le Mans, Formula 1, performance road cars, bicycles, EVs and more on its roll call of successes. And, behind the scenes, it is also involved in development work for start-ups and established manufacturers.

Company co-founder David Richards’ best known pre-Prodrive moment was winning the 1981 World Rally Championship as co-driver to Ari Vatanen (we featured their winning Escort Mk2 in issue 9). But we chose the Porsche 911 to kick off here, because it was the first car that Prodrive made, and it won on its debut at the 1984 Qatar Rally. The team was up and running.

It progressed into Metro 6R4s, with Jimmy McRae as one of the star drivers, and when Group B was banned it moved into Group A, initially with a BMW M3 but then working with Subaru.

The success of the Legacy and the Imprezas that followed led to Constructors’ Championships in 1995, 1996 and 1997, and Drivers’ Championships in 1995, 2001 and 2003 for Colin McRae, Richard Burns and Petter Solberg respectively.

The long-running Subaru rally programme also spawned the Prodrive-developed Impreza P1 road car and, more recently, the P25 as a modern interpretation of the WRC97 Impreza.

There were other excursions, too: Formula 1 when Prodrive took over the underperforming BAR team; GT and endurance racing with the allconquering Ferrari 550 Maranello Prodrive; British Touring Cars with BMW, Alfa Romeo, Honda and the Ford Mondeo; the Australian V8 Supercar Series with the Ford Falcon, and many more.

Since 2004, Prodrive has been responsible for Aston Martin’s race cars, winning the 2007 and 2008 Le Mans GT1 class with the DBR9, and 11 FIA World Endurance Championship titles.

And then we’re back to the Dakar, which David Richards refers to as “the Everest of motor sport”.

Prodrive developed the Hunter for Dakar and the World Rally-Raid Championship, and it achieved three successive Dakar podiums before moving onto the Dacia Sandrider programme with which we started this. Will it win in 2026? You know Richards and co will be aiming for exactly that.

1984

Porsche 911 SC RS

DAVID RICHARDS, Prodrive co-founder I’d been advising Rothmans for years on rallies in the Middle East, going back to 1976.

The team had also spoken to me about working with it on its sports car programme, which had just kicked off with Porsche. I’d just won the World Championship with Ari Vatanen [in 1981], and decided with a young family I didn’t really want to continue co-driving any longer. The intention was to have my own rally team.

Porsche told me it planned to build a Group B 959, but it was still a little way off. So to kick off straight away, it built the lightweight 911 SC RS. We did the Middle East Rally Championship with Saeed Al Hajri, winning the first event in Qatar. Then we had Henri Toivonen drive for us in the ERC, in which we finished second. So that 911 has a special place in our history. It was a very good Tarmac car, but the rallies in the Middle East were pretty tough, so David Lapworth came on board and did a substantial amount of work to make it reliable.

40 years of Prodrive

DEREK RINGER, Colin McRae’s co-driver Our time with Subaru was as a result of happy accidents, I guess. At the end of 1990 on the RAC Rally, we finished sixth in a Ford Sierra Cosworth we affectionately called The Shed, which we had completely destroyed. But we still finished in front of the other Fords. At that point, it looked like we were not actually getting anywhere. I think David Richards was accosted by Jim, Colin’s father, and they managed to put a programme together for Colin and I to do the British Rally Championship in a Rothmans-sponsored car.

We won that title in 1991.

That put some credibility into Subaru’s efforts, because the team was struggling to get into podium places on the World Championship.

We won the BRC again with the Legacy in 1992, with Prodrive getting full support from Subaru, who gave the firm almost carte blanche to do what it had to do.

1992

Subaru Legacy Group A

2000

Ford Mondeo Super Touring Car

ANTHONY REID, driver The Ford was the most sophisticated and fastest Super Touring Car I ever drove. It was built about 120kg underweight, and we would then ballast it up. I learned a lot in that period about where to put weight in the car to affect the performance. We found it best to put the weight in the middle, so you got the best race evolution on the tyre.

Everything was pared down to the absolute minimum. We didn’t have a proper dashboard, only an LED read-out, and no revcounter, just lights to tell you when to change up.

It was beautifully built and engineered. Prodrive had total control over the car and engine development, just like a Formula 1 team.

It was a great experience to join two of the top drivers in Rickard Rydell and Alain Menu. And I missed out on the Championship by a couple of points to Alain.

It was a close battle all the way through the season, and I really enjoyed it.

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111

40 years of Prodrive 2000

Subaru Impreza P1

PETER STEVENS, designer Many years ago, I’d bought a Subaru Brat pick-up for £450 – cheaper than numerous skips for getting rid of rubbish while we were restoring an ancient farmhouse in Suffolk. It was honest, reliable and brilliant in the mud – I was sold on Subaru.

So, when David Richards asked if I’d be interested in working with Subaru on a rally version of the Impreza, I jumped at it.

David Lapworth was in charge of the mechanical side of the project. Here was the chance to investigate the aerodynamic performance of a rally car while also making a good-looking car.

Subaru was straightforward to work with. In charge was Fuji San, ‘father of Impreza’.

He travelled with just three engineers; between them they could immediately approve any suggestion. They were fascinated by my proposal to test the car when ‘flying’, in the wind tunnel, and by my insistence that it should land, after a jump, level – neither nose nor tail down, both dangerous. Great people to work with – and I’ve driven nothing but Subarus since.

JENSON BUTTON, driver Xxxxxxxxx Xxxxxx This car tested well. Designer Geoff Willis had made huge strides over the 2003 car with downforce. Added to that we used Michelins, which were a better tyre.

Sure enough, in Malaysia I got my first F1 podium, then another in Bahrain.

Meanwhile at Imola I managed to break my qualifying duck, which for me was big – in many ways more important than that first podium. Qualifying is not my forte, but that was my first pole position and I remember every moment of that lap. I put it on pole by two-and-a-half tenths ahead of Michael Schumacher’s Ferrari – a massive gap.

The car worked well and handled well, and when I watched the lap back what struck me was the sound of it, the Honda V10 revving its nuts off the whole way round a beautiful, flowing lap. In retrospect, 2004 was a funny year because it was just so easy to get a podium.

If you have a good car, everything is so much easier.

40 years of Prodrive

Xxxxxxxxx Xxxxxx

2004

Honda BAR 006 F1

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40 years of Prodrive

DARREN TURNER, Aston Martin Works driver To be involved from the beginning of Aston Martin’s official comeback to sports car racing in 2005 was very special to me. All these years later I’m still competing for the team. I raced the DBR9 for five years, and scored two Le Mans class wins, in 2007 and ’08. This car, and this particular chassis, is my favourite race machine.

The thing that stands out from Le Mans 2007 was the end. David Brabham was in the car, conditions had turned really bad and I stood in the garage with Rickard Rydell.

We were in our team gear, but we thought ‘if we are going on the podium, we need to get back into our race suits – but will that jinx the result’? It was probably the biggest decision we had to make. As for the car, it was just a lovely package in terms of mechanical grip, aero balance and the torque from the 6.0-litre V12. It had everything you could possibly want.

2007

Aston Martin DBR9 Le Mans

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40 years of Prodrive

PAUL DOE, Prodrive chief designer (now vehicle director) We were able to obtain a database of cars that would typically be used in the World Rally Championship.

We studied such [parameters] as the engine position, the geometry, the floorpan, the heights and sill positions: all the attributes of the road car that would affect the rally car. We found that there were many similarities among most of them. This fed into a process of designing what the team believed to be an optimised package that could be ported into any relevant bodyshell.

The team also had the opportunity to distinguish what it felt to be the best suppliers. We had space to step back and reflect objectively and without pressure from an OEM. [When we visited the BMW team in Germany] there was an immediate rapport. It was one of the project team’s greatest experiences.

Thanks to Ian Wagstaff, author of Prodrive, 40 Years of Success, published by Porter Press.

Mini Countryman WRC rally car

40 years of Prodrive

TIPHANIE ISNARD, Dacia team principal Building and preparing the Sandrider was crazy and really intense during 2024.

Aerodynamics were a big subject, and we worked really closely with Dacia’s designers.

It was the first time the brand had designed a racing car.

The team worked a lot on the airflow to optimise the shape to reduce fuel consumption.

The car first ran out of the workshop just five months before the first event we did, in Morocco in October ’24. Every three weeks we were testing, first in the UK not far from the workshop. The second test was in France, where we had no big issues on the mechanical side, then we headed straight to Morocco for three ten-day test sessions.

Between them the car was coming back to the UK, so it was really intense to be ready for Rally Morocco – which we won. That was a big reward for everyone involved.

2024

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Maserati 200SI

Fantuzzi Spyder

FLIGHT OF

FANTUZZI

Words Basem Wasef

Photography Evan Klein

Xxxxxxxxx Xxxxxx

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XX

DYNAMIC DREAM-DRIVE THRILLS AT THE WHEEL OF THE LIGHT AND MIGHTY FANTUZZIBODIED 1957 MASERATI

Maserati 200SI

Fantuzzi Spyder

LEFT Twin-Weberfed 2.0 four-pot’s plain black finishes and polished metal bits undercut the operatic visuals of its redheaded Modenese rivals.

XX

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Maserati 200SI

‘THE “COKE BOTTLE” ITALIAN OOZES CHARISMA AGAINST THE BANALITY OF WORKADAY TRAFFIC’

Fantuzzi Spyder

MY FIRST SIGHT OF THE UTTERLY gorgeous, Fantuzzi-bodied 1957 Maserati 200SI Spyder comes twinged with a bit of a scare. After driving from Los Angeles to San Diego to rendezvous with this mid-century Maser, I pull up to find it parked at a petrol pump with its paper-thin bonnet and bootlid removed.

“Everything OK?” I ask Jonathan Segal, the architect, collector and bon vivant who has been in possession of this well travelled specimen ever since 2022. His placid aspect telegraphs California chill. “I just wanted you to see this,” he says, pointing to the Maser’s exposed insides.

The dude abides and the car is running fine.

Nestled within its crimson complex curves is a steampunk mélange of riveted-aluminium fuel and oil tanks, a spare Borrani wrapped in periodcorrect Dunlop rubber and held in place by a leather strap, and a peripheral network of tubechassis bits that at best could be described as spindly. Tucked beneath the mile-long bonnet is Maserati’s twin-Weber-fed, twin-plug, 190bhp 2.0-litre four-cylinder. The powerplant is jammed against the firewall, its plain black finishes and polished metal bits undercutting the operatic visuals of its redheaded Modenese rivals.

The partially denuded Italian looks about as at home in this Southern California petrol station as Mia Kalifa might at High Mass in a Roman Catholic Church – improbable, although perhaps not impossible. In fact, this sexed-up racing machine owes much of its storied history to the States, having been imported to the US by its first owner, the philanthropist and art curator Vincent Dyckman Andrus. Barely a month after it rolled out of Maserati’s Modena HQ on August 9, 1957,

it was battling against Lister-Jaguars, Porsches and Ferraris everywhere from Watkins Glen to the Bahamas, in the hands of John Fitch.

This 200SI – chassis number 2427, said to be the last example of its kind to be built by the factory – fought against a who’s who of racers including Stirling Moss, Maurice Trintignant, Jack Brabham and Carroll Shelby among others.

It also saw action at the hands of Dan Gurney, before retiring from racing in the 1960s. The Maser later travelled to the UK and found a home with Anthony Bamford, before settling into Ray Fielding’s Maserati collection, where it remained in an unrestored state for more than 30 years.

In 2007 a new owner lavished it with an extensive restoration by GPS Classic; a few owners later, yet another restoration brought it back to its original configuration, removing safety structures and a roll hoop, and resulting in its clean, albeit more vulnerable, current shape.

Here and now, under the California sunshine, with its bonnet and boot coverings back in place, the ‘Coke bottle’ Italian oozes an otherworldly charisma against the banality of workaday traffic.

Part Speed Racer, part childhood doodle, the 200SI’s humped wheelwells and flush surfacing typify a completeness of design vision that is succinctly Italian. The Fantuzzi coachwork is remarkable in its efficiency; the hand-hammered panels are seamless seas of Rosso Corsa, the only gaps being where the bonnet and bootlid attach, secured via tiny, cross-drilled, polished fasteners that are works of art in their own small way.

Segal is eager to get me behind the wheel of his rolling sculpture. But rather than pulling the ripcord on a seven-figure roadster cold turkey, I

Maserati 200SI

Fantuzzi Spyder

kindly request he drive first so I can observe his technique. Once the tiny doors are opened via a small strap on the inside, you don’t climb into this Maserati’s cockpit so much as you slink in, carefully leveraging weight onto thicker-gauge panels while avoiding the straight exhaust pipe that runs the length of its port side.

With a twist of the key and a push of the start button, that pipe becomes a raucous acoustic cannon, shaking and screaming with a raw mechanical song that’s like nothing you have ever heard from a 2.0-litre four-cylinder anywhere. How the Italians extract such exotic melodies from a four-banger is a mystery; between the firing order, metallurgy and exhaust geometry, the 200SI sounds every bit as provocatively serpentine as it looks. Try as I may to overcome the straight-piped wail with my practical queries, I simply can’t. Instead I watch Segal negotiate a rambling rural road, engine screaming and gauges dancing as the longsnouted sports car hunts from corner to corner.

From the confines of the left-hand bucket seat in this right-hand-drive racer, the engine is vocal at low- and mid-range revs; at higher rpm, its tympanic tickling becomes unbearably sonorous, almost deafening. That said, the 200SI also looks like it’s going 100mph while standing still, and its acoustical pretence suggests it’s travelling at considerably higher speeds than it actually is.

No officer, I don’t know how fast I was going – but I know you heard me coming.

A few miles in, Segal pulls over and signals it is time for me to take the reins. Because we’re stopped on a slight uphill and he doesn’t trust the parking brake, he kills the engine and leaves it in gear. Swapping seats, I buckle up my lapbelt – a small, desperate gesture that presumes it might be better to stay attached to a delicate and flammable structure than it would to Superman away from theoretical wreckage. Old habits die hard.

After I fire it up – clutch in, foot on the brake – Segal yells: “Go ahead, there’s nothing you can do to hurt it.” Possessed with a stubborn instinct for mechanical sympathy, I resist the urge to slip the clutch too much… and I promptly stall. “Don’t be afraid,” he goads. “Go ahead.” This time I dip generously into the right pedal and slowly let out the clutch, liberating the Maser into motion.

That exhaust sound is rather more manageable from the right-hand seat, and despite the 200SI’s nearly seven-decade age its ergonomics don’t feel odd or awkward. The three drilled-aluminium pedals are well packaged in a footwell that seems surprisingly spacious. The wooden steering wheel is large but not comically oversized, and the shifter, topped with a small, unmarked knob, moves through its gated guide with ease, albeit with a slight crunch when the synchros can’t keep up.

There’s a reassuring sparseness to the interior, with finished-aluminium panels and tiny door panels framing the essentials with a calm negative

space: up front, a jumpy Jaeger tach flanked by the requisite oil temp, water temp and inscrutable row of tiny, unmarked toggle switches.

Thanks to the car’s wispy kerbweight of around 1500lb, there’s not a lot of inertia to overcome when wrangling the 200SI across the hilly passes above quaint Rancho Santa Fe. The virtuous circle of lightweighting means the non-assisted steering feels feathery, enabling the lusciously long nose to rotate towards apexes with ease.

While the double wishbones and coil springs up front aid turn-in and grip, the rear de Dion tube and transverse leaf springs contribute to a sense of mid-corner vagueness that can require steering correction. The 200SI initially had a live axle until customers complained, leading Maserati to incorporate the de Dion from the earlier 150S. The resulting ride quality is generally firm but not abusive, with good body control in corners that comes from a hunkered-down stance, firm damping and that accomplished rear set-up which helps maintain wheel camber in cornering.

Despite the somewhat agrarian suspension,

‘THE DRIVER SEES I WON’T YIELD, AND HE BACKS OFF AS I CONTINUE MY QUEST TO CHANNEL MY INNER JEAN BEHRA’

there’s a prevailing feeling of nimbleness that feels contrary to the car’s relatively narrow width and long wheelbase. The engine revs freely, coming particularly alive at mid- to high revs.

However, first gear, which is rather lengthy, sees a bit of a dead spot in the mid-range as the engine stumbles, presumably bogging because the carb jetting isn’t suited to the ratio. When it’s back on cam, this Maser lives up to its early nickname Mighty Mouse – so appointed by one Archie Means, who took his affectionately monikered racer to overall victories, class wins and podiums at circuits such as Watkins Glen and Pensacola.

The 200SI thrived in competition following a period in which the A6GCS, its smaller-engined predecessor, had devolved into irrelevancy.

Desperate to regain a stake in sports car racing, the 1.5-litre 150S and 2.0 200S were developed as salvos to Ferrari, the latter of which finally offered a fighting chance for the trident brand.

Only 20 200SI configurations were built, the acronym short for Sport Internazionale, which was distinguished by its wide windscreen, two doors, a spare wheel in the boot and a flimsy fabric top to pay lip service to its road-going capabilities.

Chassis no. 2427 represents one of the few remaining 200SI examples with matching chassis, engine, transmission and body numbers. That fact alone gives me pause when I realise that its drum brakes operate with all the stopping power of two wooden plates pressed against each other. It may have sufficed for the era when tyres were skinny and drivers were fat. But here in 21stcentury US, where the vast majority of motorists are piloting high-horsepower cars and distracted by all manner of touchscreens, smartphones and multimedia systems, it’s a liability.

Indeed, while I’m whisking along at a decent

clip and marvelling at the lack of body roll as I coax the Maser into corners with one hand on the wheel, a pick-up truck pulls out from a driveway and attempts to merge ahead of me. In a split-second of eye contact the driver sees I won’t yield, and he backs off as I continue my quest to channel my inner Jean Behra.

Despite the obvious risks of Segal tossing the keys to a guy he has never properly met before (we’ve had glancing interactions at Hampton Court, The Quail, Villa d’Este and Pebble Beach), I am sensing an awful lot of trust from the passenger seat as I wheel his beloved roadster through blind curves. After returning to our starting point and concluding my drive, he later shares some background over the phone.

“My cars have to be beautiful, or I don’t want ’em,” he says with casual certainty. The statement checks out: also in his stable are numerous other Maseratis, including a one-of-two A6GCS Frua Spyder that won Best of Show at Hampton Court in 2023, and a Zagato A6G Coupé that took Best in Class, Most Elegant Sports Car and was runner-up to Best of Show at the Pebble Beach Concours d’Elegance, as well as scored Best in Class at Villa d’Este. If those examples sound familiar, it might be because they were paired as an illustration for the 2024 Pebble Beach poster, a wistful rendition that frames a pastoral Central California scene with the two cars and a certain bearded driver tipping a cigar towards the viewer.

Ring a visual bell? Well, you might recall a heavily circulated photograph of Segal at Villa d’Este in his Frua Spyder with a cigar in mouth and single malt whisky in hand. Segal was channelling big-time World’s Most Interesting Man vibes, and the mix of vehicle and alcohol, despite being in a mostly static environment, stirred more than a bit of internet controversy.

“That thing went crazy,” he says. “It became a thing about drinking and driving, and ‘oh, what an asshole’. But I was just sitting in my Spyder.

That was a good time there.” He adds: “My car was running on five cylinders...”

The insouciant streak fits his attraction to the tempestuous beauty of 1950s and ’60s-era Italian cars. Segal first dipped into the genre by acquiring a Ferrari 250 GT Lusso, followed by a Lamborghini 350 GT and an A6G 2000 Allemano at auction.

He restored the latter, and it became the only one of its kind to win Best in Class at Pebble Beach.

Segal acknowledges links between his work as an architect and his automotive passions: “There is a real similarity there. In classical architecture, everything is about proportion and rhythm, the masculine versus the feminine.” He cites FinnishAmerican architect Eero Saarinen as a prime inspiration: “He died at 51, but built the St Louis Gateway Arch as well as Dulles and JFK airports; it was just endless.” Vienna Secessionist architect Otto Wagner is another influence; his Andrea Palladio-inspired Italian Home incorporates 132

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‘THE RED RACER IS FULLY FUNCTIONAL AND NEEDS NOTHING OTHER THAN REGULAR EXERCISE AND MAINTENANCE’ neoclassical principles that could be direct relatives of the country’s 1950s-era cars.

Just as Segal has a fundamental aptitude for form and proportion, he cites colour as a makeit-or-break-it element of automotive aesthetics.

He explains: “My Lusso happened to be Grigio Fumo [metallic smoked grey], which is stunning on that car, and so I painted it in that colour. And that’s what I do with architecture. I believe in preservation. I’ve saved many, many buildings; I moved an 1888 historic house from Little Italy, relocated it five miles away and built it back.”

That said, he’s not above extreme measures when circumstances call for them. He cites a Ghia-bodied Alfa Romeo that he switched to what he dubbed ‘Jonny Bronze’ because he arrived at the hue himself, with the assistance of Brenda and Andy Parkin. He says: “I painted the roof chocolate, which made that car exquisite.

It was originally white with a blue roof. It looked horrible, like a big refrigerator.”

An aesthetic obsession is comprehensible for a design-oriented line such as architecture. And

the coachbuilt Italians of the ’50s and ’60s strike a special chord for Segal, who says: “There’s just a certain beauty that occurred during that golden era.” He also takes pleasure in working on his cars, sometimes assisting his mechanic George by wrenching on projects and, say, rebuilding the dash of his Mercedes-Benz 300 SL Roadster.

It’s easy to see why the Maserati 200SI as among his favourites, thanks to its outrageous appearance, immaculate details and involving driving characteristics. The red racer also happens to be in peak condition; it’s restored, fully functional and needs essentially nothing other than regular exercise, maintenance and maybe an occasional concours appearance. Which is perhaps why he’s diverted energy toward his 1956 A6G Frua Coupé, chassis 2140. The car was found in a French barn in a deliciously dilapidated state, as part of the legendary Baillon Collection.

