The Key 2018 by The Classic Car Trust

RESTORATION

RETROMOBILE

CLASSIC +

RETROMOBILE

60 ABOUT

PASSION

HERITAGE PASSION

CAR

BEST

EVENT HISTORY

THE CLASSIC C A R TRUST

C AR

D A TA

TOP 50 COLLECTORS

UNESCO SERVICE

BEST

BEST IN CLASS

S T R EE T

WINNING

CULTURE

DATA CUBE

RACE

MILLE M I G L I A

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1 9 6 0 ABOUT PASSION

BEST

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1950 VALUE

1 50

COLLECTION

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2018

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PEBBLE BEACH

FIVA

PRESERVES COLLECTION

JEAN TODT

RANKING

AUCTION

BEST

PENINSULA BEST O F THE AUCTION B E S T AWARD

BEAUTY ARTISANS

MILES COLLIER DONALD O S B O R N E DINO COGNOLATO CORRADO LOPRESTO

ALBERT SPIESS

SANDRA BUTT O N JURGEN LEWANDOWSKI

CONCOURSE Dâ&#x20AC;&#x2122;ELEGANCE INSIGHTS BEHIND T H E

CURTAINS

WEALTH X INFORMATION

MARKET

NEXT G E N E R A T I O N

TOP

THE QUEST FOR BEATY

STORY ART

JUDGING IN

2018 TOP

VALUE DRIVERS BEST

TOP

STATE OF THE CLASSIC CAR MARKET

LORENZO RAMACIOTTI

WORLD

CAR

CLASS

ABOUT

WINNING

WORLD BEST IN

CAR

CULTURE

CLASSIC C A R

COLLECTOR

FIVA

THE K E Y 100

Larry Auriana

Anthony P. Bamford

Nicola Bulgari Ed Davies

Umberto Camellini A. Dano Davis

Bernard Carl

Oscar Davis

Martin Gruss

Francesco Guasti

Fritz Kaiser

Peter Kalikow

Robert M. Lee

Pierre Bardinon

Larry Carter

Jan De Reu

Cameron Healy

Friedhelm Loh

Joseph

Jimmy K. Dobbs Lee Herrington

Saulius Karosas

Jay Leno

Clive Beecham

Arturo Keller Corrado Lopresto

The Top 100 Gl Nick Mason

Bruce McCaw

Andreas Mohringer Matteo Panini Tom Price

Albert Spiess

Anthony Wang

Craig McCaw

Carlos Monteverde

John Mozart

Davide Parmegiani

Mario Righini

Jim Patterson

Brian Ross

Engelbert Stieger

Brandon Wang

John McCaw Jr.