“I realised it was all original and should sort of stay that way, so I showed it all over the world,” he says. It earned Second in Class at Pebble Beach and an award at Villa d’Este in spite of, or perhaps because of, its patinated state. But sentiments change, and Segal decided it should undergo a full restoration at RX Autoworks, a decision some critics called “sandblasting the Colosseum”. The Frua should make its debut at Pebble in 2026.

Whether the restoration project is blasphemous or blessed, Segal views the endeavour as focused on one goal: using vintage vehicles for their originally intended purpose. Unlike enthusiasts who fixate solely on aesthetics, Segal also derives pleasure from driving his cars, having completed six California Mille rallies in classics. “I don’t get wigged out if it’s in the rain or the car stays outside. I’m not babying it, I’m driving it,” he says. “They’re meant to be driven, right?”

Ex-Works Ex-Works Ex-Works 19371937 Monte 1937 Monte Monte CarloCarlo Rally Carlo Rally &Rally & & 1937/38 1937/38 1937/38 MCCMCC Trials MCC Trials Entry Trials Entry Entry 1957 Maserati A6G/2000 Gran Sport Spyder UK registration UK registration UK ‘CDU registration 63’‘CDU‘CDU 63’ 63’ Coachwork by Frua Riley four-cylinder RileyRiley four-cylinder four-cylinder 1.5 litre engine 1.5 litre 1.5 litre engine engine

Chassis # 2104 Extensive Extensive period Extensive competition period period competition competition history history history 1Properly of only 10restored Frua Spyders built on the A6G/54 chassis Properly restored Properly with restored correct withwith matching correct correct matching numbers matching numbers numbers Supplied Maserati dealer Guglielmo Dei, Rome Millevia Miglia Mille entry Mille Miglia Miglia 2020 entry entry 2020 2020 2.0 liter / twin-plug / six cylinder engine Fully restored by leading specialists in California

19611961 Mercedes-Benz 1961 Mercedes-Benz Mercedes-Benz 300SL 300SL 300SL Roadster Roadster Roadster ChassisChassis Number Chassis Number # 002756 Number # 002756 is # 1 002756 of only is 1 5of isMercedes-Benz 1only of only 5 Mercedes-Benz 5 Mercedes-Benz 300 SL Roadsters 300 300 SL Roadsters SL Roadsters which were which which originally werewere originally supplied originally supplied in supplied Fantasiegelb in Fantasiegelb in Fantasiegelb color code color color DBcode 653, code DB Fantasy 653, DB 653, Fantasy Yellow.

Fantasy Yellow.

Yellow.

Tastefully Tastefully restored Tastefully restored to show restored to condition show to show condition and condition now and with and now a dark now withwith green a dark a dark leather green green leather interior, leather interior, interior, matching matching two-piece matching two-piece luggage, two-piece luggage, black luggage, hard black black top hard and hard top upgraded and top and upgraded with upgraded Rudge withwith wheels.

Rudge Rudge wheels. wheels.

FURTHER FURTHER CARS FURTHER AVAILABLE: CARS CARS AVAILABLE: AVAILABLE: 1957 Fiat 1957 Abarth 1957 Fiat Fiat 750GT Abarth Abarth Corsa 750GT 750GT Zagato Corsa Corsa ‘Double Zagato Zagato ‘Double Bubble’ ‘Double Bubble’ Bubble’ 1965 Ferrari 19651965 275 Ferrari GTB Ferrari 275 275 GTBGTB 1967 Ferrari 19671967 330 Ferrari GTS Ferrari 330 330 GTS GTS 1974 Lancia 19741974 Stratos Lancia Lancia HF Stratos Stradale Stratos HF Stradale HF Stradale 1976 Lamborghini 19761976 Lamborghini Lamborghini Countach Countach LP400 Countach Periscopica LP400 LP400 Periscopica Periscopica ex Princess ex Princess ex Dalal Princess Dalal Dalal

C A L I FCOARL CNIAF IL A FN O IRAN I A OI R

California California California Malcolm Malcolm Welford Malcolm Welford Welford MalcolmMalcolm Welford Malcolm Welford Welford malcolm@mmgarage.com malcolm@mmgarage.com malcolm@mmgarage.com malcolm@mmgarage.com malcolm@mmgarage.com o:malcolm@mmgarage.com 949.340.7100 o: 949.340.7100 o: 949.340.7100 c:o: 949.500.0585 c: 949.500.0585 c:c: 949.500.0585 mmgarage.com mm g a rma m gmmgarage.com m e g .am cmmgarage.com ro ga m ag rea. g co e .mc o m o: 949.340.7100 949.340.7100 c: 949.500.0585 c: 949.500.0585 o: 949.340.7100 949.500.0585

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Connecticut Connecticut Connecticut Miles Morris MilesMiles Morris Morris Miles Morris MilesMiles Morris Morris miles@mmgarage.com miles@mmgarage.com miles@mmgarage.com miles@mmgarage.com miles@mmgarage.com o: 203.222.3862 o: 203.222.3862 o: miles@mmgarage.com 203.222.3862 c: 203.722.3333 c:o:203.722.3333 c: o: 203.222.3862 o: 203.222.3862 203.222.3862 c:203.722.3333 203.722.3333 c: 203.722.3333 c: 203.722.3333

Remembering

Alex Xydias

Words

Ken Gross

Alex X ydias was a n

A hot rod hero who

accele rant t o

founded the So-Cal Spee

the fla

me of moto ring p assio n

d Shop and produc

ed motor sport film s

raft

SEMA

Show

rC er, Ca d n u o co-f

force iving r d s t r tive A tomo u A r ter fo r, Cen edito

mo who put his foot An automotive dyna

on the gas early in

life – and never lifted

ALEX XYDIAS, FOUNDER OF THE SO-CAL Speed Shop, passed away last year at the age of 102. Bonneville speed record-setter, entrepreneur, filmmaker, publisher, event promoter, SEMA Show co-founder, World War Two veteran, with no formal training for anything he did, and a solid success at everything he ever tried, Alex epitomised the Greatest Generation. I first learned about him in a copy of Best Hot Rods, which I bought on a newsstand in 1953. We met when I became the director of the Petersen Automotive Museum in 1997.

Luckily for me, we became great friends – often meeting for lunch with another hot rod hero, Ray Brown. After I left the Petersen to move back East, we stayed in touch. Alex’s life was like a Horatio Alger story. He was extremely modest about his accomplishments, almost as though his life had been a fortunate series of events that turned out far better than he’d expected, still to his surprise.

I thought Alex’s involvement with the earliest days of hot rodding, and his courageous recordsetting speeds, were fascinating. A few months before he died, I asked him to tell me how it all began. Here it is, in Alex’s own words: Ken Gross: Can you tell me how the original So-Cal Speed Shop come to be?

Alex Xydias: I had no experience of any kind, nothing that made me a hot rodder, and certainly nobody had ever heard my name. Karl Orr had a speed shop in Culver City. He and his wife Veda set speed records at the lakes. Vic Edelbrock Sr, who set a record in his 1932 Ford roadster, was over on Highland Ave. He was my mentor from the very beginning, and helped me a lot. It was a mutual admiration society. I built some

pretty impressive cars, and we ran Vic’s equipment. That solidified our relationship, and it lasted until he passed away.

In the beginning, I went out to the (San Fernando) Valley to look for space for a shop. I wanted to be somewhere where there were more young hot rodders than in Hollywood. I just drove up Ventura Boulevard toward Burbank.

We had the Cahuenga Pass, but no freeway yet to connect to LA. We never went into the Valley. It was all orange groves as far out as you could see.

I found a modest new building on Olive Avenue in Burbank with a few little stores in a row. Each one was a little bigger than a two-car garage. The owner, a barber, was a hot rodder with a ’32 Ford roadster. His shop was next door to the vacant unit. He thought my idea was cool. I had a little discharge money, and I borrowed some cash from my mom. I signed up to rent the store for a year, for $100 a month. I didn’t even know where I was going to get the things to sell.

KG: So just how did you get parts?

AX: Vic Edelbrock and Eddie Meyer were casting high-compression heads and intake manifolds for the little Ford V8/60 engines for midget racers. A few companies such as Weiand, Navarro and Sharp were beginning to emerge as a small industry. But I couldn’t afford to have them ship stuff to me. I wanted to get to know them, and I wanted them to know me. I had my ’34 Ford cabriolet with a Carson padded top. We called it The Jewel. The dashboard was polished brass, machined and scrolled. That custom car was my calling card.

To get parts to sell, I drove to Harry Weber’s, and I went to Eddie Meyer’s, down the street

ABOVE

Cover star – the legendary So-Cal belly tank.

Alex Xydias Remembering

BELOW

RIGHT

Alex with his streamliner, the world’s fastest hot rod.

Ford flattie was the rodders’ V8 of choice, especially when supercharged.

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Alex Xydias

up by buildings on each side, but it’s still there.

Now we had space to really work on cars and do engine machining such as porting and relieving – things we couldn’t do on Olive. After I hired Keith Baldwin to build engines, I had the right guy. I knew I needed to get into racing. It was critical. There was no national audience yet.

You had to reach the hot rodders where they raced – at the dry lakes. That was huge after the war; there were hundreds of hot rods up there: 1932 Ford roadsters, ’29A V8s and Model Ts. But I couldn’t just build another roadster. It would be lost, like a single steer on a cattle drive. I decided I would build a streamliner. Belly tanks (made from the 315-gallon drop tanks on P-38 fighter planes) were classified then as streamliners.

Bill Burke – who invented the belly tank – assembled the original chassis for me. He was using cheap Model T frames. I was always embarrassed by that. I never told anyone that we used a simple T chassis to build the streamliner.

As nice as it was, and it was America’s fastest car, it still had a Model T frame. Bill and I were great friends. We both became officers in the SCTA (Southern California Timing Association).

The big turning point came when our So-Cal belly tank was featured on the cover of Hot Rod magazine in January 1949. That was absolutely

Remembering

from Edelbrock. Eventually I went to Dean Moon and got his fuel-pressure pumps and aluminium tanks. I drove all over Southern California. I couldn’t afford to stock any of the big stuff, such as manifolds or a set of heads. I started selling acorn nut covers and little chrome carburettor stacks in place of the filter. The better stacks had a little screen tacked in the middle, so the bolts wouldn’t go down into the engine.

The guys were converting over from KelseyHayes wire wheels to steel rims. I started buying every steel wheel from the local Ford dealerships.

I’d have the parts manager call me, and I’d buy all the steels they had just gotten in from Ford. I had quite an inventory of them for a while, and I was selling a lot. I sold things to make a car look a little better and theoretically go faster. Most of them didn’t do that, but they looked like they would.

The next big thing for me was Stewart-Warner gauges. Guys kept asking if I had an oil-pressure gauge or a tachometer; 99 percent of them certainly didn’t need a tach, they were just driving around town. Even if they drove on the dry lakes, it was a little more sophisticated than most guys really needed, but I was glad to sell anything. So I went to Stewart-Warner, gave them my resale number and bought a bunch of gauges. They became a good sales item. Soon I had a beautiful catalogue. I was selling manifolds and heads, and a beautiful $89.95 Custom instrument panel with eight gauges.

I still couldn’t afford to stock the manifolds.

We’d started working on race cars, so there was a reason for guys to come by So-Cal and hang out.

Occasionally, one would want a set of heads, and I didn’t have the right compression ratio or I didn’t have any heads. But Vic’s shop was just over the hill, and now that we had a freeway I’d tell the guy to hang around and look at the race cars, and I’d be right back. I’d run over and get the new heads, bring them back and sell them. I did that quite often. Then Vic moved down to Jefferson into a new building. When we were having a dinner at the Petersen Automotive Museum honouring him, as my first remark when I got up to talk, I said: “Vic you really screwed me when you moved to Jefferson. Because I couldn’t just run over the hill and get a manifold anymore.”

I soon decided I didn’t just want to be a store.

The So-Cal Speed Shop name indicated that we were involved in speed of some kind, and that we knew what we were doing, and that maybe we were more famous than anyone thought. After one year, I had sold enough parts that I could afford to move to a lot over on Victory Boulevard in Burbank, and to put up a garage.

I had made a lot of friends in hot rodding, who would come over to the shop. They were in the construction business selling and building homes in the Valley. They helped me put up a Sears pre-fab building in one day. The Sears kit was wonderful. Every stud was the same size.

That building is still standing. It’s being held

BELOW

the biggest thrill I’d ever had, to appear there and show the world how well the car I was driving was running at the time. It was marvellous publicity.

KG: You had never driven a race car. You might have driven 60-70mph on a highway. You built this racer, got in it and suddenly you were racing...

AX: I don’t know how to explain that. I was going to go from 60mph on the streets, to 135mph on dirt. I should have been scared out of my mind, but for some reason I wasn’t. I do remember that I was nervous because a lot depended on the success of that car: our sales, our reputation – everything. So I was more concerned about the race car, and would it go fast enough? I chose the Ford V8/60 powerplant, because the SCTA had just started a class for small engines. It worked out perfectly, because everything Edelbrock made for the regular flathead, the company made for the V8/60. It was just a little version of the big V8.

There were challenges, however. You had to go two ways for a record in those days – and there was just no room. We would drive down to the other end of the lakes and go as far back in the boonies as we could. Then, when I would start the return run, I was dodging all these clumps of sage brush before I even got to the course.

KG: Yes, you had to go back down the same course, turn around and run again, to try for a record. Years ago, Bruce Meyer loaned me the tank for a museum exhibition in Salt Lake City, and I thought, we have to move it into position, I’ll get in it, and they can push on the tyres and we’ll put it up on its platform. I could only get in it if I stood sideways. I am not as tall as you are.

My shoulders were too big to get into the cockpit, but I was able to kneel, twist my body around and get inside it. It was like being inside a snare drum. You can’t see much. There is nothing to protect you: absolutely nothing. I thought it took tremendous courage to get in a makeshift

Low but far from slow: So-Cal’s chopped and streamlined ’34 coupe lit up the drag strip.

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Alex Xydias Remembering

vehicle like this, and then go like hell in it.

AX: That’s how it was in those days. You’ve seen pictures of those guys running cars up at the lakes; they were just sitting on a seat bolted to a frame, with no body on it. The SCTA started safety inspections, just in time, because there were too many reckless cars being built.

Once the SCTA got involved, things improved quite a bit. I never built a car with a roll cage. I didn’t race that long. Later, our ’34 coupe had a roll bar, but not much of one.

KG: The 1953 Best Hot Rods cover is a classic.

It has the belly tank in the foreground, and you are standing next to it in a red jacket along with two roadsters and a coupe. There is that very distinctive red and white paint scheme, and you all have red jackets on. It was a very professional look. You had a very early idea that your team should look sharp, and you did. How did that come about?

AX: That’s always been my strength. Building engines and racing the cars was fun, but eventually I had other guys building the motors. I was the man out front, selling the parts, talking to customers and making friends with them. I have always been promotion minded. But I had no education. I only went to high school. And they didn’t have marketing classes in those days.

Nobody even knew what that meant. I always had this flair for promotion and merchandising, though, and I knew that everything had to look right. We had created a So-Cal racing team, and we should all be dressed the same.

Some of that came from the Indianapolis Motor Speedway, where the guys all wore white coveralls. The team idea was pretty much mine. I did all the ad sales and wrote the copy. I did everything I could to promote So-Cal and what we were doing. It soon paid off.

KG: It certainly did. You guys were distinctive. If someone else had a car you wanted to add, they could adopt those colours. It really looked like the So-Cal Speed Shop team. Very professional, thinking about the So-Cal belly tank, the streamliner, the coupe. You took an amazing step to go from the belly tank, which was a competitive streamlined race car, to design an actual streamliner. Dean Batchelor, who designed the car, had never done one; you guys had never built anything like it, yet you did it. How did you evolve from the belly tank to the streamliner?

AX: Dean had a black ’32 Ford roadster, upholstered with pleated brown Naugahyde. He ran Edelbrock heads and a dual manifold. He came into the shop, and then more local guys started coming in. The hot rod guys began hearing about us. We were putting flyers for the shop on windshields at the midget races in Saugus. That was the only place we could advertise.

Dean was more reserved than most of the guys, but he was more sophisticated. I think that is why he began writing about Ferraris instead of

ABOVE

1953 cover showcased So-Cal’s distinctive branding.

Fords. We soon became good friends. He let me put a So-Cal Speed Shop label on his ’32’s door.

He went up to the lakes and ran a respectable time, 110mph or so in those days. It’s hard to believe that within two years, two strangers got together and built the world’s fastest hot rod.

KG: How did that evolve? Was it your idea to build the streamliner?

AX: When the SCTA got permission to run at Bonneville, it was a great break for us. We got the guys together at the shop and we said: “This will give us the chance to really go fast.” We were running out of room at El Mirage, and it was getting dangerous. Dean was part of the team, and a good friend. He had read a book about Auto Union in the 1930s in Germany. The guys there had a rear-engine car with the driver way out in the front. They took the body off a Grand Prix racer and built a fully enclosed vehicle.

After testing in a wind tunnel, they increased the frontal area of the car by 50 percent, which should have slowed it down. Instead, they improved the aerodynamics by 50 percent. When we read that, we knew enclosing the wheels was

the answer. We had always thought the best approach was to make the tyres as small as possible, so they wouldn’t be in the wind too much. We built that streamliner specifically for Bonneville for the first year. By the second year at the salt flats there were more fully closed cars.

After that, aerodynamics became very important to land speed hot rodding, and hot rodders built some of the nicest streamliners ever.

KG: The October 1950 Hot Rod cover with those three 200mph streamliners said it all. You were just a bunch of guys – you weren’t engineers or aerodynamicists, but you were able to run faster than an automotive manufacturer. It was an extraordinary achievement.

AX: The hot rod record speed holder was in a belly tank at the time. Bill Burke and Don Francisco went about 160mph. At the first SCTA Bonneville meet, we hit 193.54mph on the second run in our streamliner. Our average, with a 185.95mph return run, was a new Class C record of 189.75mph. Of course, we blew all the tread off our tyres, and that was the end for us that year. But it was still over 30mph faster than the record. The timekeepers had no idea anyone would go faster than 175mph, so they had to calculate the speeds by hand.

KG: The next step was Daytona Beach?

AX: That was so flattering to us. We’d only been in business a couple of years, and to have Bill France from NASCAR call and invite you to Daytona Beach to run your car was such an honour, and so out of the blue. We would have gone for any reason. That’s how it was in those days. Our car was the fastest thing in America.

We just loaded it on the trailer in Burbank, California, and the next stop was going to be Florida and the Atlantic Ocean. We drove at night – that’s how everybody did it in those days. And we slept in the back of our station wagon.

But everything was stacked against us at Daytona. Bill appointed NASCAR driver Johnny Mantz as our coordinator. He told us how smooth the sand was and how great the course was. Well, the weather was terrible when we were there. It was winter, and it was misty every day. We didn’t have a chance to make any timed runs. The sand wasn’t flat. It was hard and smooth, and had little wavy hills. It was very close to the ocean. Have you seen the old film of Frank Lockhart, who got killed there? He was running almost in the water.

There was a lot of pressure to perform. We had so much invested, not only in our time, but with Bill France’s efforts to get us there. Conditions be damned, we decided we’d run that last day. That was a bad decision. Coming up and over one of the sand bumps, our car was so light it just flew into the air, rolled over and over, and crashed. The cars that ran successfully at Daytona – like those big British jobs with aircraft engines – were like the Queen Mary with wheels. They weighed tonnes.

It was just a disaster for us. Our driver, Bill Dailey, was in a coma for almost 30 days. When he came out at last, he was fine. But it was scary and terrible. The international record,

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Early race days at the dry lakes sowed the seeds for an assured place in hot rod history.

Alex Xydias

ABOVE

Remembering

held by Auto Union, was 219mph. We had gone 211-212mph at Bonneville. We had thought we could get more horsepower at sea level, and go even faster. But we didn’t fully understand the aerodynamics, and it was nearly fatal.

The streamliner was beat up so badly. I don’t think there was one inch that wasn’t crushed.

That’s what saved Bill’s life, because the streamliner body absorbed all the crunching and deforming. A few years later, the Indianapolis 500 racers realised they didn’t need incredibly strong frames. They needed a chassis that would give when it hit the wall.

After Daytona, there was no streamliner body left to sand down and repaint. Everything was gone. Dean and I didn’t have the money to continue. We gave up on the streamliner. I was secretly glad to get rid of the damn Model T frame. But we still had the record-setting belly tank body, so we decided to go belly tank racing again. Tanks were still popular. Streamliners hadn’t yet taken over the world. And once again, we began setting records.

KG: Were the Ford and Mercury flathead V8 motors viable racing engines?

AX: They were for a while, but it didn’t last long. The only reason we were able to battle equally with the Chrysler Hemis that Ray Brown had built with Mal Hooper, was nitromethane fuel. Ray’s engine was more or less a stock Hemi V8, but he had a tremendous advantage, even after it was de-stroked from 331ci to 302ci. It had overhead valves, and hemispherical combustion chambers. It was so strong, you didn’t need as much nitromethane.

Ray and I had this epic battle back and forth.

We were both pouring nitro in, up to 40 percent for us, and we had to use it to keep going faster.

We went 195.75mph, 10mph faster than Ray. He came back and ran 196.13mph and we countered with 198.34mph. Ray went even faster.

The next day, getting ready for another record run, our driver Clyde Sturdy said: “I can’t do it, I’m just too nervous.” I had to do it. I got back in the tank, took a deep breath, accelerated hard and suddenly the tach stopped climbing. We’d burned a valve, on the last record run, and that ended it. We’d had a great battle.

That showed us nitromethane was the temporary saviour of the flathead. The flathead was on its way out; nitro gave it another year.

The motor was holding up, it was just the valves. At night we would pull the heads, wipe all the carbon out, clean everything in the chambers, to prevent it from sparking and getting a hot spot. With a stroker motor, we were running close to 5400rpm, as I recall.

Our engines had the Edelbrock genius built in.

The flathead is a very simple motor, and it’s a stupid one to hop up, because it couldn’t breathe well, even though you ported and relieved it.

Then you would bolt on high-compression

heads and choke it off again. But it was a tough engine. What made it so popular originally was that it was affordable, it was a V8 and it was very smooth to run. But it didn’t last long after the overheads came out.

KG: Then you went drag racing with the famous So-Cal ’34 Ford coupe with a crank-driven supercharged Ardun-Ford V8. With drag racing you could go up and down the state of California.

You didn’t have to tow to Bonneville or Daytona.

And drag racing was really expanding in that era.

AX: When I decided to build a competition coupe, we could run it at Bonneville, which was what I always had done. But guys were racing every Sunday at a drag strip somewhere, and we were racing only once a month at El Mirage. Our cars had become too fast for the dry lakes. Yet we were only able to run once a year at Bonneville, and that wasn’t acceptable. We wanted to race more. Drag racing was fun and it was growing.

With the future of the flathead dimming, I decided to go to overheads, but I hated to do that.

Then I thought of the Ardun overhead-valve

conversions (made by Zora Arkus-Duntov and his brother Yura). I would still be running a Ford.

I knew the big supercharger could double the horsepower. For us, that realisation was almost like the wind-tunnel test result for Auto Union. It was so obvious that a supercharger was the way to go.

With the big, crankshaft-driven GMC blower there was no belt slippage, so it was fairly efficient.

Ardun cylinder heads made a lowly Ford the equivalent of a Chrysler Hemi. Our coupe was a formidable competitor. And we were on the cover of Hot Rod again. They called it the Double Threat Coupe. So-Cal Speed Shop racing cars eventually appeared on five Hot Rod covers, which was a big deal to keep the business together.

Everything was really going along. But then we had the unfortunate fatality when Dave DeLangton was killed drag racing the coupe. On the way home from the hospital, right after Dave died, I said: “We are going to stop racing. I don’t want to do it anymore. It’s too emotional.” I probably shouldn’t have quit racing – after all, that was my business.

But I’d made up my mind, and I was done.

Looking back, I wouldn’t change a thing. I could have made more money doing other things in the business, but all the friends I made and the trips, from Petersen Publishing to Detroit, getting to know guys like GM president Bunkie Knudsen, the film making, off-road racing with Mickey Thompson, starting up So-Cal Speed Shop again with Pete Chapouris, founding the Center for Automotive Arts at Pomona – it was all good.

Each step I made, I started as a beginner, but I got to know everyone in the business and put on a damn good show for them. Over time, everything that happened worked out well for me. There were tough times, but I wouldn’t change any of it.

An exceptional man who led a remarkable life, Alex Xydias passed away on August 24, 2024.

We’ll even do one in pink...

We can deliver originality, but let’s talk about your dream Jaguar williamheynes.com

Words Simon Aldridge

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Photography Tim Scott and Fiskens

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Never crashed, unrestored and utterly original, E2A is a remarkable time capsule – a 65-year-long tale of luck, love and passion for the Jaguar marque

Unrestored cockpit bears all the marks of life as a top-tier competition car, factory test mule, cherished museum piece and carefully raced classic.

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1960 Jaguar E2A

THERE IS ONLY ONE. THE FINAL contender for an outright win at Le Mans by Jaguar’s famed experimental department, after so much success at the world’s most famous race. Never crashed, never broken up, never rebuilt. Unrestored. Original. E2A. The car was built by Lofty England’s team in the first two months of 1960. Today it is exactly as it left Browns Lane. The same components, the same seats, the same steering wheel – everything. How many front-running racing cars from the era can say the same? That E2A has survived in absolute originality as an astonishing time capsule is a remarkable 65-year-long tale of luck, love and passion for the marque.

William ‘Bill’ Heynes was chief engineer of Jaguar Cars, and he saw motor sport as the best way to showcase the marque’s engineering innovations. In 1950 he persuaded company founder William Lyons to enter racing with three Works-prepared, privately entered XK120s at Le Mans. This was followed by Jaguar Works entries at La Sarthe from 1951-55, winning the 24-hour race no fewer than three times in four attempts.

The success of Heynes’ racing project was due to a mix of design innovation, an evolution

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Raised-bonnet profile shot highlights triple Weber sidedraughts and shows why taller, 3.8-litre engine necessitated the power bulge.

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‘Each element has its own history… it’s all about realism. We take a bit of a deep breath when it goes on circuit’

Race-proven, wide-angle, drysump, 3.8-litre powerplant fitted in place of failed 3.0 aluminiumblock Le Mans unit.

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towards smaller and lighter cars, and the reliability that the team achieved. From XK120 to C-type to D-type, each generation was lighter in weight and had a smaller frontal area as well as a more slippery shape through the air. Heynes pioneered the adoption of aircraft technology in racing cars: in 1952, with Dunlop, he took the aircraft disc brake and developed it for the C-type racing car, which was a world first. In 1953 he introduced aircraft-type aluminium radiators on the C-type Lightweight. In 1954 he designed the new D-type with an aircraft-style bag tank and partial aluminium monocoque chassis construction for the first time.

However, after the 1955 win, William Lyons felt that he had nothing more to prove, and so he withdrew Jaguar as a Works entrant. Heynes however, continued his motor sport agenda by supporting private race entrants, and his D-type won Le Mans again in 1956 and 1957 with the Scottish Ecurie Ecosse team. He also carried on innovating in race car design. In 1957 his Works department, now officially an experimental Works rather than a competition team, built the first prototype of the next generation – officially known as XK101, but more commonly referred to by its body number, E1A. The car was constructed on D-type racing car principles, with a riveted aluminium monocoque rear tub and steel front frame, no weather protection or headlights, and an XKSS-style windscreen. It was very low because it used the smaller 2.4-litre XK engine in place of the 3.8, and it introduced independent rear suspension in place of the D-type’s solid axle, for better traction and cornering. The hope was to test and develop the suspension set-up, and then incorporate it into a new racing car for the 1959 season.

In sports car racing, 1958 brought a rule change for Le Mans, which stipulated a maximum engine size of 3.0 litres. This effectively sidelined the 3.8-litre Jaguars that had won the previous three years running, and thus gave the advantage to Ferrari, Porsche and Aston Martin. Without hope of an outright victory, Heynes and the Jaguar Works team continued to support private entrants by developing a 3.0-litre version of the XK motor.

Its new aluminium block was based on a shortened version of the 3.8’s. It was raced at Le Mans in both 1958 and ’59, where it showed strong performance but failed to last the 24 hours.

Work continued on the new car throughout 1958-59, with E1A being tested and developed extensively. The independent rear suspension was evolved to improve reliability and road holding, and after the rear brakes suffered badly from heat fade, the team modified the body to include cooling ducts above the wheels, which fed air onto the inboard-mounted discs.

Towards the end of 1959, E1A was broken up and work begun on E2A. Bill Heynes designed it from the outset to be a full competition car, to return Jaguar to frontline motor sport at Le Mans in 1960. Although, until a private entrant

1960 Jaguar E2A

for the car was confirmed, it had to be officially considered a ‘prototype’, because of Lyons’ mandate that no Works entry was to be made.

For the new platform, from the engine bulkhead rearwards, E2A had a monocoque combined body-chassis unit of riveted aluminium, with the outer skins acting as stressed panels. This was a big step on from the D-type, which had a tubular-steel frame overlapping the aluminium monocoque through to the back of the tub.

Heynes was breaking new ground here, fully two years before Colin Chapman introduced the aircraft-construction technique to Formula 1 with his revolutionary Type 25. The front section was constructed of square-section Reynolds 531 heat-treated steel tubes, and bolted directly to the front bulkhead, clothed with a onepiece aluminium nose cowling.

The new independent rear suspension used the Salisbury hypoid bevel final-drive unit mounted directly to the chassis, with fixed-length universal half-shafts to each wheel; these acted as the upper arms of the wishbone linkages. There was no need for any other type of torque stay or radius arm, because the main loads were absorbed by the stiff steel box section of the lower arm and the wide spread of the mounting points.

The hub housing was a cast-aluminium unit, and to further reduce the unsprung weight the Dunlop disc brakes were mounted inboard at the differential. During development, problems were encountered with heat build-up during severe braking. To counter this, two separate ducting systems were developed to cool the units: large intakes above and ahead of the rear wheels, and also two ducts in the otherwise smooth

undershield to direct air to the discs. In spite of these, it was found that the heat transferred from the discs through the driveshafts to the differential oil. An additional cooler was added for the rear diff, on a separate circuit that could be engaged by the driver from the cockpit when the oil temperature became critical.

Meanwhile, the front suspension and the rack-and-pinion steering were developments of the D-type’s, with detail improvements to the geometry and a significant weight saving of 11lb on the unsprung weight of each respective assembly.

From the start, the car’s shape and dimensions were dictated by the latest Le Mans windscreen regulations (9.84in vertical height of transparent material), with the design optimised to reduce drag. E2A’s overall length was also greater, for two reasons: the wheelbase, at exactly eight feet, was six inches longer than the D-type’s, while that higher windscreen meant more body length from behind the driver’s head fairing was necessary to obtain an efficient streamline shape.

The Moss gearbox was the same as the D-type’s all-synchromesh unit, except for the deletion of the Plessey pump to supply hydraulic servo brake assistance. Development of the set-up had allowed acceptable loads to be achieved without the use of such aid. To comply with Le Mans regulations, front and rear systems were operated on separate hydraulic circuits utilising a twin master cylinder.

An aircraft-type bag tank was fitted, too.

The engine used was a development of the alloy-block, twin-cam, 3.0-litre unit fitted to the customer D-types, Tojeiro-Jaguars and ListerJaguars for Le Mans in 1959. It had lightweight titanium conrods, and a special crankshaft that

was designed to produce more splash to cool the rods – a previous failure point. Fitted with Lucas fuel injection, the motor produced 295bhp and revved to 7000rpm. The car was assembled in the first two months of 1960, and completed in time to begin testing at MIRA at the end of February.

Briggs Cunningham – millionaire American sportsman and president of Jaguar of New York Distributors, Inc – was the great privateer Le Mans entrant of the time, and he was Bill Heynes’ best chance of returning to racing there with E2A. As Heynes’ grandson, William Heynes, puts it: “When the 1958 Le Mans regs came in, E1A already existed. E2A was the natural step – primarily because Briggs wanted to go racing.”

Shortly after the MIRA test, Cunningham visited the factory with his lead driver, reigning SCCA champion Walt Hansgen, and mechanic Alfred Momo. They saw the car, and put forward their case to Lyons that they should privately enter it in Le Mans: E2A would be loaned to the US team to race, and Jaguar would be able to develop the prototype and compete without all the attention of an official Works effort.

With Le Mans imminent, the test and development work intensified. The suspension was refined, a new gearbox fitted and the troublesome engine rebuilt. It made its public debut at the official Le Mans test on April 9, 1960, still unpainted but wearing registration plate VKV 752. Test drivers were Norman Dewis from Jaguar, and Cunningham’s Walt Hansgen and Ed Crawford. E2A posted the secondfastest time of the day – 4 min 8 sec – before ending practice early with engine failure. Lofty England suspected Crawford of missing a gear,

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and he recommended the driver be replaced. The car’s debut triggered a flurry of press that Jaguar was returning to Le Mans, and the car featured on the cover of Autosport, April 22, 1960.

Testing continued back in England, including at the MIRA wind tunnel. A tailfin was added, which was found to improve stability and also increase top speed on the circuit by 300rpm. The tailfin was much taller than that of the D-type, because of the airflow aft of the taller windscreen.

The car was painted in the blue and white Cunningham livery in time for the 24-hour race.

Le Mans, June 1960 was the fifth and final round of the FIA World Sports Car Championship – a crowd of 240,000 was expected. Specifically for the event, championship leader Porsche fitted two RS60 cars with 1606cc engines, putting them in the 2.0-litre category and allowing for a larger fuel tank, although they’d still be at a considerable speed disadvantage to the 3.0-litre cars. Ferrari entered two updated TR59/60 Testarossas, along with a pair of the new 250 TRI/60s sporting independent rear suspension. A third TR59 was entered by Luigi Chinetti’s NART as a non-factory contender.

Maserati was back with the competitive Tipo 61 Birdcage contested by the American Lloyd Casner’s Camoradi Racing Team, which had recently caused an upset by winning the previous race of the championship, at the Nürburgring.

The Cunningham-entered E2A had shown promising pace – 167mph down the Mulsanne – and anticipation for Jaguar’s return was feverish. Keen for a fight, newspapers predicted an opening duel between E2A, Ferrari and Maserati. Briggs Cunningham was quoted as saying: “Our Jaguar can go the distance and is

going to keep up the pressure all the way.”

Drivers were Walt Hansgen and Dan Gurney.

Race start at 4:00pm: Jim Clarke in his Aston Martin was first away. He was soon overtaken by Hansgen in E2A, but almost immediately Walt found the engine to be flat above 6000rpm. By the end of the first lap, Masten Gregory in the Birdcage was in the lead and the Jaguar was in trouble, lying third. Completing lap three, Hansgen hustled into the pits. A split injector pipe was replaced, yet E2A’s engine had lost its edge, a piston perhaps compromised by running too lean? Going into the third hour heavy rain came, even hail at times. E2A raced on into the dusk with both car and weather deteriorating, but after six hours the Jaguar had to be withdrawn due to a failed head seal and burned piston.

A post-race summation to Heynes confirmed that E2A had posted the third-fastest lap of the race at 4 min 10 sec. This is one of the most interesting documents about E2A. Written by a TC Jones, it refers to E2A as a “modified ‘D’”, and it points out that the Ferraris’ petrol consumption was much higher – they had to refuel every 20 laps, after two Works cars had run out.

Meanwhile, E2A was consuming a remarkable 10mpg, meaning that it could easily manage 26 laps in the dry, while it even did 30 laps in the wet. All this would have meant 11 stops versus 16 or so for the winning Ferrari. Not only that, but E2A’s 4 min 8 sec lap time in the April test had matched the victorious Ferrari’s fastest lap time.

There is no doubt that E2A could have won the race – if the engine had been reliable.

Despite the Le Mans retirement, Briggs Cunningham had been impressed with E2A and persuaded Jaguar to loan him the car for several

1960 Jaguar E2A

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Jaguar E2A, still in bare aluminium, caused quite a stir at the early-April 1960 Le Mans test weekend.

North American races. It went back to the Works department to be prepared for the remainder of the racing season in the US. The tall Le Mansregulation windscreen was replaced with a lower, plexiglass one, and the troublesome 3.0-litre engine was swapped for a wide-angle, iron-block, dry-sump 3.8 powerplant built to full race specification with triple Weber induction.

This taller motor did not fit under the flattopped bonnet skin, so legendary Jaguar prototype panel beater Bob Blake simply cut an elegant aperture, fashioned the distinctive ‘power bulge’ in aluminium and pop-riveted it in position over the engine.

Immediately upon arriving at the docks in New York, E2A was entered for an SCCA race at Bridgehampton. Walt Hansgen took pole and the win. Later in the year the car raced on the West Coast, first with Jack Brabham at Riverside and then Bruce McLaren at Laguna Seca. At the end of October, it was shipped back to Coventry.

At the Jaguar factory, work on the new E-type production car had been completed. The E2A racing machine had proven the tub-plus-frontframe chassis, and the engineering team adapted the concept for the production car’s steel semimonocoque construction. The independent rear suspension was also productionised, drawing on the three years of testing and development with E1A and E2A. This new car used the same eightfoot wheelbase as E2A, and the styling also featured some visual hints from the Le Mans car, in particular the power bulge. Jaguar’s new sports model was ready just in time for launch at the Geneva Motor Show on March 15, 1961.

With E2A retired from racing, it was used as a test mule for Dunlop’s new Maxaret anti-lock braking set-up. Although the system was later removed, the car still has the ‘SHOT FIRINGPULL’ button, which had to be pressed to chalkmark the road while testing. The Jaguar then stayed in storage until 1966-67, when the firm’s four-cam V12 mid-engined prototype – the XJ13 – began testing. To deflect press attention E2A had its headrest fin removed, and in XJ13matching British Racing Green paintwork it ground round and round the MIRA test track to bore any nosy press into not paying the XJ13 any attention whenever it might emerge.

In the mid-1960s, Penny Griffiths was a 20something photographer who had been taking pictures at various motor sport events that she attended with her father, Guy Griffiths. Guy had started collecting Jaguars as they became old race cars, and by then he had an XK120, C-type and D-type, and he had just bought an E-type Lightweight. It was a time when many such models were being modified to keep them competitive in club racing, but Griffiths understood that the really important cars should be preserved – he was a pioneer in the collecting world.

Penny recalls: “I had been taking photographs

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with my father for the previous two years, and had gotten friendly with the guys at Prescott and Shelsley. I saw one of them in the spring, and said I’d got this Lightweight and had a problem with the fuel injection. And the guy said: ‘Oh, have a word with Roger Woodley – you know, the guy that works on the startline. He works at Jaguar.’ So, my father wrote to Browns Lane, and Roger replied. We took the car to Coventry… and there I met Roger.”

Woodley had been an apprentice for Lofty England at Jaguar for a few years by then, and he was the service manager who dealt with any customer racing cars that might come in.

Penny says: “I was young, early 20s, and when I came to collect the car I said: ‘I’m going up to Oulton Park next weekend for the Gold Cup meeting to take photographs. I’ve got a spare ticket if you’re interested?’ He said yes, so off we went. That was in the spring. It carried on through the summer, all fine. In fact, it went very well – in the autumn we decided to get married.”

And as it turned out, Penny and Roger’s chance meeting in the Jaguar service department was to prove crucial to E2A’s survival.

As Penny recalls: “I think we’d been married for about two years when Roger heard that E2A was set to be broken up, and he said to Lofty: ‘It seems absolutely criminal to break it up, and my father-in-law has this museum.’ After much deliberation Lofty agreed to sell it, on condition that it wasn’t raced competitively.”

By that time E2A had been tucked away in a corner of the workshop under a dust sheet for a couple of years, still wearing its XJ13 green paint.

It was Jaguar company policy to break up such cars, but Woodley advocated that Guy Griffiths would be the perfect custodian for this particular model. E2A was tidied up and repainted in the Cunningham colours. Griffiths bought the car directly from Jaguar in 1969, with its wide-anglehead, 3.8-litre engine supplied shortly afterwards.

Another few months later an original 3.0 alloyblock Le Mans-type engine was also delivered, Bill Heynes having just retired.

Retained in running condition, it was displayed at Griffiths’ Chipping Campden Car Collection museum in the Cotswolds, and demonstrated on occasion, for the next 40 years. In 2008, E2A was consigned to Bonhams Quail Lodge sale, where it sold to a Swiss Jaguar collector. It was recommissioned by CKL Developments, and a fresh 3.8-litre race engine was built so that the original could be preserved alongside the car.

Andy Keith-Lucas was in his 20s and working at CKL when he had the chance to drive E2A on the road to run in that new powerplant.

He remembers having some lovely three-hour drives on the quieter local roads of East Sussex, out towards Romney Marsh.

“I’d been there a few years when E2A came along,” he says. “I remember feeling the history

when I was in it – you just have to take a look at the dashboard and you’ve got all those handwritten things. You’re sort of aware of the history and what famous bums have sat in that seat.

I remember it being a really ‘friendly’ car; I recall that compared with a D-type, where you feel quite claustrophobic, it felt much more open.

It was the middle of summer as far as I remember… it was just lovely.”

CKL continues to maintain E2A, and the Jaguar still appears in public from time to time, typically at special events such as its 50th anniversary at Le Mans and at Goodwood. Mark Hews, the MD of CKL, takes the responsibility of custodianship incredibly seriously.

“We’ve always maintained it and prepped it for events – carefully,” he explains. “Not overpolishing it, just keeping it clean. Each element of the car has its own history… it’s all about realism, so we take a bit of a deep breath when it goes on circuit at the Goodwood Revival.”

Racing driver and classic car broker Gregor Fisken was the last person to drive E2A on track, at the Revival. He says: “It is absolutely in timecapsule original order. It’s also an incredible sports-racing car to drive. Both Tony [the late Tony Dron] and I drove the car. We both also drove the 246S Dino Ferrari, which ran with independent rear suspension… and thought it the best-handling 1950s sports-racing car ever. Then

Factory-fitted, post-Le Mans power bulge and sleeker plexiglass windscreen added to E2A’s appeal.

we drove E2A, and we both said: ‘Oh my God, it’s the Dino – not with 2.5 litres, but with a proper Jaguar 3.8 engine.’ It would have been unbeatable not just at Le Mans, but at the Targa Florio, the Nürburgring... It’s definitely a better-handling car than an Aston DBR1. And it hasn’t been through a huge development programme for modern racing at all... very much within the parameters of what it would have been like in period.”

He continues: “Round Goodwood, it was wet…

I was having a great race with Andy Wallace in a longnose D-type – at the exit of Lavant I was able to stick it up the inside. All the de Dion cars slide wide there, and this thing just gripped and it could take a much tighter line. It handled so well.”

You can feel his enthusiasm immediately – but wasn’t it intimidating to be responsible for such an irreplaceable piece of history on track?

“You get in, going ‘this is such an honour, such a responsibility’. By the time you get to the first corner, you forget all about it – you just think ‘this is nice, just lovely’. You enjoy it. It’s like anything – if you’re enjoying something, performance just comes. E2A is like that – the car is so with you.”