Peter Sachs

Lawrence Stroll

Charles Wegner

Peter

Peter Mullin

Gary Pearson

Jon A. Shirley

David Sydorick Les Wexner

Adrian Beecroft Cassini

Timm Bergold

Miles Collier

Guy Berryman

William “Chip” Connor

Bernie Ecclestone

Christian Glaesel

Robert Ingram

Shiro Kosaka

Evert Louwman

Chris Cox

Jim Glickenhaus

James Jaeger

Ermanno Keller

John Bookout

Clive Joy

Curtis Gordinier

Sir Michael Kadoorie

Lord Irvine Laidlaw

Giuseppe Lucchini

Sam Mann

Jack Croul

Ralph Lauren

J. Willard Marriott Jr.

obal Collectors McCoy

Arnold Meier

Charles E. Nearburg

Giorgio Perfetti Fred Simeone Ion Tiriac

Gregory Whitten

Antonius Meijer

Jack Nethercutt

Andrew

Pisker

Jean Pierre Slavic

Paul Vestey

Pierre Mellinger

Bruce Meyer

Peter Neumark

Silvia Nicolis

Andreas Pohl

David Smith

Martin Viessmann

Roger Willbanks

Richard

William “Bill” Pope

Warren “Ned” Spieker

Samuel Robson Walton

Workman

Harry Yeaggy

Imprint The Key - Top of the Classic Car World is the official magazine of The Classic Car Trust and is published annually. Price CHF 30 / € 30 / $ 30 Publisher The Classic Car Trust, Pflugstrasse 12, 9490 Vaduz, Principality of Liechtenstein Editorial Board Fritz Kaiser Antonio Ghini Duccio Lopresto Editor-in-Chief Antonio Ghini Editorial Office Bianca Hasler Tilmann Schaal Market Intelligence Duccio Lopresto 21iLAB Wealth-X Translations James Knight Kate Singleton Project Coordinators Damian Holenstein Pascal Rossi Art Director Pascal König Photo Coordinator Larissa Frohner Printing Company Thurnher Druckerei GmbH Copyrights & Credits Find all credits & copyrights on: www.classiccartrust.com/thekey2018/credits Contact The Classic Car Trust reg. Pflugstrasse 10/12 9490 Vaduz Principality of Liechtenstein 

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We all live in worlds imbued with nostalgia for the past and hope for the future. Because such feelings are not always in alignment, certain happy memories are hard to associate with an optimistic vision for what is still to come. Underlying our passion for the world of classic cars is our appreciation of the way certain automobiles bear eloquent witness to the tastes, design, and technical prowess of the years in which they were built. And because many of us experienced those years first-hand, these vehicles help us breathe new life into memories, thereby providing us with a double delight: that of using the cars, and of reawakening sensations that would otherwise have sunk into oblivion. All this is a far cry from the prospect of a future in which cars will have changed dramatically in concept and

Who, what, and why? use with respect to what we know and love. We collectors are gradually opening up a sort of new horizon of hope for classic car lovers. There is a blatant contrast between today’s increasingly algid, characterless vehicles and the colours, smells and noise of those glorious automobiles that contributed so much to progress in the world. Our shared aim has nurtured the evolution of The Classic Car Trust, with an accent on the last word and its promise of belief in the power to do things together. We share the desire to promote automobile culture, to protect the heritage it represents, to enhance, endorse, and nurture the legacy preserved with passion by private individuals, manufacturers, and museums. The Key is a publication that I am honored to direct, and it aims to give voice to a farsighted project regarding

the future of classic cars. I sincerely hope that my early experience as a racing driver, then as a journalist, and afterward working for Renault, Ferrari, and Lamborghini – three truly visionary manufacturers – will help turn what began as an idea into a stimulating reality. A visionary in his own right, Fritz Kaiser has created a foundation for this in the belief that the pleasure of collecting and using classic cars should be accompanied by greater solidity and awareness. All those interested in contributing to this, and I am one of them, will increasingly appreciate that the delectable sweetness of nostalgia may well be accompanied by a solid and exciting perspective for the future. Antonio Ghini, Chief Editor

WHO, WHAT, AND WHY? // 5

Authors

Massimo Delbò is an outstanding journalist and writer from Italy, who is mainly working in the automobile scene, particularly classic cars and classic car related events and shows. He has been working with noteworthy and well-known publishers within the classic car scene, including Octane and Sports Car Market.

Antonio Ghini is a journalist and brand marketing & communications specialist who started his career in racing. He worked first at Renault as Director of Communication for Italy and then as Global Director of Communication and Brand Management at Ferrari for more than 20 years. Today he works as journalist and consultant in the automotive sector. John Lamm was 15 years old when he decided to become an automotive journalist, and this important decision turned out more than right, as he has become an excellent journalist, writer and photographer. The fact that he received both the Ken Purdy and the Dean Batchelor award shows that he has put his incredible skills to excellent use. Jürgen Lewandowski is a German born author and publisher, who worked for several notable magazines and as a consultant and correspondent for notable publications worldwide. He has been involved in the automobile industry for many years as a chronicler and correspondent, where his close links to outstanding collectors and museums are of a great advantage. Duccio Filippo Lopresto has had cars in his bloodstream since birth. Born in a collector’s family, Duccio developed a taste for beauty and design thanks to his father, Corrado, architect and concept cars aficionado. Before joining The Classic Car Trust, he worked at Lamborghini in the Product Marketing division, supporting the team in the development of the new models and in the creation of museum exhibitions. Adolfo Orsi, historian of Italian motorsport and noted collector car expert. A specialist in authenticity and staunch advocate of preservation, he has also served as Chief Class Judge of the FIVA Award at the Pebble Beach Concours d’Elegance since its inception in 1999. He is also co-author of the Classic Car Auction Yearbook.