With thanks to Stefan Ziegler, Gregor Fisken, Mark Hews, Chris Keith-Lucas, Andy Keith-Lucas, Penny Woodley, William Heynes and Rhiannon HughesBoatman. A special thank you must go to the late Guy Griffiths, and the late Roger Woodley, for their part in saving E2A for all of us.

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Illustration Peter Allen

Words Richard Heseltine

THE TOP 50 PININFARINA DESIGNS

From Alfa to Austin, and Cisitalia to Cadillac, with Ferrari, Fiat and many more in between, legendary Turinese carrozzeria Pininfarina has put its stylish, forwardthinking and consistently sublime mark on some of the most magnificent automobiles ever created. These are our favourites...

Top 50 Pininfarina designs

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Chevrolet Corvair Coupé Speciale

PININ Farina unveiled its first take on the Chevrolet Corvair at the 1960 Paris Motor Show. Two years later, Pininfarina (one word from ’61) unveiled an ostensibly new Corvair-based car in Paris, which was much more attractive. Shaped by Tom Tjaarda, this four-seater (well, 2+2) appeared at various shows in 1962 and also made it onto the February 1963 Road & Track cover. Tjaarda insisted that only one example would ever be built; he’d simply been tasked with reworking the original 1960 Coupé Speciale for the 1962 show season.

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Cadillac Jacqueline

THE Turin styling house had form when it came to shaping Cadillacs, the first of which was a one-off V16 Speedster built for the Maharaja of Orchha in 1931. This 1961 show queen was allegedly built upon an Eldorado Brougham chassis and was fully functional, but others insist it was a mock-up. As to why the Jacqueline was created, it has been posited that its maker hoped to tempt Cadillac into adopting the design. Instead, there would not be another PFstyled variant until the Allanté, which entered production in ’87.

Mercedes-Benz 230 SL Speciale

PININFARINA had reworked Mercedes-Benz production cars as far back as 1955, when it created the 300 Coupé Speciale.

That, and the 300B Berlina Speciale 2 Porte and 300S Coupé Speciale, which both emerged a year later. It fell to Tom Tjaarda to create an Italianate 230 SL. The donor’s headlight arrangement was retained, but the familiar grille was raked more acutely, while the ‘Pagoda roof’ was removed in its entirety. The rear end, meanwhile, explored themes that would appear on the Ferrari 330 GT 2+2. The one-off SL Speciale was shown at the Paris and Turin shows in 1964.

Pininfarina Cr 25

Lancia Flaminia 3C 2.8 Coupé Speciale 2 Posti

THE Cr 25 (aka Ferrari Studio CR25 Prototipo) was the first car to be developed in the Turin firm’s full-size wind tunnel.

Road & Track correspondent Paul Frère reported in 1974 that: “[The Cr 25] is based on a hypothetical Ferrari chassis in which the Berlinetta Boxer engine is supposed to be at the front end. The car itself is a quite large four-seater, for which the lowest-possible drag, coupled to some slight down-thrust to enhance the stability at speed, was aimed at. The result is a drag coefficient of 0.256 and a lift coefficient of 0.093.”

STYLED by Tom Tjaarda, this handsome coupé emerged at the 1963 Turin Motor Show.

The nose featured a large grille flanked by twin headlights per side. The svelte roofline and slender A- and C-pillars, not to mention the lack of B-pillars, afforded the car a graceful profile, the rear end boasting perhaps the most striking element of the design: flushfitting, trapezoidal tail-lights.

The car was finished in motherof-pearl white, with chrome sill plates providing the finishing touch. The running gear was standard Flaminia, however – including the recently introduced 2.8-litre version of Lancia’s narrow-angle V6.

ONE of the prettiest prototypes of the 1964 show season, this Abarth collaboration was a fully functional styling study.

Based on the newly introduced, rear-engined Fiat 850, its chassis was lengthened by 1.06in, while its 843cc pushrod four-cylinder engine was enlarged to 982cc. Stylistically, the car foretold themes explored on the following year’s Dino Berlinetta Speciale, not least the headlight arrangement. In 1965, a coupé variant, complete with a flip-forward canopy, was shown at the Turin show.

In all probability, it was the same car, only with a roof.

Alfa Romeo 2600 PF Cabriolet Speciale/Coupé Speciale

THIS bespoke Alfa was first seen at the 1962 Turin Motor Show. Based on a 2600 Spider platform, there was little mention of the ‘prototipo 621’ in the Turin firm’s press pack, other than a line about its “mother-of-pearl paintwork with synthetic leather trim”.

Following further appearances, and what passed for an ‘interim’ restyle, the car re-emerged a year on at the Brussels Motor Show. It appeared suitably different, largely due to the addition of a roof and a change of colour scheme from red to metallic green, plus a change of name to Coupé Speciale.

Alfa Romeo 2uettottanta

THE outline of this brilliant 2010 concept was inspired by the classic Duetto Spider, with ottanta denoting ‘80’ in Italian – the years Pininfarina had been in business. As for the ‘2’ part, it was ‘D’ as written during the Renaissance.

Power came from a 1.75-litre four-cylinder turbo, but there was no talk of this shapely device entering production despite the Alfisti begging for replicas. Pininfarina’s chief creative officer Felix Kilbertus said: “Compact, lightweight and devoid of arrogance and pretence, it is the sculpted embodiment of Sprezzatura.”

Ferrari 365 GTC/4 FOREVER in the shadow of its Daytona stablemate, the GTC/4 was taller, longer and ever so slightly wider, too. It was also more practical, although Ferrari labelling it a 2+2 was a stretch. Pininfarina wasn’t big on hyping its stylists, but the GTC/4’s outline has more recently been attributed to Filippo Sapino (Pininfarina also constructed the bodies).

Introduced at the 1971 Geneva Motor Show, it remained in production for only two years, during which time 505 examples were made. Its nickname in its homeland – Il Gobbone – translates as ‘humpback’, by the way.

Bentley T1 Coupé Speciale

PININFARINA / RM SOTHEBY’S

Fiat-Abarth 1000GT Spider Pininfarina

IN 1965, tycoon James Hanson tasked Sergio Pininfarina with building a modernist Bentley Continental in all but name.

There was a precedent, the styling house having clothed Bentleys as far back as 1948.

Parent Rolls-Royce was sniffy at first, but in time it agreed to sell Hanson a new T1 saloon.

Pininfarina was largely given a free hand, too. The only real cause for concern arrived when the lofty grille was lowered.

With an air of predictability, Rolls-Royce’s directors were not happy and threatened to annul the warranty.

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Peugeot Peugette THERE once was something alchemical about the relationship between Peugeot and Pininfarina, the association stretching back to 1951. Aside from the many mainstream production cars penned in Turin, the styling house also shaped plenty of handsome niche fillers and concept cars for the historic French brand. The Peugette was designed by Diego Ottina and based on a Peugeot 104 (itself a Pininfarina design).

This 1976 concept’s signature feature was its symmetrical front and rear bodywork, but there was no interest in pursuing a production run, more’s the pity.

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Maserati Birdcage 75th

THIS dramatic-looking hypercar was based on a Maserati MC12 (itself rooted in the Ferrari Enzo), but it had a look all of its own. Styled under the direction of Ken Okuyama, and unveiled at the 2005 Geneva Motor Show, this one-off was built to honour Pininfarina reaching its 75th year. With a nod to previous concept queens, there was nothing so prosaic as doors.

Instead, access was by means of a one-piece flip-up canopy that also included much of the front bodywork. The car was garlanded with multiple design awards thereafter.

Alfa Romeo 6C 2300B Pescara

PININFARINA’S relationship with Alfa resulted in many landmark classics, but this pre-war offering was simply remarkable, with the 6C-based model’s voluptuous outline running to a rounded grille, teardrop wings and headlights sited behind mudguards. Then there was the shallow onepiece ’screen, a lack of running boards and more besides. It received universal praise at its 1936 Milan show unveiling. In recent times, Felix Kilbertus said: “An absolutely incredible car, empirical and intuitive aerodynamics at its best, with a purity of shape that feels years ahead of its time.”

Fiat Dino Spider A FIAT with a Ferrari bloodline (sort of). The shapely Dino Spider was the work of Pininfarina, which also constructed the bodies: floorpans were supplied with bare shells being transported back to Fiat’s Rivolta facility for the installation of the mechanical parts. As to the identity of the artiste who penned the Dino Spider, therein lies a question.

Pininfarina kept schtum.

Not that the car’s big reveal in Turin in late 1966 came as a huge surprise. The Italian media had been hyping it for the better part of 12 months.

Pinin Farina X

THIS idiosyncratic 1960 device – Pinin Farina’s first ‘concept’ – was conceived by Prof Alberto Morelli and championed by the firm’s founder, Battista ‘Pinin’ Farina. Revered aerodynamics expert Morelli had previously created an ultra-low-drag saloon car, the M100. The X – (codenamed Pf-X) – was a variation on the theme, only with a significant deviation from the script: it had a rhomboidal wheel pattern.

Powered by a rear-sited 1089cc Fiat engine, and blessed with a drag coefficient of just 0.23Cd, it was a functional prototype: the rear wheel was driven, while the front wheel steered.

Top 50 Pininfarina designs

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IT is hard to believe that more than 20 years has elapsed since the Enzo burst onto the scene, controversy trailing in its wake. The car’s outline, which was created under the watchful gaze of Ken Okuyama, was much commented upon – and not always favourably. But that was then. Its oh-so-vocal V12 was allied to a paddle-shift set-up that seems pedestrian now. Two decades ago, you felt as though you were a Formula 1 driver. That, and perhaps a jetfighter ace, too. It made other supercars appear ordinary.

As an aside, the Tyrrell 019 inspired the front-end styling.

Alfa Romeo GTV/Spider

THE 916-series Alfa GTV and Spider emerged at the 1995 Geneva Motor Show. In period, they represented a new territory of aesthetic adventure.

Not everyone liked the Enrico Fumia-penned styling, mind, the cars borrowing cues from his prior efforts at Pininfarina including the Audi Quartz from 1982. Fumia mapped out the Alfa design in 1987 in open and closed forms, but it took an age for Pininfarina to receive the production green light. The 2003 facelift consisted of a larger and deeper grille, with the numberplate relocated to one side – which is now an Alfa signature feature.

Lancia Gamma

ONE of the most elegant cars of its generation, the Gamma Coupé was shaped by Aldo Brovarone. The remarkable thing was how it made the leap from rendering to production car without being diluted. His design was followed faithfully, the car being launched at the 1976 Geneva Motor Show. That said, he disliked the rubber strip that was inserted into the swage line along the flanks without his knowledge. He later admitted that they served no real function other than to irritate him. Sadly, four-door and shooting-brake versions remained prototypes only.

Alfa Romeo 164

HISTORICALLY, Alfa Romeo had poor form when it came to making premium saloons. The 164 changed that. However, much like the 916-series GTV/ Spider, the design sat on the shelf for aeons. It was also the last Alfa model to be conceived prior to Fiat’s ownership.

Project 156, as it was known internally, was mapped out in 1981. A year later, the design was tweaked as part of the Type Four platform-sharing programme with Fiat, Lancia and Saab. The definitive design was the work of Enrico Fumia, and the 164 proved a runaway hit after it was unveiled at the 1987 Frankfurt Motor Show.

Ferrari Testarossa AN era-defining supercar, the Testarossa has always divided opinion. It was met with mixed reviews when first seen at the 1984 Paris Motor Show. Broad of beam, and bedecked with vents and side strakes, it was nothing if not controversial.

There was also a period when it was considered passé, but nowadays the styling is often lauded by design pseuds. The outline was largely the work of Diego Ottina working under the direction of Leonardo Fioravanti (the team also included Ian Cameron, Guido Campoli and Emanuele Nicosia). The subsequent 512 TR and F12 M makeovers were less successful.

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Ferrari Enzo

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Pininfarina Sigma THE editors of Switzerland’s Automobil Revue instigated the Sigma project as a means of forecasting a safer racing car. Having attracted a team of experts such as future Volkswagen engineering chief Professor Ernst Fiala, and structural design engineer Dr Michael Henderson, their biggest coup was persuading Enzo Ferrari to donate a 1967 312 F1 car to use as a donor: Pininfarina would build the Sigma, with Paolo Martin interpreting ideas with a few designer flourishes thrown in.

That was no easy task given that the primary focus here was that an accident was highly probable, hence a rigid safety cell was created with crumple zones fore and aft to absorb forces on impact. Pontoons were added to the car’s flanks to dissipate energy in the event of being struck side-on, and a quick-release mechanism was installed between the crash helmet and headrest to reduce the risk of neck injuries.

Some of these features arrived in motor racing in modified form over ensuing decades.

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Ferrari 365 P ‘Tre Posti’

A DEGREE of confusion surrounds the genesis of the 365 P ‘Tre Posti’. That it was Sergio Pininfarina’s brainchild is beyond doubt, but the veracity of the legend that it was a personal project he styled himself is shaky, not least because most Pininfarina insiders from the time insist it was shaped by Aldo Brovarone.

It borrowed heavily from his Dino Berlinetta Speciale concept first seen at the 1965 Paris show.

The 365 P was effectively an upscaled version, albeit with extra styling cues that pointed to the forthcoming Dino 206 GT production car. The standout feature, however, was the threeabreast seating arrangement, which was much commented on when it was unveiled at the 1966 Paris expo. An outwardly similar car was also built for Gianni Agnelli, which was significantly different in that it reputedly featured a 250 LMderived platform. Due to a weakened left leg, Agnelli had an electro-mechanic clutch installed, creating in effect a semi-automatic set-up.

Pininfarina Rondine THE Ron-din-ay was unveiled at the 1963 Paris Motor Show, and stylistically it didn’t show even trace elements of the car that bore it – a C2-series Chevrolet Corvette. Who, precisely, conceived the car is lost in the midst of time, but the man responsible for shaping this bold coupé was the late, great Tom Tjaarda.

The Michigan-born émigré produced a striking outline with a long rear overhang, the dramatically raked roofline initially comprising an inward-slanting back window with the roof ‘chopped’ behind the B-pillar. The Rondine appeared with this controversial styling treatment when unveiled in France, but was subsequently reworked to include a more conventional-looking wraparound rear glasshouse.

It is widely assumed that Pininfarina built the car internally, but some insist it was actually shaped by Ferrari’s chosen metal-basher, Sergio Scaglietti. Punters weren’t clamouring for replicas, but the coupé did inspire a local manufacturer to produce its own take on the theme – Fiat.

The Turin giant tasked Tjaarda and Pininfarina with reworking Rondine styling cues for what became the 124 Spider.

Ferrari Dino 206 Berlinetta Prototipo Competizione PININFARINA’S 1967 Frankfurt Motor Show star was styled by Paolo Martin and based on a Dino 206 S sports-prototype platform.

Often referred to as the Yellow Dino, the model featured styling themes that would appear on subsequent Dino production cars, such as conical side scoops and rear buttresses, but the overall outline was distinct to just this one-off. Autocar reported: “The doors lift up from hinges on a spine – a part of the roll bar in gullwing style... The nose and tail ailerons can be set according to performance to suit lift conditions.”

Car, meanwhile, wrote: “The racing Dino chassis was endowed with not one but two massive spoilers – both adjustable; one aft and the other (just as well, since it would certainly have taken off otherwise) elevated on miniature Chaparral stalks on the nose.” Martin, who was 23 years old when he styled the car, loathed the spoilers. They were added at the behest of Pininfarina’s CEO Renzo Carli.

Fiat-Abarth 2000 Scorpione

PERHAPS better known for his output at Ghia, for whom he did two tours of duty, Filippo Sapino nevertheless created several great designs for Pininfarina from the late 1960s to 1971. The 1969 2000 Scorpione (aka Fiat-Abarth 2000 Pininfarina, aka FiatAbarth 2000 Coupé Speciale) was a masterpiece. With its one-piece lift-up canopy and exposed engine slung out back, it was every bit as outré as more celebrated show queens from arch-rival Bertone such as the Stratos Zero and Alfa Carabo.

Sitting on an unmodified 2000 Sport Spider SE donor platform, the car’s signature feature was the line that began with the stubby bonnet and flowed in one continuous movement to the bootlid with its multiple lateral louvres.

The ‘prismatic shape’ roof tipped forward in one piece to facilitate entry, the vestigial doors being all but redundant.

It was unveiled at the January 1969 Brussels Motor Show and later exhibited in Canada.

Austin A40 Farina

IT wasn’t all exotica. Pinin Farina followed Ghia in becoming a design consultant to big foreign firms during the 1950s, and few were as mainstream as the British Motor Corporation. The ItaloBritish alliance led to a raft of designs, not all of which were ever seen publicly. One that did make the cut was Austin’s 1958 A40 Farina. It represented a masterwork of packaging, while the ’59 A40 Countryman was one of the earliest hatchbacks (it was among the first to be built in large numbers).

The family resemblance with Austin’s PF-styled A55 Cambridge and its badgeengineered Morris Oxford sibling was obvious. Ironically for a car styled in Turin for British consumption, the A40 Farina found an audience in Italy after Innocenti began licensed production in 1960. All told, 340,000-plus A40s were made in the UK until 1967, other PF/ BMC collaborations that decade including the BMC 1100/1300.

Ferrari 250 P5 Berlinetta Speciale

WIDELY touted as being among the all-time great concepts, the P5 was nevertheless conceived with racing in mind. According to its designer, Leonardo Fioravanti, it was to replace the P4 sports-prototype. In July 1967 he presented his ideas to Enzo Ferrari, who reputedly gave his blessing. However, by the time the P5 was unveiled at the Geneva Motor Show in March 1968, all thoughts of competition had been consigned to history. This was now a styling study, and a remarkable one at that, even if Il Commendatore apparently likened it to a suppository.

The P5 toured motor shows into 1969, but a degree of mystery surrounds what happened next. Some sources insist the donor chassis came from a V12-engined P4. Either that or a Dino 206 S, another constant rumour suggesting the P5 body was removed from a Dino that had served as a basis for the 212 E Montagna hillclimber. However, the 206 S had a V6 engine, so...

Alfa Romeo 33/2 Prototipo Speciale ONE of many concept cars based on the Alfa Tipo 33 platform, this shapely one-off was unveiled at the 1969 Paris Motor Show. The design was influenced by the previous year’s Ferrari 250 P5, and was the work of Leonardo Fioravanti. With its concealed headlights, butterfly doors and large greenhouse, it appeared every inch the exotic supercar, but one that was less compromising than Bertone’s contemporaneous and similarly Alfa-based Carabo offering.

For many years a degree of confusion surrounded this car, not least the origins of the body. In some period reports, the inference was that the glassfibre shell was simply that of the 250 P5. It had been reworked for this application.

However, Fioravanti wrote in Il Cavallino nel Cuore that it was “clearly a ‘clone’ of the P5”.

The Prototipo Speciale was restored during the early 2000s, and it was established beyond doubt that the bodyshell was unique to this car.

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SAM CHICK / PININFARINA

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Ferrari 512 S Berlinetta Speciale

LESS decorous than other Ferrari styling studies of its time, the Berlinetta Speciale caused a furore in 1969. Underpinning it was a 512 S semi-monocoque platform with an amidships 4993cc V12. The chassis once formed part of a 312 P sportsprototype that had gone back to the Ferrari factory following a fiery smash at Monza. It later served as a basis for developing the 512 S, with a 612 Can-Am car engine block. It was given to Pininfarina once the Scuderia had no further use for it.

Stylist Filippo Sapino didn’t hold back. Unburdened by a radiator, the car had a low front; the huge plastic ’screen swept almost horizontally to the rear engine lid, with its three rows of louvres. Below the upswept rear skirt, the visible gearbox and four exhausts emphasised that competition ancestry. Just 38.5in high, and almost twice as wide, the Berlinetta Speciale was a non-runner despite inferences to the contrary.

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NashHealey

DONALD Healey met NashKelvinator Corporation boss George Mason in 1949 during a voyage to the US. The duo struck a deal whereby Nash engines would be installed in the Healey Silverstone. That scheme came to naught, but a new car emerged with an enclosed body and a dual-carb 3.8-litre straight-six. It wasn’t a success, partly due to its dumpy styling.

Nash looked to Turin to inject a little Latin flair. The new, heavily reworked body had a lower ’screen, curvier rear haunches and vestigial tailfins. Altogether more striking, however, was the adoption of Nash’s inset corporate grille/headlight arrangement. This secondgeneration edition broke cover at the 1952 Chicago Auto Show, Nash promoting the heck out of its design partner thereafter.

It sent drivetrains from Kenosha, Wisconsin to Healey’s Warwick facility, completed rolling chassis then leaving for Italy where Pinin Farina’s artisans fashioned the bodies.

Alfa Romeo Superflow IV

THE basis for this ever-evolving show-stopper was an Alfa 3000 CM. Reclothed with a new body that incorporated Plexiglas front wing caps, small tailfins and gullwing roof panels, Superflow I was displayed at the 1956 Turin Motor Show.

Six months later, the car was exhibited at the Paris expo as the Superflow II. The front wings were more conventional looking than before, while the tailfins were more pronounced.

It was reformatted a third time, ahead of the 1959 Geneva show.

The Super Spider, as it was now dubbed, was shorn of its roof, windscreen and tailfins.

A year later, the car was displayed in Switzerland as the Superflow IV. This, its final configuration, represented pure jet-set whimsy. There was no denying the sense of theatre here, thanks in no small part to its glazed roof whose central section could slide back for ventilation in hot weather.

The scalloped flanks were also a casualty of the makeover.

Ferrari 206 P Dino Pininfarina Berlinetta Speciale

Jaguar XJ Spider

ONE of the most celebrated concept cars ever to wear the Cavallino Rampante logo, this design by Aldo Brovarone proved highly influential.

Based on a chassis that previously underpinned a Dino 206 P sports-racer, the car was constructed over a six-month period prior to being unveiled at the 1966 Paris Motor Show.

The voluptuous outline boasted many styling themes that would become design staples of future Dino and Ferrari products, not least the conical side air intakes (as devised by Tom Tjaarda for the 365 California), curved rear glass and cropped tail. The most daring feature was the quad-headlight arrangement that was housed behind a Perspex cover. Road & Track labelled it: “A very tasty little item in bright red (of course).”

Following further appearances that year at the Turin show and elsewhere, the car was bequeathed to Musée des 24 Heures du Mans. There it remained until 2017, when it was sold – minus engine internals – at auction in Paris. It realised €4.4m with premiums.

THIS beautiful roadster represented Pininfarina’s retort to the 1970s ‘folded paper’ look – which it had helped perpetuate. The styling house had created an XJ-based saloon earlier in the decade, and subsequently dreamed up the British Leyland-sanctioned S3-series XJ6/12 makeover. This car, however, wasn’t built at Jaguar’s behest, but Pininfarina took a punt anyway, the hope being that it might be embraced for production.

Jaguar went so far as to donate an XJ-S development car, which was stripped to its constituent parts on arrival in Italy. Under Lorenzo Ramaciotti a new shell was formed from metal and aluminium. First seen at the 1978 British Motor Show in Birmingham, the XJ Spider beguiled all. The prototype was fully functional, too, and continued to do the show circuit for two years, the original British Racing Green hue making for way for metallic silver. However, despite wouldbe customers clamouring for replicas, it remained a prototype. Felix Kilbertus later said: “It provided the base for the stylistically more nostalgic 1990s XK series – via a few stillborn Jaguar prototypes... and Aston Martins.”

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Fiat 130 Coupé

THE 1970s saw Pininfarina in its pomp. The styling house produced one great design after another, with few missteps.

Paolo Martin’s 130 Coupé was a masterpiece, its deceptively simple, largely unadorned outline being noteworthy for what isn’t there, even now. It was far from angular up close, and the cabin – also by Martin – was also super-stylish.

Launched at the 1971 Geneva Motor Show, 4491 were built to 1977. Sadly, a proposed fourdoor Opera and a Maremma shooting brake didn’t make it to production. Three prototypes of the latter were assembled, with one being used by Fiat’s boss of bosses, Gianni Agnelli.

Ferrari 275 GTB

Fiat 124 Spider

IT was the last Ferrari road car designed without any input from Fiat. It was also offered in several distinct iterations – long and short nose, for example, each being lovelier than the last. The odd thing about the 275 GTB is that it just sort of happened, if only stylistically. Introduced in late 1964, it represented a masterclass to some (a few designers have subsequently been a bit dismissive). The outline has retrospectively been attributed to Francesco Salomone, who had been with Pininfarina for aeons.

However, Tom Tjaarda, who was there when the car was being shaped, claimed in later years that the styling department was rushed off its feet – and, as such, quite a lot of it may have been farmed out. Tjaarda insisted that Salomone – for whom he had the greatest respect – was employed elsewhere.

As such, it fell to Ferrari’s own Edmondo Casoli, whose name languishes in obscurity, to pick up the slack. He simply got stuck in and did so with very little input – or interruption.

THE starting point for the pretty Spider (aka Sports Spider) was a Fiat 124 saloon platform that was shortened by 5.5in, with running gear and suspension being borrowed almost wholesale. The outline was penned by Tom Tjaarda, whose gilded resume also would in time include the De Tomaso Pantera and firstgeneration Ford Fiesta.

Launched at the November 1966 Turin Motor Show, nine months after the Alfa Spider was unveiled in Geneva, Fiat’s pretty rag-top was similarly aimed at the Stateside market.

It remained in production for aeons, with Pininfarina becoming a marque along the way. In 1981, lower-case ‘f’ badges usurped Fiat ones: Pininfarina had taken over licensing rights, naming the car Spidereuropa (Spider Azzurra for the US). Fiat logos were now conspicuously absent. A last-gasp 135bhp supercharged edition saw out production.

In 1985 the model was dropped, because the company needed manufacturing space for other projects. Of the 198,000 Spiders made during its 19-year run, around 170,000 examples went to the US.

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TIM SCOTT FOR RM SOTHEBY’S / ARTCURIAL

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Peugeot 504 Coupé/Cabriolet PININFARINA produced some fabulous work in alliance with Peugeot, the 504 Coupé and Cabriolet being arguably the most stylish. They represented a combination of inventiveness and simplicity, being both chic and practical. The two-door 504 was a desirable car regardless of iteration, and despite its humble ancestry.

The 504 saloon basis may have been less than exotic (platforms were shortened by 7.5in), but that was of little consequence.

What’s more, Pininfarina’s role went beyond merely shaping the car. It also constructed the body assemblies at its Grugliasco facility, which were then transported to Peugeot’s Sochaux factory in Alsace for final completion.

Launched at the 1969 Geneva Motor Show, both variants represented a natural progression of the saloon, which was also styled by Pininfarina (or rather unheralded stylist Aldo Brovarone). And just to prove the worth of the PF designs, production continued to 1981 with only a few minor styling tweaks. Sadly, the proposed Riviera shooting brake didn’t make it into production.

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Ferrari 365 GT4 BB

FOREVER in the shadow of the Lamborghini Countach, Ferrari’s first proper supercar was arguably the better machine. The BB wasn’t as flamboyantly styled as the Sant’Agata machine, but its Leonardo Fioravanti-penned outline dazzled all the same.

It’s just that it similarly took a while to make production, not least because the proven 365 GTB/4 ‘Daytona’ was still selling in decent numbers.

With its long front overhang and stubby rear end, the outline was rooted in Fioravanti’s prior P6 concept car that emerged at the 1968 Turin Motor Show (in reality, it was an engineless mock-up). The overall proportions, if not the details, were close, but the tail was shapelier. If anything, the subsequent BB 512 variant was even more attractive, changes including a front spoiler and four rather than six tail-lights.

The Berlinetta Boxer remains that rarest of things – an underrated Ferrari, and one that is finally appreciated for its styling purity.

Alfa Romeo Giulietta Spider BERTONE and Pinin Farina were both tasked with dreaming up Giulietta roadster proposals.

The former’s brilliant Franco Scaglione created something typically outré, two prototypes being completed, but he hadn’t factored in the complexities of manufacturing cars in series.

Pinin Farina had. That isn’t to say its design was safer, more that it was realistic. It was also a work of great beauty. Save for the windscreen and side-glazing treatments, there was little to differentiate the production model that emerged at the 1955 Paris Motor Show from the proof-of-concept prototypes.

In early 750-series form, the Spider looked almost dainty, but it was a genuine thoroughbred.

The subsequent 101-series variant was perhaps a bit more heavy-handed with the styling tinsel, yet it was still charming.

More than anything, this roadster in its various forms established the template for all future Alfa Spiders – and it set the bar pretty damn high.

PININFARINA produced its own take on the BMC/BLMC 1800 ‘Landcrab’ for the 1967 Turin show, having completed the prototype in just nine weeks. Styled by Leonardo Fioravanti or Paolo Martin (both claim authorship), this study in streamlining was fully functional, too. A second car was built using a smaller 1100 ADO 16 platform. Neither design was adopted, although Fioravanti drove this one to Switzerland in 1970 and parked it near Geneva’s Hotel InterContinental, where Citroën was holding a press conference ahead of the GS’s launch. He claimed the firm had cribbed the Aerodinamica styling studies for this car and the CX. Felix Kilbertus later called it: “One of my favourite design studies, marking the beginning of Pininfarina’s period of scientific aerodynamic research, and leading to the 1972 opening of the wind tunnel. It’s been recognised for its influential overall layout and silhouette.”

Maserati A6 GCS Berlinetta ALDO Brovarone arrived at the styling house in September 1953 from Cisitalia, and he ended up staying for 35 years.

The first design to which he contributed set the bar preposterously high for future efforts, the seminal Maserati A6 GCS coupé transferring from rendering to fully functional road car within only a few months of his arrival.

The model was conceived

by Rome dealer Guglielmo ‘Mimmo’ Dei. The sometime Formula 1 entrant reasoned that his wealthy patrons might be interested in a competitioninspired car in GT form. He was right – even though only four were ever bodied by Pinin Farina, the first being seen at the 1954 Turin Motor Show.

However, the relationship with the Bologna marque was soon put to one side. The firm’s new alliance with arch-rival Ferrari ensured it wouldn’t shape another Maserati for 49 years. As an aside, the owner of the first A6 GCS found that it got so hot inside, he had a new open-top body made – although it was later restored to its original configuration.

Ferrari 308 GTB/GTS

THIS junior supercar was greeted with much praise when it was introduced at the 1976 Paris Motor Show. That, and more than a few sighs of relief.

The motoring media cooed that it was a real return to form for Ferrari – despite the car having some shared ancestry with the oft-maligned Bertone-styled 308 GT4. That, and body panels made of… glassfibre. Yes, the Prancing Horse had done the unthinkable: the 308 was its first ‘Tupperware’ product.

Some 712 composite-bodied 308 GTBs were made to 1977, the same year that witnessed the arrival of the GTS edition at the Frankfurt Motor Show.

With a roll hoop behind the cockpit, and grilles blanking off what had been the rear quarter windows, the big draw was the vinyl targa top that could be removed and stowed behind the seats. And, as we all know, this al fresco variation on the theme found lasting fame thanks to the hugely popular Magnum PI television show.

Alfa Romeo Duetto Spider

Ferrari 250 GT Berlinetta Lusso

IT’S hard to fathom now, but there was a time when the 105-series Alfa Spider wasn’t well liked. Replacing the previous Giulietta roadster was no easy task, and some arbiters of beauty were not impressed when its successor was unveiled at the 1966 Geneva Motor Show. The Duetto Spider represented a radical departure from the outgoing model, that’s for sure, even if it’s difficult to understand now what all the fuss was about.

The final design to be signed off by Battista Pininfarina (he died a few days after its unveiling), it borrowed much from prior show machines.

For starters, the sculptured flanks aped those of the Aldo Brovarone-styled, 6C 3000 CMbased Superflow I show car of 1956, while the fluted tail section mirrored that of the fourth iteration of the same model (see entry 20). The overall silhouette, meanwhile, was similar to Pininfarina’s Giulietta Spider Speciale Aerodinamica show car from 1962. Just to show how right the design was, the Spider remained in production for 27 years in various forms.

ONE of the great Ferraris, the 250 GT’s alluring outline represented a major break from what came before stylistically.

Although this was ostensibly a road car – Lusso meaning ‘luxury’, after all – Pininfarina produced an outline that incorporated design cues from Ferrari’s more recent competition tools: the roofline was pure 330 Le Mans coupé, the ‘shark nose’ a nod to F1 and Dino sports-racers. However, the finished article was pure GT rather than track weapon.

This super-swish machine was unveiled at the 1962 Paris Motor Show, albeit after the event had opened (it was late arriving).

The only discernible physical differences between prototype and showroom model were a divided bonnet vent and a single tail-light treatment in place of awkward-looking triple clusters. Intriguingly, Battista Pininfarina’s own car was redone twice. It emerged with a more streamlined bonnet bulge, 400 Superamerica door handles and an accentuated rear spoiler. In 1963 its front end was radically transformed with a Superamerica-style nose, boasting Perspex-shrouded headlights, two-piece bumpers and a small oval grille.

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MAGIC CAR PICS / RM SOTHEBY’S

BMC 1100/1800 Berlina Aerodinamica

TIM SCOTT FOR RM SOTHEBY’S

Lancia B24 Aurelia Spider

THE Aurelia in any of its many flavours was a wonderful thing.

In Spider form, it was a work of singular beauty. Introduced on a shortened 96.5in wheelbase in 1954, and created to attract US dollars, Pinin Farina’s design bore little resemblance to the Aurelia coupé save for the grille.

Virtually everything else was new, from the shapely quarterbumpers to the swept-back rear wings. Pinin Farina was also engaged to craft the coachwork in series, which ensured a high end price. As such, Lancia lost money on each car. This, against a backdrop of local problems and national labour disputes, almost did for the marque.

As such, few were built.

Final estimates vary, but it was as many as 240, with 181 being in left-hand-drive B24S (S for sinistra, or ‘left’) form.

However, just to add to the Spider’s rarity, some US-bound cars were lost when the SS Andrea Doria sank in 1956 (which also claimed the Ghia Chrysler Norseman concept).

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Ferrari 365 GTB/4

Lancia Florida I and II

AS with so many other cars in this list, the 365 GTB/4 met with little hoopla following its 1968 Paris show unveiling. The ‘Daytona’ was deemed a bit old hat, Lamborghini having stolen Ferrari’s thunder with the Miura. An engine sited behind the seat was surely the future.

The difference here was that the 365 GTB/4 actually worked.

It was also stunningly beautiful.

Stylist Leonardo Fioravanti mapped out the design in one sleep-deprived week, and did so in 1967 when the 275 GTB was barely three years old.

He did much of this off his own bat, too, the upshot being that his brainchild was adopted and the 275 GTB was rendered obsolete. Fioravanti had created a masterpiece; one where a perfect arc swept from its priapic snout to its pert rear, the roofline curving gently around the shallow side glazing. A year later, Pininfarina followed through with the open GTS version.

PININFARINA was often a style leader, but it didn’t always push envelopes and break moulds.

With the Lancia Florida I, it did – and how. This design emerged at the 1955 Turin show, its startlingly modern ‘three-box’ form at odds with prevalent saloon styling. The lack of a B-pillar gave the look of a low roofline set against a relatively high beltline, the rear pillars flowing into the wings. This feature would be reinterpreted on umpteen Pininfarina designs. The prototype was built on a standard Aurelia chassis, a four-door variant following in its wake.

If anything, the 1957 Florida II was more daring still. With detail differences such as a steeper windscreen rake, it

entered production as a variant of the Flaminia. Battista Farina loved it, and drove one daily.

Felix Kilbertus said: “The Floridas introduced a very important design element: the crease line that structures a car body horizontally. It introduces shadow to the vocabulary of automotive styling, splitting the body in an upper part catching light, and a lower, darker part in the shadow, taking out visual mass and stretching the overall shape. This division into upper and lower halves was further developed on many subsequent cars.”

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Pininfarina Ferrari Modulo

YOU could argue that Battista ‘Pinin’ Farina (Pininfarina from 1961) wasn’t a designer in the strictest sense. He had a critical eye for detail and innate style; he knew what mattered, and what didn’t. His greatest skill was in nurturing talent. He found a brilliant collaborator and foil in Giovanni Savonuzzi, and their Cisitalia 202 SC proved far more influential than perhaps even they expected.

Given that most sports cars in the late 1940s were reheated pre-war models – often with cycle wings – the fixed-head Cisitalia seemed breathtakingly advanced when it was unveiled at the 1947 Villa d’Este Gold Cup. With a fully enveloped body and low, beautifully arched roofline, its delightful details included a wide, slatted grille that was a one-piece casting.

Numerous coachbuilders were approached with a view to transforming Savonuzzi’s sketches into a 1:1 reality, but Pinin Farina made it happen.

That one example is on display in the Museum of Modern Art in New York speaks volumes.

Felix Kilbertus said: “It was the first time Battista could influence the layout of a car in close collaboration with the engineers, rather than just adding a beautifully styled body on top of a given chassis.”

THAT the Modulo ever made the leap from idea to reality is miraculous given the hurdles it had to vault. It was conceived

by Paolo Martin, whose resume includes everything from threewheel Piaggio pick-ups to the Rolls-Royce Camargue. The Modulo began as an after-hours project, resulting in a 1:10-scale model. In August 1968, while the studio was closed for the traditional Italian holiday period, he set to armed with blocks of polystyrene bonded together with fish glue, tracing paper, a carving knife and a couple of car batteries. His fullscale model was ready in time for the end of the holidays.

Second-gen principal Sergio Pininfarina hated it, as did his CEO Renzo Carli. Nevertheless, Martin found an ally in Franco Martinengo. A talented designer in his own right, the veteran artiste had helped sharpen the skills of many future stars. He didn’t necessarily ‘get’ Martin’s ideas, but neither did he dismiss them out of hand. What’s more, he felt that Pininfarina’s designs were becoming a bit safe and a jolt was needed.

He also had the ear of the boss.

The Modulo was given the green light in late 1969. It was a pragmatic decision: the March 1970 Geneva show wasn’t far off, and Pininfarina had yet to start a new concept. Sergio, however, still wasn’t convinced, and considered withdrawing the Modulo on the eve of its

Swiss unveiling. Reaction from the media was largely hostile, too, with Autocar describing the Modulo as a “dream – or nightmare – car”. Nevertheless, it was a huge hit with the public, garnering 22 design awards while touring the world’s major car shows for the next ten years.

Felix Kilbertus says today: “This car represents the shift from designing ‘with your hands’ – the logic of coachbuilding and traditional craftsmanship – to designing ‘with your mind’, conceiving things more scientifically. This was the Space Age after all, with glassfibre, synthetic foams and structural plastics replacing wood and sheet metal, or using paint and colour where chrome was needed before.

“The Modulo looked more like a spaceship than a road car, and it radically left the past behind. It still looks effortlessly modern 50 years later. Rarely have popular imagination and cutting-edge design been so closely aligned. For me, it is an exceptional artefact of a bygone, more forward-looking era – a testament to human imagination.”

PETERSEN

Cisitalia 202

SAM CHICK

Dino 206 GT

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THIS wasn’t an easy decision, but bear with us. The Dino 206 GT came out on top for a variety of reasons, not least because it’s a landmark design. That, and it was a great Ferrari – even if it wasn’t one by name (Dino was a sub-brand, after all).

Also, as is so often the way with these things, it wasn’t well received by some arbiters of beauty. It seems remarkable in the here and now, but there was a time when not everyone waxed lyrically about the Dino.

That was then, though. To some members of this parish, a prettier car had yet to be made in Maranello regardless of it not wearing a Prancing Horse badge. As to the vexed question of who shaped the car, there is no easy answer.

At Pininfarina, as with most other studios, outlines were rarely attributed to any one individual; the plaudits were instead conferred upon the employer. Aldo Brovarone can rightfully lay claim to having penned the Dino 206 during his lengthy ‘middle period’ at

Pininfarina. The thing is, so can Leonardo Fioravanti.

But which of these styling silverbacks is the originator?

First, you have to consider the cars that bore the Dino as we know it. Brovarone recalled to the author in 2013: “My original ideas for what became known as the Dino were more radical. In 1965, I was tasked with producing a show car based on a Dino 206 S racing car platform. It was the Dino Berlinetta Speciale, which in turn influenced the production car. I didn’t know that it was going to be a separate brand, though. I wanted a more wedge-shaped profile, which is how I designed it.”

Twelve months later, Pininfarina had only one car on its Paris show stand: the Brovarone-penned 365 P, which borrowed heavily from the Dino Berlinetta Speciale, albeit with additional cues that pointed to the production car that was already on its way.

It fell to Fioravanti instead to create the definitive outline for

the 206 GT. He had yet to style a complete car of his own.

“Aldo was my maestro,” Fioravanti said in 2014. “I picked up from where he left off, and obviously the production car was much different from the show cars, not least because of the packaging requirements. For example, here the V6 engine was mounted transversely rather than inline.”

That obviously had an effect on the proportions, but then others also had an input.

Pininfarina’s CEO Renzo Carli, for example, redefined the concave rear buttresses and suggested the curved back screen. The finished item was signed off by Enzo Ferrari, and was displayed at the 1967 Turin Motor Show, its sensuous form inspiring a legion of designers thereafter. Pininfarina and Ferrari were intertwined for half a century, and there is no greater exemplar of that symbiotic relationship than this, the sublimely brilliant non-Ferrari Ferrari.

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Market Watch: Buying Maserati’s mid-engined Merak

Market Analysis: How the scene shifted in 2024

Watches and art: Lange 1 and Brit Steve Goodwin

Collecting: Get back on track with Scalextric

Books and products: Latest must-reads and luxury goods

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M A R K E T WAT C H

Maserati Merak

By Richard Dredge

Sharing many of its mechanicals with the Citroën SM, this mid-engined junior supercar has yet to find its place in the sun. Buy now, before values rise...

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displaced 2670cc in the SM, it was a 2965cc motor in the Merak.

Launched in autumn 1972, the Merak was aimed squarely at the Ferrari 246 GT and Lamborghini Urraco, along with the Porsche 911.

The newcomer featured the SM’s five-speed manual gearbox and inboard disc brakes, but its V6 was shorter than the Bora’s V8, which enabled the cabin to be lengthened so that two token rear seats could be fitted, as with the Urraco.

All bodywork forward of the B-pillars was shared with the Bora, although detail differences included the bumpers, which while being interchangeable were not quite the same. The dashboard, switchgear, instruments and singlespoke steering wheel were taken straight from the SM, while the high-pressure hydraulics were used to control the brakes, clutch and headlamp pods. Autocar loved it, calling it “£8000 of pure pleasure”.

The Merak was expensive at launch, but on the road it was outpaced by key rivals. Maserati fixed this with the introduction of the 220bhp Merak SS in 1975, yet within a year Maserati and Citroën had gone bust. The former was

‘It’s relatively affordable and available, plus it came with right-hand drive’

bought up by Alejandro de Tomaso, who introduced a 2.0-litre ‘taxbreak special’ for the Italian market.

Called the Merak 2000, the game was given away by a thick black stripe down the flanks.

From 1980, for certain markets (not RHD or some European sectors) Citroën’s high-pressure hydraulics were swapped for a conventional system. In 1983 Maserati finally called time on the Merak, to focus instead on building the Biturbo and Quattroporte.

T H E VA L U E P R O P O S I T I O N When it comes to classic Maseratis, nobody in the UK knows more than Andy Heywood, proprietor of Hertfordshire-based firm McGrath Maserati (www.mcgrathmaserati. co.uk). He says: “Meraks often appeal to people who have owned a modern Maserati, then feel they want something classic. The Merak is often singled out because it’s relatively affordable and available, plus it came with right-hand drive.

“Values have been coming down over the past decade, but they are now stable. Expect to spend £60,000 for a good car; a decade ago that would have been £80,000.

The best Meraks fetch £90,000, with the SS carrying a small premium over earlier editions.

However, condition is all, because restoration costs are high relative to the final value. Projects are generally priced at £20,000 or so, which is disproportionately high considering how much it’ll cost to get them up to a good standard.”

A lot of Meraks were repainted

MAGIC CAR PICS

FOR A BRAND WITH SO MUCH equity, it’s amazing how few highs Maserati has enjoyed throughout its century-long existence. The company’s first racer emerged in 1926, while road cars came along two decades later, but volumes were tiny through the 1950s and ’60s before seemingly taking a turn for the better in 1967. That’s when Citroën decided it needed a flagship grand tourer with a Maserati engine; this would arrive in 1970 as the SM. The Italian marque’s Giulio Alfieri had designed a V8 in 1965, which was stillborn, so when Citroën came calling the designs were dusted down and the result was a V6 that could be used by both the French firm and Maserati. Not content with a mere collaboration, Citroën then swallowed its counterpart whole; by December 1967 it had a 60 percent stake, increasing to 100 percent in June 1971.

At this point Alfieri was keen for Maserati to build a mid-engined sports car, and with the support of Citroën’s general manager Guy Malleret he instigated the Tipo AM117 project in 1968; a prototype was running by 1969. That model was the V8-engined Bora, designed

by Giorgetto Giugiaro (under the guise of his newly created Italdesign styling agency) and one of the most civilised mid-engined cars yet built.

It was incredibly safe, too, thanks to its heavily constructed chassis that ensured an easy pass of the federal 30mph crash test.

With Maserati now forming part of the Citroën empire, it was inevitable that there would be some Gallic touches to its new sports car. Sure enough, there was a high-pressure hydraulic system that controlled the brakes, pop-up headlights, adjustable pedal box and even the driver’s seatback, with the entire set-up powered by an engine-driven pump.

Developed alongside the Bora was a junior supercar known internally as the Tipo AM122 and externally as the Merak. Carried over from the Bora was the 102inch wheelbase, double-wishbone suspension and rack-and-pinion steering. Most of the bodywork was shared, too, but this new sports car would take more of its technology from the SM, not least of all its V6 engine. However, while the unit

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red back in the 1980s, but Maserati offered some really nice metallic colours, and cars with their original finish are now sought after. At any one time there are usually at least half a dozen Meraks for sale in the UK, and three or four times this across Europe.

Heywood explains: “Some US cars have come back to Europe, and most have been converted to European spec. That means their ugly rubber bumpers have been changed, along with the exhaust system, while the power-sapping catalytic converters have been removed and the distributor retuned to restore performance.

Such cars are worth less than an equivalent European car.”

According to Hagerty’s John Mayhead: “In the US, Merak values had risen from $20,000 at the start of 2014, to around $60,000 three years later. For the next six years there was no movement, but over the past 18 months values have

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THIS PAGE A complex body structure means rust is a common issue, and parts availability can be an issue.

‘A lot of nooks and crannies to scrutinise, with hidden corrosion being very likely’

dipped by as much as 20 percent, to $48,000 or so. But very recently they have climbed once more, and you’ll now pay around $55,000 for an ‘excellent’ example.

“It’s a similar picture in the UK, because between January 2014 and April 2017 the Merak SS’s excellent value doubled, from £29,500 to £60,700, but that’s where it sat, almost static, until September 2023.

Then values fell, reaching as low as £49,800 in June 2024. Yet in the past couple of months things have changed, with excellent cars rising back to £57,300. Values now range from £35,300 (fair) to £72,900 (concours) for the SS, and £28,300 to £57,700 for the standard model.”

He continues: “This increase is largely down to the amount of money some collectors are putting into their Meraks. As an insurer, we see when people have significantly invested in their cars and they tell us to increase their cover. We have recently seen some owners spend

many tens of thousands on restoring their car – well over what the model is currently worth.”

T H E N U T S A N D B O LT S As a specialist steel-bodied car of the 1970s, Meraks corrode for fun.

Two key problems stem from this: panel availability is pretty much nil, and what looks like a good car can be riddled with rust. It doesn’t help that the structure is complex; there’s a monocoque onto which are attached non-removable subframes front and rear, to carry the brakes, steering and suspension.

That means a lot of nooks and crannies to scrutinise, with hidden corrosion being very likely.

Analyse the whole car for rust, with a focus on the door bottoms, sills and wheelarches; everywhere obvious, essentially. Less evident are the front inner wings, to which the front suspension is mounted.

Rot here weakens the structure and potentially makes the car

MERAK MOVEMENTS Hagerty Price Guide values (UK and US) over time for Maserati Merak and Merak SS in ‘excellent’ condition (all values in £). UK separates ‘base’ and ‘SS’ models: US does not. £60,000

TIMELINE

£55,000

1971

Maserati Bora first shown, with mid-mounted 4.7-litre V8. Would provide basis for cheaper spin-off, just one year later.

1972

Merak makes debut at Paris Salon, with 2965cc V6 rated at 190bhp.

1975

Merak SS unveiled, with high-compression heads, bigger Weber carburettors, larger valves and different pistons, which pushes power up to 220bhp. Dashboard also overhauled. Out go SM instruments and single-spoke steering wheel; in come items shared with Bora.

1976

A 1999cc V6 Merak is introduced solely for Italian market.

This has purchase tax of 19 percent levied against it, compared with 38 percent for cars of over 2.0 litres.

1983

Final Merak built, bringing tally to 1817. Of these, 830 are non-SS cars (91 with right-hand drive) and 787 are SS editions, 140 with right-hand drive.

Final tally for Merak 2.0 is 200, all with left-hand drive.

£50,000 £45,000 £40,000 £35,000 £30,000

UK MERAK SS

£25,000

UK MERAK US BOTH MODELS

£20,000 £15,000 £10,000 2012

2014

unsafe. There is a box section behind the rear edge of each front wing; by the time rust eats through the fenders, repair costs will be very high. The other key areas likely to rust and cost plenty to fix are the bins in which the fuel tanks sit.

Not only do these rot, but so can the tanks themselves, and the rust can spread into the sills.

Windscreens tend to delaminate, with the damage starting at the top corners and working its way down.

While replacements are available but expensive, you’ll be doing well to find the correct chrome trim surround if that’s damaged, too.

Apart from a few home-market cars, all Meraks were fitted with a 3.0-litre V6 powerplant. It’s basically a strong unit, but oil consumption will be high if the valve guides have worn, which is common. If you’re buying an SS edition, make sure the correct motor is fitted. Look for six nuts keeping each cam cover in place; the regular Merak

2016

2018

2020

V6 uses five nuts per bank instead.

All Meraks came with a fivespeed manual gearbox as seen in the SM; don’t listen to those who tell you that from 1976 a ZF transmission was fitted. Yes, a car was made – but just the one. The gearbox is reasonably strong, yet the second-gear synchro wears and replacement parts can be scarce; do not enter into a transmission rebuild lightly. A horrifically stiff gearchange is due to a seized cable linkage; a replacement cable easily fixes things. More of a problem is a tired clutch. These aren’t very durable, and they take three full days (24 hours) to replace, which means a hefty bill for parts and labour.

At the heart of most Meraks is a high-pressure hydraulic system that uses LHM fluid, the reservoir for which is below a bonnet vent that lets in rainwater. If the filler seal for the reservoir is past its best, water gets into the hydraulics leading to corrosion. The only cure

2022

2024

is to flush everything out and replace the fluid, and to change any components if already damaged.

To check that the high-pressure set-up is working, start the engine and wait for the red warning light on the dash to go out, to show the system is up to pressure. Switch off, then raise and lower, the headlamp pods until the pressure drops to the point that they don’t operate any more. Expect at least half a dozen activations, ideally a dozen, before the system is exhausted. If you can’t manage even six, the accumulators need to be reconditioned.

Other glitches can include seized handbrake calipers; the inboard rear discs are not easy to get to, so they’re often neglected. Meanwhile, NOS replacement steering racks have been unavailable for years, so if there’s play in the system expect a long search to find a decent secondhand replacement.

Heywood notes: “Regarding the rear suspension, the outer bushes

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There are a lot of straightforward pre-purchase checks that you can make yourself, and using this approach will enable you to dismiss many of the dogs that could trip you up. But before buying a car it is worth investing in an expert inspection to ensure that a ‘lovely’ Merak is all it seems.

THE FINAL DECISION James Gandy has had his Merak SS for nearly a decade, having owned an earlier car before that. He says: “It isn’t especially fast, but it’s quick enough if you keep the revs up.

What swings it for me are those beautiful looks and the agility, while DIY maintenance is also generally straightforward, although I do use a specialist for some jobs.

The key is to find someone who has experience of Citroën hydraulics; an annual fluid change is essential if the system isn’t to be damaged.”

Hagerty’s John Mayhead is also a fan. He says: “I watched Top Gear being filmed in 2006, when Jeremy Clarkson bought a Merak for less than £10,000. It was beautiful: its bodywork poised like a snarling cat and the cabin a wonderful expression of Italian excess, all curvy leather, big switches and lots of dials. A few years later I was offered a Merak: I jumped at it. It was glorious; the sound of the V6 was phenomenal and you felt like you were going so fast, even at 30mph. The looks never failed to attract attention.”

No Merak is quick, but the SS is usefully more perky. If you do decide to take the plunge, be very wary of knowingly taking on a project – and be even more wary of unknowingly taking one on.

Heywood says: “Only buy a project if you can restore it yourself, because any professional rebuild will cost more than the best Meraks are worth. Most mechanical parts are available, but panels are not, and neither is some of the exterior trim. Buy a really rusty Merak, and you might struggle to get it back on the road. I know of several currently

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THIS PAGE Distinctive flying buttresses give mid-V6-engined Merak a unique classic style.

T H E D E TA I L S 1977-1983: MERAK 2.0 ENGINE:

NORMALLY ASPIRATED V6, 12 VALVES, DOHC PER BANK, 1999CC

POWER:

170BHP

TOP SPEED: 137MPH 0-62MPH:

9.1SEC

1972-1974: MERAK 3.0 ENGINE:

NORMALLY ASPIRATED V6, 12 VALVES, DOHC PER BANK, 2965CC

POWER:

190BHP

TOP SPEED: 147MPH 0-62MPH:

7.7SEC

1974-1983: MERAK SS ENGINE:

NORMALLY ASPIRATED V6, 12 VALVES, DOHC PER BANK, 2965CC

POWER:

220BHP

TOP SPEED: 155MPH 0-62MPH:

7.5SEC

for sale, all around the £60,000 mark, but they vary in condition from really poor to extremely good, so don’t assume that price is an indicator of a car’s condition.

“Also, don’t take on a very low-mileage unmolested Merak too lightly. These cars have sodiumfilled exhaust valves, which can snap off and destroy the engine. Most motors have been rebuilt by now, but there are some Meraks out there that are just as they left the factory – and you need to tread carefully with these. Too many Meraks are used very sparingly, so expect to go through a period of getting it reliable before doing any long trips.”

He continues: “Having said this, all Meraks make great long-distance cruisers. They’re not as agile as a Dino or 911, but they’re more refined and comfortable, while the clutch is lighter than in most rivals; it even had power assistance in the SS. The

brakes take a bit of getting used to, but once you’re acclimatised you’ll love them. These are also very safe cars because they’re strong, and the UK club is well run and extremely sociable, so it’s easy to make friends with like-minded owners.”

Mayhead concludes: “The Merak has a lot going for it, with its looks, relatively sensible purchase cost and exclusivity, but many potential buyers are scared off by horror stories of shearing sodium-filled valves, Citroën hydraulics and rusty fuel pods – most of which have been fixed on the cars out there. I found the hydraulics to be very reliable, and the car suffered no more rust than your average classic of that era.

“The outlook is fair, although the Merak is unlikely to be the next 246 GT. It deserves to be more highly regarded than it is, especially in rare right-hand-drive SS form with the later, Bora-style dash.”

Acquire

M A R K E T A N A LY S I S

By John Mayhead, Hagerty

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Interesting times Dropping values and slowing sales epitomised 2024’s collector car values – but it’s not all bad news, as our expert explains

RIGHT Indices include Gold for bluechip classics, RADwood for 1980s and ’90s and FOTU for ‘everyday’ cars.

HAGERTY INDICES

Recent performance of key market segments

125 120 115

Gold

Classic

Hot Hatch

Best of British

RADwood

FOTU

110 105 100 95 90 2018

2024 WAS A STRANGE YEAR IN the classic and collector car world.

Anyone watching will know that values dropped, sales slowed and the energy that turbocharged the market in the past few years dissipated.

The falls were measurable and almost universal. When I completed Hagerty’s end-of-year analysis of sales rates, insurance-quote data, shipping trends and demographics, I could see that almost everything changed in 2024. Only 7.7 percent of cars in the UK Hagerty Price Guide rose in value over those 12 months, and 46 percent fell – the most ever in its 12-year history.

Combined online and live global auction sales totals were down 13 percent year on year, and the Final to Estimate (FTE) value, which compares buyers’ willingness to spend (sale prices) with sellers’ expectations (low estimate), fell three points to 11.1 percent. The Monterey auctions, often seen as the global bellwether of the high end of the market, saw sales that were nearly $30 million below Hagerty’s pre-event lowest estimate.

Five of the six Hagerty indices, tracking different segments of the market from the most expensive to the most mundane, lost value.

But to describe the entire market as falling would be wrong. As ever, it’s a complex story of human desire that marks out some cars as very special, and demand for those models is still strong. The first category that has shown recent growth is that of top-end pre-war cars, especially those that have utility for both racing and touring,

and offer the owner entry to one of the world’s most exclusive events such as the Mille Miglia or Le Mans Classic. Blue-chip pre-war cars dominated the top three places in the UK’s live auction results in 2024, and were represented on top ten lists of global, US, EU and even online auction results.

In addition, those selling such cars to the public reported a strong year. “These historic vehicles have a wonderful ability to bring us together on one level, and really enjoy ourselves,” says UK specialist dealer Tom Hardman. “We’re seeing a steady influx of high-quality cars, and committed buyers and overseas buyers have again been a significant feature, with recent renewed interest from European and US collectors.

For the latter, there’s a sense they might be looking to get ahead of large tariffs looming on the horizon.”

Mathew Priddy at Historics Auctioneers agrees: “Pre-war and vintage classics appear to be having a little upturn, but only when special in one way or another. It’s perhaps because they are so different from the cars of today that a real hark back to the past is gaining momentum.”

At the other end of the motoring spectrum, more modern ‘analogue’ performance cars remain in demand. Split down into decade of first manufacture, only one era of Hagerty Price Guide cars rose in value in 2024: models built in the 2000s. Of this group, the big movers were all performance machines, although at different price points.

The Maserati MC12 showed more than 50 percent growth at

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+53% +29% +18% +10% +9% +5% +5% +5% +2% +1% Maserati MC12

Porsche 911 997.1 GT3

Subaru Impreza P1

Aston Martin DBS V12 Coupé

Honda Porsche S2000 AP1 911 996 Facelift/ Turbo S AP2

excellent condition over those 12 months, having sold very well both privately and at auction. The model’s value has almost certainly risen as a result of its shared DNA with another recent improver, the Enzo – and although the MC12 doesn’t quite match the attraction of the Ferrari, its smaller production numbers are relevant to collectors.

Four of the rest of the top ten of 2024 were performance models of 996 and 997 variants of the Porsche 911, the latter almost the definition of an analogue sports car. As manufacturers move ever onward towards a digital driving experience with hybrid and full-EV power, these models look very much like peak ICE-generation drivers’ cars.

Hot hatches were a third group whose values remained resilient in 2024. The relevant Hagerty index dropped two points, but remained the second highest, just one point behind the market-topping Gold Index. Three hatches rose over ten

Porsche 911 997.1 Turbo

Porsche 911 997.1 GT3 RS

Maserati 4200

MercedesBenz SLR McLaren

percent in value, including the Ford Sierra RS500 Cosworth that almost uniquely has been consistently increasing in value since 2020.

All three categories of 2024 risers had a common link: they represented drivers’ cars. In a turbulent market, ‘investing’ in classic cars has never been more difficult, and what’s left is a cohort of enthusiasts who prioritise driving experience above all else, as The Classic Motor Hub’s Martin Chisholm explains.

“There were steady sales last year, and no rush to offload – which is a strong sign,” he says. “Events have been extremely well attended, and the desire to get out and use the cars is stronger than ever. Interest rates have turned, and the troubled days of the past would appear to be over…

“The latest UK budget probably made classic cars look even more attractive than before, and relative political stability has only been a good thing for those who wanted to get back to work and kickstart 2025.”

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A modern icon Precision engineering, thoughtful design and timeless elegance: the Lange 1 is among the greats

THE TERM ‘ICON’ IS OFTEN overused in the watch industry, yet certain timepieces have earned the title through undeniable legacy and design. Many were introduced during the 1950s-70s golden age of mechanical watchmaking, such as the Royal Oak and Nautilus. Yet when considering the modern craft, few rival the significance of the Lange 1, which symbolises both A. Lange & Söhne’s rebirth and the resurgence of modern German horology.

Late in the 20th century, and following his rejuvenation of JaegerLeCoultre and IWC, Günter Blümlein set his sights on restoring the prestige of ‘made in Germany’ watchmaking. In 1990, he and Walter Lange – the brand founder’s greatgrandson – laid the foundation for what would become one of the most impressive feats in horology: the return of A. Lange & Söhne. On October 24, 1994, at the Dresden Royal Palace, Blümlein, Lange and Hartmut Knothe unveiled the first collection, which included the Saxonia, Arkade, Tourbillon Pour le Mérite and, of course, the Lange 1.

The Lange 1 quickly became the quintessential A. Lange & Söhne creation, and 30-plus years later its visual identity remains unchanged.

In 1994, the 38.5mm case size was large for a classic hand-wound watch, but it helped establish the Lange 1’s bold identity. Beyond physical size, it distinguished itself with its large date display, inspired by the five-minute digital clock in Dresden’s Semperoper opera house. Unlike traditional date windows, this mechanism relies on two oversized, overlapping discs – a technical feat at the time.

Yet what truly sets the Lange 1 apart is its unconventional dial layout, apparently asymmetrical but in fact meticulously balanced. Using the principles of the golden ratio, each element is purposefully placed to achieve a calculated harmony.

The combination of mathematical precision and artistic design is why it feels both intriguing and timeless.

What began as a standalone model evolved into an extensive and varied collection. Lange 1 features range from a simple moonphase display to complications such as perpetual calendars, time zones and tourbillons, with dials made from onyx, mother-of-pearl, handengraved silver and translucent

smoked sapphire crystal, some adorned with diamond bezels, with fixed bracelets as well as the industry’s benchmark in detachable bracelets made by Wellendorff, the legendary German jeweller.

Twelve iterations have spanned multiple configurations and case sizes. Some models, such as the hand-wound original, remain staples; others, like the automatic Daymatic introduced with the calibre L021.1, demonstrated innovation without compromising the integrity of the design. The Daymatic movement, with its 67 jewels and engraved 21ct gold and platinum rotor, remains one of the industry’s most elegant and beautiful automatic calibres.

Not all have been as well received. The 2003 Grand Lange 1 had a larger, 41.9mm case. While imposing, this iteration disrupted the initially perfect dial proportions, and compromised the harmony achieved in its original design, with the movement no longer appearing to fit the case as pleasingly.

To celebrate the Lange 1’s 30th anniversary, it was released in two limited editions: a platinum-cased version with a black onyx dial, and a striking blue dial set in pink gold.

Both are offered in two sizes – 38.8mm, and the Little Lange at 36.8mm – with limited runs of 300 and 150 pieces respectively.

For collectors, early Lange 1 models – particularly those with closed case backs or rare steel cases – are among the most coveted. A personal favourite, however, is the Darth (ref 111.025) and the smaller Little Darth (ref 111.035). These have white-on-black date windows, applied platinum indices and a subtle elegance. Original details are paramount – look for non-service dials and factory brushing on the case flanks – and it is worth awaiting an example accompanied by its original guarantee certificate.

The Lange 1 stands as a modern icon in every sense of the word, harmonising precision engineering, thoughtful design and timeless elegance. Its evolution has only solidified its place among the greats, offering collectors and enthusiasts a benchmark for modern watchmaking at a relatively affordable price point.

Jonathon Burford is SVP and specialist at Sotheby’s watch department. For its watch sales, see www.sothebys.com.

MOTORING ART

By Rupert Whyte

FROM SCHOOL, BRITON STEVE Goodwin worked briefly at a printing company designing and producing artwork. This was the 1980s, so everything was done by hand, with computers not yet on the scene in the industry.

Realising he wanted to study further, he left to do graphic design at art college in Canterbury. In the meantime he worked for a design consultancy in Tunbridge Wells – and with some money going into his pocket, returning to college lost its appeal. Computers were still not widely used, and the process was all about pencils, marker pens and layout pads. As well as design, Goodwin would produce illustrations using watercolours, gouache, and pen and ink.

Unable to convince his boss that computers in the industry wouldn’t be a ‘fad’, he left and joined a more forward-thinking consultancy: “I didn’t know how to use their computers, but they thought my illustration skills would be useful and that I could learn on the job.”

It worked, he did – and eventually, 25 years ago, he took his new skills and set up his own practice.

His artwork has now developed again. Having dabbled in various media, his experience in the print industry has always led him back to printing techniques. He took an etching course, experimented with screen printing, and combined relief printing with digital techniques.

Now he mostly produces limited runs of hand-printed reliefs, carved with linoleum (lino) or vinyl.

His time as a graphic designer shows through in his prints, which are bold and graphic in their style and line-work. He tries to keep a fairly loose, sketchy feel to give the images life, but realises, particularly with cars, that accuracy in the form is important, too.

He explains: “In relief printing, an image is carved into a surface, which is inked before being transferred to paper. Initially an artwork is created as a pencil

What a relief!

Steve Goodwin has carved out a name for himself with his beautiful hand-printed artworks

drawing. This is then transferred onto linoleum or vinyl, and handcarved using tiny gouges. The images are carved in reverse.”

The areas not being printed are carved away, leaving raised areas that are then inked. Each colour is a separate carving; typically Goodwin uses three or four, but he’s gone to as many as seven in one piece. The colours are printed over each other; a transparent medium can be used to create another colour where two overlap. He usually prints up to 12 copies, but he often produces single ones for commissions.

Inspiration comes from 1920-30s artists including Cyril Power, Claude Flight and Sybil Andrews. With similar styles, they produced wonderfully dynamic relief prints of mechanical subjects from tube trains to fairground rides. Among these were motor sport subjects, principally Power’s image of the Blue Bird Land Speed Record car, Flight’s Brooklands racers and

Andrews’ speedway riders.

“A boss introduced me to Eric Ravilious’ work. His watercolours had a unique dry-brush style, many of the South Downs near my home. He also produced wood engravings, another form of relief printing. He became a war artist, which ultimately cost Eric his life.”

Although Goodwin produces artworks of a variety of subjects, motoring is his number one: “From the time my brother got his first car and visited an Autocross event, we became hooked on motoring and motor sport. We organised everything from autotests and stage rallies to sprints, races and events for classics. It has always been a huge inspiration.”

With each artwork being handmade and effectively unique, the £70 starting price for a Goodwin relief print is exceptional value.

Writer Rupert Whyte runs Historic Car Art, www.historiccarart.net, selling original works and posters.

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By Nathan Chadwick

“IN LOCKDOWN, SCALEXTRIC did very well – everybody was back into building models, pulling their sets out of the loft,” remembers the appropriately named Mark Scale of scalemodels.co.uk. “It was all going mad: everybody decided to repair their cars, which probably hadn’t moved in 20 years.”

Mark has been in the slot car profession for around 35 years, and has seen huge changes in that time.

The madness of the Covid era has subsided, as has the immediate resale value surge: “With new cars it’s a bit of a bonfire on price – a new car is well over £50,” he laments.

“The next minute it’s on Scalextric’s website with huge reductions.”

Instead he focuses on collectable, older Scalextric models – but here there has been change, too. “The market has always mirrored motorracing enthusiasts’ tastes,” he says.

“When I started the market was focused on Vanwalls and Coopers, plus Austin-Healeys and Jaguar D-types. Now you can buy those cars for less than they were then.”

He points to the changing collector demographic. “People start in their late 30s, early 40s, and they’re now more into their 1980s models,” he explains. “Also, as with the wider car market, it’s all about fast Fords – every Mk1 or Mk2 Escort is sold out within months.”

However, the internet has played a part, too. “At the beginning, I relied on my knowledge of what cars you could buy, and what I could repair,” he says. “Now, with the web, I can’t comprehend how many cars Scalextric has made since the 1960s. At that time the firm would reissue the same models year in, year out – maybe with a colour change. Now, when a new model

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Small pleasures After the sales boom of the Covid years, is the Scalextric market still on track?

ABOVE Boxed example of the ultra-rare Bugatti Type 59, owned by former designer for Scalextric, sold for £10k in 2024.

appears, it’s sold out instantly.”

Another big factor is that there are several manufacturers in the game, which has led to great improvements in quality. “The cars now are far more detailed – they’re proper scale models rather than a blob that has a passing resemblance to a D-type,” Mark explains.

This leaves classic-era Scalextric models in slight limbo – nostalgia aside, old cars rescued from lofts are unlikely to be worth a great deal.

There are exceptions, however.

In the 1960s, the company made a series of vintage cars: a Bentley, Alfa Romeo, Auto Union and Bugatti. “Very few of the Bugatti Type 59 exist – there was a problem in its manufacture; it’s quite small and the motor only just fitted in it, and it overheated. In the end, it was special order only,” Mark says.

They usually sell for £4k-£5k, but in 2024 something special turned up: the only extant boxed example.

“The other boxed car was sold 20 years ago to Australia, and was

subsequently destroyed in a house fire. This one came from the private collection of a Scalextric designer complete with a copy of his 1960s work contract. It sold for £10k.”

The more collectable cars of the past ten years, such as those Escorts, regularly trade for around £100-£125. However, the most sought after is the Monaco Formula 1 set, which featured a Senna McLaren and a Mansell Williams: “That pairing would have cost £70£80 on release, yet you’d need £200-plus more than that today.”

Do these cars ever get used, though? “There are those who use them, and those who collect them.

Users chop them up in the name of speed; a collector would never get it out of the box – they become shelf queens,” Mark smiles. “There’s the odd person who might run it around a few times, but invariably you’re in one field or the other.”

That should be a relief for fans of neat skirting boards everywhere…

More at www.scalemodels.co.uk.

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BANG & OLUFSEN BEOPLAY H100 The H100’s EarSense system adapts to your ears, while titanium drivers behind aluminium grilles deliver high-resolution sound. Ten studio-grade microphones give great noise cancellation and superb call quality. Available in Sunset Apricot (above), Infinite Black and Hourglass Sand, at £1299. www.bang-olufsen.com

DE BETHUNE DB28XP KIND OF BLUE TOURBILLON This is a blending of the famed De Bethune DB28XP and DB28 Kind of Blue Tourbillon. Featuring very special detailing, the 43mm case is crafted from grade-five titanium with a ‘microlight’ case middle, while the DB2009V5 calibre is hand-wound. Laser-beam micro milling gilded with 24-carat gold leaf represents the Milky Way. POA. www.debethune.ch

HEINZ BAUER SPEEDSTER RACER JACKET FERRARI CHESSBOARD Crafted from wood and carbonfibre, this Italian-made chessboard features 32 pieces finished in glossy varnish, as well as two sets of chequers. It costs £5000. www.store.ferrari.com

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Taking inspiration from the world of motor sport, this jacket is crafted from premium Lamb Nappa leather with a high-quality down filling. There’s also an integrated windbreaker for when the breeze in the paddock becomes a bit too much. It costs $3999. www.heinzbauer-usa.com

CRAFT YOUR COACH BUILT ORIGINAL AN INSPIRING INTRODUCTION TO POSSIBILITIES. A coach building project is more than just a motor car. It is a true work of art, designed and hand-made exclusively for you, by the Niels van Roij Design team of highly skilled craftspeople.

Whatever it is that inspires you, our designers will bring your ambition to life. Learn more about our range of bespoke services and contact the Niels van Roij Design specialists to realise your personal one-off vision.

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PORSCHE MACAN AND 917 TRAILER SET Made from sustainable wood, this features a Macan towing a Pink Pig 917 homage on a trailer. Suitable for children aged three and over – and adults too, of course. It costs £60. https://shop.porsche.com

CHRISTOPHER WARD C63 SEALANDER AUTOMATIC Designed for ultimate versatility, this 36mmdiameter watch is crafted from marine-grade stainless steel, and uses a Sellita SW200-1 Automatic movement that offers a 38-hour power reserve. It’s seen here in Dragonfly Blue form, but several other dial colours are also available.

It costs £840 as displayed. www.christopherward.com

BENTLEY FLYING B PAPERWEIGHT This paperweight represents the famous Flying B mascot – an evolution of the one first seen on the Bentley 8 Litre back in 1930. Crafted from zinc alloy with chrome plating, it costs £90. www.shop.bentleymotors.com

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LAUDO RACING LANCIA 037 STRADALE The 037 is famed for being the last nonfour-wheel-drive car to win the World Rally Championship. To homologate it for competition, Lancia had to build 200 – although whether or not it did has become the subject of legend. This 1/18-scale model is limited to 999 pieces, and costs €121.90. www.laudoracing-models.com

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BOOK REVIEWS

By Nathan Chadwick

OSTENTATIOUS, EYE-POPPING, exceptionally expensive and bought by some of the most newsworthy people of the era: it could be argued that the wide-arched wonders of the 1970s-90s tuning phenomenon were a repeat of the coachbuilding philosophy of the art deco years.

Aesthetically the likes of Koenig, Strosek and Gemballa will never court favour of highbrow aesthetes, but it’s interesting to note the huge rise in value of pre-merger AMG Mercedes-Benz cars, and the sheer attention bodykitted Ferraris, Mercs and Porsches receive at auction now. They speak to nostalgia for a time where absolutely anything was possible if you turned up at a German tuning house with a thick enough chequebook.

Christopher Butt’s beautifully realised, 336-page book pays tribute to Abt, Zender and everyone in between. A wonderfully presented package, it is a delight to behold.

Some may view the era’s most outlandish creations in a dim light, but while even more down-to-earth creations such as the ‘challenging’ TreserGolf Mk2 might wrinkle the nose, the book also pays due respect to the often ingenious engineering that extracted big power gains.

Koenig’s Testarossa involved two turbos and double the muscle to make it pretty much the fastest thing on the road. The likes of Alpina, Irmscher and AMG honed their engineering craft through motor sport; notably AMG turned to road cars because racing alone didn’t bring in a good enough income.

The book also references firms that went beyond tuners to become manufacturers in their own right, such as AMG and Alpina as well as Ruf. The first two are now ensconced

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Spoilers, Foxtails & Mullets Well timed celebration of German tuning culture from the 1970s90s shows the trend was more than glassfibre-bodykit deep

in the OEMs that for years provided the canvas for their creations. More often than not, increasing OEM interest would mean that many of what started as independent tuners would develop close links anyway, through either tuning packages or behind-closed-doors prototyping and design. For instance, it was Oettinger that dreamed up the first 16v Volkswagen Golf GTI – something that would take rather longer to come from Wolfsburg itself.

However, this book’s true joy is the way it encapsulates a fascinating time in Germany – as the author notes, the nation’s dour political state at the time gave rise to many vibrant cultural revolutions, from electronic music to the diverse use of colour. Tuning culture was a big part of that; one specialist catalogue was selling 700,000 copies a month.

Sadly, it couldn’t last – changing tastes, macro-economic forces and increasing regulations meant it was all over for many by the early 2000s, although some names do survive.

As a reading experience this €120 book is excellent, with true depth to the research. The tales of the firms’ architects are fascinating, as are those of their changing fortunes – the personal stories of Uwe Gemballa, Willy Koenig and Erich Schulz, and their respective downfalls, are riveting. I also loved the broader cultural references, including the mullet haircut.

Some may loathe this era, but as a picture of a time in which a bodykit, flash wheels and a lairy engine could bestow you with true individuality, it’s hard not to feel a sense of nostalgia and wish for a return to such free-thinking freedom. The mullets can stay in the past, mind. www.waft.be

THIS PAGE Evocative period graphics enhance the subject matter of this wonderfully presented book.

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This year the London Concours will host – among many others – celebrations of Aston Martin, Mercedes-Benz and a dedicated Supercar Day to showcase the very latest performance innovations. Alongside these breathtaking displays, the London Concours is an occasion of pure indulgence, featuring luxury popup boutiques, champagne by Veuve Clicquot, catering by Searcys and a line-up of celebrity and expert guests as well as live podcast recordings.

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Ferrari in America Luigi Chinetti played a key role for Enzo in the US, but his story is about so much more

AFTER ENZO HIMSELF, IT could be argued that the most important man in Ferrari history was Luigi Chinetti. After all, it is he who steered the company across the waters in the American market – the most important one.

In fact, Chinetti’s story goes back beyond the marque; he worked alongside Enzo at Alfa, and was a keen and successful driver in his own right. It is the Ferrari years and the North American Racing Team that are, understandably, the stars of Michael T Lynch’s $185, 300-page book, but it’s refreshing to read more about Luigi’s earlier career – and the connections he had at the time.

What are really absorbing are the extended life stories of those who folded in and out of the ‘Ferrari in

America’ tale, including James Kimberly, whose rampant success on track, and with the ladies, did much to elevate the firm’s profile.

Chinetti is, of course, the star, and the book is filled with the kind of insights that might have been lost to time – such as when he was due to drive at the Dundrod TT in 1951. He pulled out, but only after giving a local journalist, who was guiding him around the circuit, a white-knuckle ride the latter would never forget while the roads were still being used by the public.

There’s plenty of history on the family, too, such as the background to Chinetti Jr’s brief marriage to Mamie, but also on the customers; Miles Davis might be most famous in car circles for his Miura misfortune,

yet he was a serial Chinetti customer.

Not only was he known for forcefully insisting that the sound of his V12 be tuned just right – some mechanics recalled seeing bullet holes in the bodywork in one car dropped off for servicing.

The Chinetti story is a wideranging one, yet motor sport was the key driver; the addition of Al Garthwaite Jr allowed Luigi to do just that. As such, the book deals with the ecstasies and the agonies of the NART era at its most competitive in an exceptionally detailed way, but with a pacey narrative that stops it becoming a dry going-over of results.

It’s also amusing to read of the issues Chinetti had dealing with Maranello – getting cars out of the

factory for one, and ensuring they worked properly for an increasingly discerning clientele, who had far more choice from the mid-1960s on.

The tale of NART’s decline makes for fascinating, if sober, reading.

Despite all the success, it’d come to an end with lawsuits and lingering rancour. Nevertheless, the passion for racing continued long into the 1980s, although with little success and some unfortunate associations.

This is a wonderful book for all, not only Ferrari fans. Chinetti’s time on earth was long, full of all facets of human experience, with a pace of change in one lifetime that must have been staggering to behold.

Reading about it is just as eyeopening. Highly recommended. www.bullpublishing.com

SUPERCARS: LAMBORGHINI COUNTACH

FERRARI IN F1

PETE LYONS: MY TRAVELS ON RACER ROAD

MARCELLO GANDINI: MAESTRO OF DESIGN REVISITED

Pete Lyons has travelled the world in pursuit of stories in F1, Can-Am, endurance racing, IndyCar and many more – he’s also published 15 books, including two revered marque histories on Lamborghini and Ferrari.

This time, the focus is on himself and his father Ozzie, also a renowned photojournalist. Filled with magnificent imagery and evocative descriptions, this is an excellent, 560-page, £70 read. A life well and truly lived – with plenty of the wit Lyons’ readers will be accustomed to. www.evropublishing.com

Gautam Sen’s close connection to Gandini made the original Maestro of Design a must-have for devotees.

However, there was much that could not be printed about Marcello’s later work, which – following his passing – is now profiled in Revisited. There is plenty more to take in, with reflections on the great man’s career.

Presented in an easier-to-digest format (a single volume, rather than two as before), the 624-page treasure trove of rarely seen images, sketches and insights is well worth $165. www.daltonwatson.com

The Countach might not (yet) have an all-encompassing bible devoted to it in the way the Miura does, but Francesco Patti’s new 168-page, €44 book is a welcome addition to a long list of books on the subject.

While hardcore model lovers will struggle to find much in the way of new material within its pages, there’s plenty of archive and new photography for those who are relatively fresh to the subject.

Nevertheless, the definitive Countach book is just waiting to be written... www.giorgionadaeditore.it

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Trying to condense the story of Ferrari’s Formula 1 life into one book is not an easy task. Peter Nygaard profiles each season from 1950 to 2024, but there isn’t the meaty insight you might hope for, particularly in the early years. In fairness, the book would need to be many times bigger than its already chunky 512 pages. Instead, it’s best to focus on the 401 exceptional images, largely from Grand Prix Photo, which profile the lows as well as the highs. As such, this $89 tome is a feast for the eyes. www.daltonwatson.com

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BOOK REVIEWS

De Tomaso: Racing Blue Blood A detailed, granular look at the manufacturer, which pleasingly trades in facts, not sensationalism

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THE LAST BOOK PUBLISHED on Alejandro de Tomaso was nearly as fiery and controversial as its subject matter – Paolo Tumminelli’s De Tomaso: Rise and Fall was almost like a biography written by Mickey Spillane. While irreverent and often very funny, it caused quite some upset. This new book, De Tomaso: Racing Blue Blood, takes a far less sensationalist look at the life and work of the Argentine racer, engineer and CEO – and it is just as intriguing.

Focusing on De Tomaso’s cars allows marque experts Alejo Pérez Monsalvo and Marcel Schaub to drill down into the granular detail of a car company that persistently punched above its weight. Spread over 496 pages, this €350 book draws together photographs, technical diagrams

and factory archives from private collections, much of which hasn’t been seen publicly before.

While de Tomaso the man had a taste for the theatrical that’s hard to ignore, the authors wisely focus on the specifics of the cars and drivers, with fascinating tales from Formula Junior, F1 and even IndyCar. That abortive attempt via Mecom Racing ended up being sold to a team member, before later being used by a fire department to experiment on extinguishing magnesium blazes.

The development into road cars via the Vallelunga was led by financial imperative – although the racing models had their fans in the lucrative US market, the firm was not profitable. As a result, the way de Tomaso’s life – and the company

– developed between 1964 and 1974 is truly mind-boggling; from a small-scale racing car manufacturer to a huge joint venture with Ford via the Pantera. Much has been written about that car, and it is discussed here, too, but the story of the Mustela and the Lancia Marica prototypes as a way to woo Ford is a fascinating insight into de Tomaso’s mind. As is the curious tale of the Fiat X1/9-aping 1600, designed to do the opposite for the Blue Oval...

The story continues to focus on De Tomaso the brand, even as Alejandro’s commitments to other names, most notably Maserati, began to dominate his time in the wake of the Pantera saga. The later De Tomaso road cars are profiled – including the typically bullish

way Marcello Gandini was co-opted into restyling the Pantera. Of course, motor sport was never far from Alejandro’s heart – he supported Pantera racers into the 1990s.

This book also tells the intriguing tale of the late-1990s/early-2000s Nuovo Vallelunga, which could have used GM/Saab parts but wasn’t to be. It’s all finished off with an exhaustive rundown of sales, chassis numbers and racing results.

It’s a true labour of love, full of intriguing detail. It’s a fitting tribute to De Tomaso staff, who are often forgotten in the shadow of their boss. Read alongside Tumminelli’s book, there is probably no better way to reflect the Jekyll and Hyde nature of the man himself. www.mckleinstore.com

MASCOTS IN MOTION

KLEINE AUTOS, GROSSE WELT

TRACKS IN THE SAND

Mascots and hood ornaments are among the true delights of 20th century motoring, lost at the altar of pedestrian safety and aerodynamics.

Steve Purdy spent more than 40 years photographing such miniature pieces of art at concours events, and this 290-page, $90 book brings them to life via not only his images, but also the stories behind their creation and their ongoing reflection of contemporary society. A true art book, yet there’s depth here, too – especially for those with a love for American automobiles. https://shunpikerproductions.com

A delightful blast of nostalgia for those who grew up with Corgi, Dinky, Tekno, Solido and Politoys, this €49.95 captures Veit Golinski’s model car collection with dioramas photographed by Barbara Eismann.

The text is entirely in German, but the clear words are easily scanned by Google Translate via your phone. It’s a very charming book, each diorama offering up memorable facets of midcentury motoring, and the picture reproduction of this 192-page book is exquisite. A little gem, even if you can’t speak the language. www.deliusfinebooks.com

MILES: THE ART OF LOSING A MOTORCYCLE RACE

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The Malle Mile event celebrated ten years of raucous off-road motorcycling antics in 2024. This beautifully put-together, 256-page book chronicles the journey from a fun offshoot by two luggage designers to being a true highlight of the riding season, with fun at the forefront. It is, after all, a race with no winner, merely to harness a shared passion for all things two-wheeled. For £48, few things are quite as inspirational – even for those restricted to four wheels. www.mallelondon.com

A beautiful new book about the Vintage Hot Rod Association’s annual Pendine Sands Hot Rod Races on hallowed ground in Wales. Written, photographed and published by renowned motor sport snapper Philip Newsome, with a foreword by automotive designer, Magneto contributor and Pendine participant Peter Stevens, the 116-page volume captures the excitement, fun and camaraderie of the world’s most prestigious hot rod beach race. It costs £25 for the softback and £38 for the limited-edition signed hardback. www.blueflagpress.co.uk

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BOOK REVIEWS

Meyers Manx 1964-2024 The rise and fall, and rise again, of this symbol of Southern California freedom on wheels

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THINK OF THE GREAT CARS OF the 1960s, and the Meyers Manx has to be up there. Sure, a Miura might be able to carve across an alpine pass much faster, a Mini might excite on a B-road, and any number of other exotica might do the business on road and track. Yet few things on four wheels will match the free-spirited fun of thrapping a Meyers Manx over sand dunes.

The Meyers Manx celebrated 60 years in 2024, and this book, produced by the same team that puts together Magneto, takes a gloriously deep look into how this iconic machine came to be – and the reasons for its staying power.

Bruce Meyers came from an automotive-obsessed family, one haunted by the death of his brother

George via drowning. Told to keep away from the sea, this of course fuelled Bruce’s renegade desire to get near to it. He got his wish, serving as a gunner on the USS Bunker Hill.

After the horrors of war he turned to art. He began sketching dune buggies and designing boats, and he eventually started working as a tooling fabricator for Jensen Marine. It was here that he learned his craft, setting him up for his big break – Old Red, or 001, the world’s first glassfibre dune buggy.

Writer Basem Wasef’s exhaustively researched tome takes us through the development and early days of a car that, while revolutionary and a worthy Baja competitor, initially was not profitable. However, the vehicle becoming the de facto

choice for off-road events soon led to a steady stream of orders, with 6000 sold. Then came the imitators...

This book winds its narrative through competition and celebrity, with a chapter dedicated to the buggy’s exposure in The Thomas Crown Affair – and the unique oneoff that Steve McQueen had a hand in creating. The 230bhp, Corvairengined special was more than a prop, and as with Old Red, the restored movie special is treated to sumptuous photography here.

Of course, the Meyers Manx story is one of many ups and downs, and courtroom battles. The narrative tells the story of these difficult years, and Meyers’ later redemptive trip to France, where the collective enthusiasm for his product (and

its derivations) reignited his own passion many decades later.

The book also moves onto the Manx story now, with the model revitalised under the stewardship of Phillip Sarofim and Freeman Thomas, and their efforts to use technology to build a more precise, complete kit for a new generation of enthusiasts – and a batterypowered future. It’s a story not only of a car, but of the dedication of both its visionary creator and those who supported him, cherish his creation and seek to take it forwards.

Featuring magnificent new and archive images, insider insight and plenty of surprises, this 216-page book is very nearly as much fun as its subject matter. www.meyersmanx.com

BRAWN BGP 001/02: THE AUTOBIOGRAPHY

VICTORY DRIVEN: CADILLAC V-SERIES

SUPERCARS: FERRARI TESTAROSSA

BENTLEY MARK VI & R-TYPE

The story of Brawn GP and Jenson Button’s 2009 F1 championship victory has spawned a stellar documentary, and here David Tremayne takes a satisfyingly granular look at the very car that swept Jenson to victory, with 300 highly detailed images old and new, some never seen before. Featuring insight from team members such as Ross Brawn, Nick Fry and Button himself, this 320-page, £69 book is an excellent account of a season the likes of which we’ll never see again. www.porterpress.co.uk

The tale of Cadillac over the past 20 years has been nothing less than transformational. In a bid to shake off its Florida-retiree image, it built a range of performance muscle that the rest of the world has seemingly forgotten how to produce. Think bigcube engines, manual ’boxes and huge fun. Andrew Nussbaum’s 392-page, $110 book charts the ups and downs, incorporating Cadillac’s valiant racing efforts alongside the road car.

You’ll soon be querying the wisdom of a prospective M5 purchase… www.daltonwatson.com

The Testarossa is more than a car – it’s a folk hero that, alongside pastel suits and shoulder pads, defined the 1980s. However, unlike much from that era, the Ferrari still stands up as an experience, and Gaetano Derosa’s 168-page book draws upon the story of its creation, styling and cultural impact. Oddly, a third of the text is dedicated to the pre-Testarossa era; if any car deserves a more focused tome, surely it’s this one. Still, at €44 this is a good overview of Maranello’s outrageously gilled GT. www.giorgionadaeditore.it

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The MkVI is among the marque’s best-selling models, and arguably one of its easier classics to own. It also marked a change in the way Bentleys were bought – while the R-type, Continental and Rolls-Royce Silver Dawn (which this book also covers) had many custom styles, the MkVI was mainly bodied in-house.

Martin Bennett’s 353-page, $150 celebration takes a comprehensive look at all facets of this popular series of cars, from conception and engineering, through to marketing and beyond. Highly recommended. www.daltonwatson.com

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The Lawyer Clive Robertson

www.healys.com +44 (0)7768 997439

WALKING HOME IN THE EARLY hours of the morning, in Barnes, southwest London, I came upon a Jaguar E-type convertible. The plate was of the stick-on variety, and carried the number PEN 15. It was a few paces before the light dawned. I’d occasionally wondered whether that registration was still in circulation. I emailed licence-plate guru Nicholas Young, who believed the number was indeed still ‘on the road’.

Britain’s DVLA has the power to recall any numbers that are deemed offensive, embarrassing or in poor taste, and Nicholas was of the opinion that a case for recall wouldn’t stand up in court. Further research revealed the plate as having been advertised for sale at £99,995 in 2005. The passing of two decades would likely have swollen that figure considerably.

Clearly numberplates have become valuable commodities, which back in autumn 1989 will have prompted the DVLA to commence the auctioning of said plates. A Freedom of Information request from the RAC revealed that the Government received £260.1 million from this source during 2022-23 alone.

The DVLA is also responsible for regulating the presentation of plates.

Automatic Number Plate Recognition (ANPR) technology is vital to the functioning of the ambulance, police and other authorities. Clarity of image is key, so the display regulations are precise in their operation.

In summary, the Road Vehicles (Display of Registration Marks) Regulations 2001, as amended, require: solid black lettering; the name of the

‘The “sale” of numbers merely grants a right or licence to display a particular mark’ 204

Magneto

plate supplier; the relevant British Standard number; the use of reflective material; no background patterns; and compliance with the correct height and size. Most importantly, the plates must be obtained from a registered supplier – who, in effect, thereby warrants that the plate has been made in compliance with the regulations.

In addition, instructions dictate that plates must be affixed, both vertically, front and rear to the vehicle. So, for instance, the near-horizontal E-type plate might not pass muster today.

Notwithstanding almost universal knowledge of the existence of these regulations, the numberplate as an expression of individuality has morphed into something of a cult.

Some individuals have felt compelled to alter their plates to display names or words, by shifting spacing as well as by employing retaining screws to mimic punctuation marks.

Now this discourse might seem somewhat inconsequential in nature, and not of great interest to the motoring world, classic or otherwise.

However, I would suggest that there are issues at play here, of both a financial and a legal nature, which require investigation.

Savage penalties are meted out to the transgressor; fines of up to £1000 can be levied. Penalty points can be endorsed on driving licences. Vehicles can be seized. Registration numbers can be confiscated, and a random number issued. Depending upon the nature of the offence, one or more of these penalties may be imposed.

In October 2024, the following events were brought to my notice. The driver of a Ford Focus ST was stopped by a Sussex traffic car. Apparently, neither plate was in conformity with the regulations. The miscreant had bought a short numberplate because there were only five characters to display. The traffic officer delivered the edict, that ‘zero tolerance’ applied when it came to illegal plates. A £200 fine ensued. Three penalty points were

B4 NND

Why the cherished numberplate trade could leave you out of pocket and in big trouble legally

ABOVE The DVLA has the power to recall any licence numbers that it deems to be offensive or in poor taste.

endorsed on the driver’s licence. The final indignity consisted of the recovery of the cherished plate and the issue of a random number. Upon enquiry of the DVLA as to the prospect of an appeal, there came the warning that such an action would fail and the fine would be increased to £1000.

While I have no issue with the fine and licence endorsement as penalties, I am troubled by the notion of the cherished number being recovered.

The DVLA sells these at auction, whilst permitting them to be traded as commodities. There is an innate contradiction at play here, which begs the question as to how the recovery or confiscation can come about. Can the state interfere with ownership rights?

The answer lies in the fact that all registrations are vested in or belong to the Secretary of State. The ‘sale’ of numbers by the DVLA and others does not transfer title or ownership, but merely grants a right or licence to display a particular mark. I suspect that most who acquire them haven’t a clue that they’re not obtaining ownership rights. That dispossessed owner would be even more annoyed to know that the DVLA can ‘resell’ his or her number. Perhaps the perfect example of the gift that keeps on giving.

Putting light humour to one side, I would suggest that there is a whiff of bad law at play here. Consequently, sooner or later I foresee the system being questioned before the courts, when a sufficiently considerable sum of money has been lost by a ‘buyer’.

So to admissions and disclosures: I acquired for a princely £1500 a twonumber/letter plate in the mid-1990s.

It carried no significance, but to my eye it appeared more aesthetically balanced than the usual alphanumeric jumble. For the same sum, my father was offered ER 3 in the late 1970s.

Unfortunately, at the time, he thought that the very idea was hugely amusing.

Clive is a solicitor and consultant with London law firm Healys LLP. Contact clive.robertson@healys.com.

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The Curator Robert Dean A unique insight into the famous – and now up for sale – Bernie Ecclestone Collection

I FELT A LITTLE SAD TO HEAR Tom Hartley Jnr’s announcement about the sale of the Bernie Ecclestone Collection. I’m not sure why, because although I used to manage the collection for Mr E, I haven’t been there for a long time. It still felt like the end of an era, though – and I did see those cars every day for 23 years. If it’s affected me like this, I can’t imagine how Bernie must feel.

I first saw the collection in October 1995, when I turned up at a hangar in Kent for my interview. It was quite different then, and the road cars included 1950s American automobiles and a big collection of Jaguars: XK120, 140, 150, Mk2 and the like.

There was a huge, empty vehicleshelving system up one wall, and that was it. Nothing had been cohesively looked after, so my first job was to inspect, report and cost all the work needed to bring everything up to condition. I brought all the Brabham Formula 1 cars back from Donington, and filled the shelves with them. They looked spectacular: imagine three shelves of 30 F1 cars going up to the ceiling of an aircraft hangar.

I was halfway through getting the Jaguars done when they were sold as one lot, and then an unbelievable collection of Mercedes-Benz cars arrived from Japan. This was another level of learning for me, because I had never worked on anything this old and important. I must say that I loved the S, SS, SSK and SSKL, which were nice to work on and incredible to drive. I rebuilt the braking and fuel system on a 500K Cabriolet B Special Roadster, and fitted a new pearl dashboard.

The original interior needed careful cleaning, and the car drove beautifully.

The 540K needed the Jumo fuel pump rebuilding and all the pipework remaking. It was a wondrous thing. I was up a ladder one day looking down on the 540K Special Roadster, and realised that, from above, it looked like a speed boat with the front wings forming the bow wave. Try it next 206

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BELOW Robert in Bernie’s Niki Lauda/ Nelson Piquet Brabham BT48-4 during a Brands Hatch test day.

time you’re up a ladder next to a 540K Special Roadster…

Towards the end of the 1990s Mr E sold all the sports cars and bought a Ferrari collection, because his love was F1 and Grand Prix machinery.

This formed the nucleus of what has been put up for sale today. Many cars have been added from private purchases or auctions, by restoring models that were in desperate need of help, or by recreating them from as many original parts as were available.

When Bernie renovated some of his Kent buildings, we moved everything over there. That remained their home from the early 2000s to date.

In 2007 all the road cars were sent to RM Auctions’ first British sale, in Battersea Park. At the reception I got food poisoning, and after spending a rough night in the hotel l felt distinctly second-hand at the sale the next day.

The idea was that we were going to build up the race-car side of the collection, because there was some very special machinery for sale at that time. Somehow, however, we never did – and a few years later Mr E enjoyed buying road cars again.

I once asked him whether he had a favourite, and he said that everything

had something special about it, be it the Mercedes-Benz W 125 for its looks and power, or the 1951 Ferrari 375 driven by Alberto Ascari.

I’ve talked here before about my favourites – certainly the 375 for its looks and handling, and the BRM V16 for it sheer power and noise. But every time you drive any car in the collection you become part of its history, and while you’re driving them you think about all the great names who have sat where you are, looked through that screen and held that steering wheel.

It’s a heady glimpse into the past that reaches right up to the present.

Any collection is organic and should change with the years and tastes of the collector, whether it’s baseball cards, bikes, classic cars, art or jewellery. Owners should not be scared to sell up part or all of a

‘Any collection is organic and should change with the years and tastes of the collector’

collection and start again in a new direction, because half the fun is chasing and finding rare items, then doing the deal to acquire those things.

Mr Ecclestone has never been afraid to do that if the time or price are right.

This is certainly the most important collection of race cars to ever come on the market in one go, and there is no doubt Tom Hartley Jnr is the right man to sell them for Bernie. He’s certainly put the work in, which started a few years ago by doing in-depth histories on the Ferraris and getting them to the factory for Classiche Certification.

I wish them both the best of luck with the sale, which I can’t see taking too long because this sort of quality does not come on the market that often. I think there will be a path beaten to Tom’s door.

It was an honour to have worked for Bernie. To be there at the start of his collection, and to help it grow to what it is now, is one of those things that will stay with me forever.

Buy the best machinery you can, and don’t be afraid to move it on if something better comes along.

Former Ecclestone Collection manager Robert now runs Curated Vehicle Management. See www.c-v-m.co.uk.

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The Designer Peter Stevens From the early years of British sprints to the arrival of drag racing – with some personal recollections, too

IN DRAG RACING, THE BESTknown class is Top Fuel. These ultralong-wheelbase, rear-engined singleseaters run supercharged, custombuilt, 500ci (8.2-litre) engines that can develop 11,000bhp, running on 90 percent nitromethane and ten percent alcohol. Each 1000ft pass costs around £10,000, including changing conrod bearings, plugs, pistons, rings, blower belts and clutch discs. Approximately 60-80 litres of nitromethane are used per pass, at around £1600 for a 40-gallon drum.

The fastest 1000ft drag-racing record is for a full-bodied Funny Car, at 341.68mph in 3.84 seconds set by Bob Tasca III in 2024. About the time a supercar takes to reach 0-60mph…

In the interests of safety, the FIA cut race distances from the traditional 1320ft (quarter mile) for ‘fuel’ cars in 2012. The fastest speed in a National Hot Rod Association race in the Top Fuel class is 338.94mph (545.47km/h), achieved by Brittany Force at the NHRA Finals on November 11, 2022 in Pomona, California.

Drag racing started in America in the early 1950s, but it took a while to became popular in the UK. Back in 1941-42, more than 200 airfields had been built for the arrival of the US Air Force bomber and fighter squadrons in Britain. These were in addition to the existing 300 RAF fields, many of them grass. Bomber airfields had concrete runways, and when the Americans left after the war, most were taken over by the RAF. By the early 1960s the majority were either seldom used or had been abandoned.

Many airfields, particularly in the Midlands and in the east of England, were quickly seen as ideal locations for motor sport events.

Very few people in the UK knew about the sport of drag racing unless, as with me, they had discovered Hot Rod magazine with its features on West Coast hot rod and drag-racing culture. Some had. In the September 1960 edition of Car Mechanics, 208

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BELOW A youthful Peter: push-starter, rag-provider and lowly mechanic to his legendary uncle Jenks’ sprint exploits.

Maurice Davidson had written to the magazine announcing the formation of a club called the Sprinters. His idea was for this to promote hod-rodding and race ‘dragsters’ in the UK. ‘Sprints’ would be held on proper quarter-mile drag strips. Shortly after this, the British Hot Rod Association (BHRA) was formed to organise drag races at airfields such as Duxford and Graveley.

The National Sprint Association (NSA) had been formed earlier, in 1958, principally for motorcycles. I first went to a sprint meeting in 1960, at RAF Bassingbourn near Royston in Hertfordshire. I went with my uncle as his push-starter, rag-provider and lowly mechanic. He had an early, splitwindow Volkswagen Beetle, with just his driver’s seat in the front and half a rear seat behind him. Being practical, he had hacksawn off the other half of the bench to accommodate his 500cc sprint bike. I sat on the half seat surrounded by tools and cans of glorious-smelling methanol fuel.

This was my mother’s brother Denis Jenkinson, better known as ‘Jenks’; twice motorcycle-sidecar world champion, and navigator for Stirling Moss in the 1955 Mille Migliawinning Mercedes 300 SLR. We first ran his BSA-engined bike, followed by

the ‘Norbsa’ – Norton gearbox, BSA engine – and, later, the ‘Tribsa’ with a Triumph gearbox. Some of the airfields we ran at were still technically operational, such as Debden, Long Marston and Duxford.

Once I got to design college I built my own sprint bikes: first a tiny, super-light, methanol-burning Honda 50-based machine, and then a Honda 125 twin. At this time you could buy methanol racing fuel from a converted stable block in Leyton in London’s East End, from a famous dirt-track and sprint racer called Alf Hagon who supplied fuel for JAP-engined dirttrack bikes. When I asked him what jets I should use on the 125, he said: “Don’t worry about jet sizes – just shove a 1/16 drill bit down them. If that doesn’t work, use a 3/32.”

Meanwhile, drag racing was about to take off. Car builder Sydney Allard

‘I sat on the half seat surrounded by tools and cans of glorious-smelling methanol fuel’

started assembling his own dragster based on a photograph he had seen of American Chris Karamesines’ 1960 Chizler dragster. Allard imported a 354ci Chrysler engine with a GMC 6-71 blower and Hilborn fuel injection. It produced around 750bhp on straight methanol, the standard American set-up. He entered the car for the September 1961 Brighton Speed Trials along Madeira Drive on the seafront.

The car suffered from a split fuel line, and then an incurable misfire, along the 1km course. Motor Sport’s editor Bill Boddy was highly critical, but by October ’61 Allard had recorded a quarter-mile time of 10.841 seconds at Wellesbourne airfield. May 17, 1964 saw the first BHRA drag races held at Duxford in Cambridgeshire, and the following September American drag racer Dante Duce recorded the fastest time of the day over the kilometre, with a run of 21.95 seconds and a maximum speed of 151mph.

This was only a week before the event that put drag racing on the map in the UK: the first Blackbushe Drag Fest meeting, held on the old RAF Hartford Bridge airfield in Hampshire.

Sydney Allard and Wally Parks of the American National Hot Rod Association had organised a six-event competition between a team of top drag racers from the US and the UK, and Blackbushe was the first. More than 20,000 spectators saw some great racing, with a fastest run by the legendary Don Garlits in 8.28 seconds with a terminal speed of 191mph.

A return to Blackbushe on October 4 attracted in excess of 30,000 spectators, who saw Garlits record a run of 8.19 seconds at 197mph. A little while later Santa Pod was established as the home of British drag racing – and it still is. If you like speed, a very family-friendly atmosphere and a complete lack of pretension, take in a meeting or two in 2025.

Peter is a past chief designer for Lotus, McLaren, MG-Rover, Mahindra and more. He’s now a consultant designer.

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The Interview Rawdon Glover

Words David Lillywhite

How is the Jaguar MD feeling about his company’s controversial relaunch, a few weeks on from the unveiling of the Type 00 concept?

It’s been an eventful few weeks. Did you get any sleep at all?

When we started on this journey to reinvent Jaguar, we said we had to be disruptive, brave and fearless, so it was always going to be eventful. This has been an incredible effort by the Jaguar team, and it’s been an honour to be part of such a pivotal moment in the marque’s history. Sleep can wait.

Did you expect such strong reactions – positive and negative?

We have a very clear brand strategy. It is bold, ambitious and will challenge conventions. We always said Jaguar won’t be for everyone: we must be comfortable with that. The scale of the reaction has been unprecedented, showing what an emotional attachment so many people have with Jaguar. A few weeks ago no one was talking about the marque: now everyone is. We need to change people’s perceptions of what it stands for. This is the start...

In hindsight, would you have released the new direction differently?

The strategy was to grab attention and get people thinking differently about Jaguar so we’d have maximum visibility when unveiling Type 00. Look at the sheer scale of media coverage – this is exactly what we achieved. When was the last time an automotive brand relaunch created such global interest?

What role did heritage play in the design of Type 00 – if any at all?

Jaguar has always been at its best when it has been bold and challenged convention. You can see this in all our icons, and this is the inspiration for Type 00. Think about the incredible proportions of the E-type and XJS; there was nothing like them on the

road. We want to create that same sense of presence and drama in the next generation. Those who really understand Jaguar know that this is exactly what we should be doing.

How’s the four-door GT progressing?

I am really pleased with progress; this is a very exciting period as we move into prototype testing. It’s great to see results from the camo cars already on UK roads. After tens of thousands of miles of virtual and physical testing, not only does it drive like a Jaguar should, but the GT will offer a range of up to 430 miles. I’m also confident that when we unveil the car later this year, people will see the strong relationship between Type 00 and the GT. Who will be your main competitors?

I don’t like to draw comparisons with other brands and models. What we are really clear on is the type of person who will be attracted to our future range. Jaguar is for those who want to make a bold choice and will be looking for exclusivity. Independent thinkers with an appreciation for great design – they’ll buy one to reflect their desire to carve their own path in life.

How do you plan to tackle this difficult market segment?

I don’t want Jaguar to get defined by target segments – we must be unique, bold and stand out. For much of its history, it’s been a luxury brand, recognised for making very desirable and aspirational vehicles. We want to recapture the essence of Jaguar at its best and take it back to its ‘natural habitat’. We will create luxury cars like no other, with both brand and design appeal that justifies an elevated price point and strong emotional

ABOVE Steering Jaguar through its reinvention, Rawdon says he’s embracing the future while honouring Lyons’ original vision.

attachment. We will not push for volumes: we want scarcity. That will become part of our brand attraction.

Are you still confident that EV only is the right way to go?

Our strategy is set, and we’re confident with being EV only. Yes, initially steep increases in EV adoption have flattened, but we’re confident it will accelerate again as we move towards the end of the decade. Remember, the powertrain is not the most important driver of consideration. People won’t buy a Jaguar because it’s electric, but because they think that it’s beautiful and our brand resonates with them.

What’s the closest model to the new four-door GT in your historic range?

There is no particular model that I would draw on, but there are many important characteristics that the four-door GT shares with some of our iconic vehicles. At its best, Jaguar is known for its unique aesthetic and ground-breaking designs. Type 00 has that Jaguar presence, with its long bonnet, coupé-like styling and bold proportions. Some enthusiasts have told me they can see echoes of the original SS100 in this concept: others claim XJS or E-type. We wanted to honour the original vision, reflecting on the past, while embracing the future.

What would Sir William Lyons have made of the new direction?

He was renowned for making bold designs and innovative engineering decisions. In fact, it was his expression that Jaguar should be a copy of nothing that was a key inspiration for the brand reinvention. I believe that he would have understood what we are doing, and I hope he would love Type 00 as much as I do.

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RM 17-02 Skeletonised manual winding tourbillon calibre 70-hour power reserve (± 10%) Baseplate and bridges in grade 5 titanium Power-reserve and function indicators Case in grade 5 titanium Torque-limiting crown

A Racing Machine On The Wrist