Donald Osborne, Accredited Senior Appraiser, automotive consultant and remarkable author, loves to share his passion for cars and his considerable knowledge with other car enthusiasts on the CNBC Primetime show “Jay Leno’s Garage”, as well as in his monthly column in the Sports Car Market magazine.

Tilmann Schaal has been the managing editor of The Classic Car Trust news blog since its beginnings in 2012. Being born near Germany’s motor city, Stuttgart, the marketing and communication professional has always had a soft spot for classic cars. In addition, he has developed an unquenchable interest in everything digital and enjoys exploring the future of wealth.

Photo Credits Adolfo Orsi, Birgit Kaiser, BMW, Christian Philippsen, Corrado Lopresto, Davide Parmegiani, Dorotheum, Enrico Ghinato, European Pressphoto Agency, Ferrari, Fritz Kaiser, Getty Images, Gudrun Muschalla, Jean Todt, Julien Mahiels, Kimball Studios, Massimiliano Serra, Paolo Carlini, Peter Singhof, Remi Dargegen, Sandra Button, Scott Campbell, Staud Studios, The Classic Car Trust

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Contents 8

Top of the Classic Car World

Editorial by Fritz Kaiser, Founder of The Classic Car Trust.

Jean Todt

President of the Fédération Internationale d’Automobile (FIA), he believes in the importance and value of our world. A further pledge for a stable future.

Best of the Best The almost impossible-to-rank queens of the year.

Top 100 Collectors 2018 Who are the world’s most significant car collectors? That’s the question we answer in our publication “The Key.”

38 Jean Todt President of the Fédération Internationale d’Automobile (FIA), he believes in the importance and value of our world.

Elvis’ 507 Before & After The BMW 507 bought by Elvis Presley during his military service in Europe is one of the most outstanding restorations of the last few years.

Sandra Button: Pebble Beach Today & Tomorrow The woman who could transform Pebble Beach from a traditional event to a world class celebration.

Lorenzo Ramaciotti: Celebrating the best in beauty and style at Villa d’Este The chief judge at Concorso d’Eleganza Villa d’Este explains why car design deserves to be treated as an art form.

The Quest for Beauty Original beauty has no equal. A UNESCO recognition for Corrado Lopresto’s Giulietta Coda Tronca Prototipo.

The art and craftsmanship of Dino Cognolato Following the tradition of sixteenth-century Italian artisans, the great restorer from Padua created a Bottega, where knowledge is at the core of every last detail.

A look behind the curtains of the Spiess Collection For the first time ever, the famous Swiss collector unveils the story of his passion and research and offers The Classic Car Trust a look at his magnificent collection.

84 Top 100 Collectors 2018 Who are the world’s most significant car collectors? That’s the question we answer in our publication “The Key.”

1000 Miglia Just one great round of applause. It’s called the most beautiful race and maybe it really is. The experience helps us understand why.

The Value Drivers of Car Collecting The world of classic cars is now a mature market in which we can clearly understand the reasons of many sale successes, not only of the most expensive cars.

101 The Queen, the Outsider, and the Unexpected Classic car expert Adolfo Orsi presents his absolute highlights of the 2017 auctions.

108 Art & Cars Michael Ringier, world-class Art collector and classic car aficionado, compares the two fascinating worlds of Art and Cars.

117 The Times They Are A-Changin’ The story, of how some special automobiles became true Icons together with the most famous actors from the ‘50s & ‘60s.

122 The value of time Renowned clockwork expert Davide Parmegiani shows how mechanical sophistication connects collectible cars and watches.

128 Secrets of Concours Judging

108

What are judges’ secrets in evaluating classic cars at concours?

Art & Cars Michael Ringier, world-class Art collector and classic car aficionado, compares the two fascinating worlds of Art and Cars.

132 Cockpit Classic car market insights with in-depth analysis of the top global collectors and their cars.

138 Seriousness and competence Lamborghini’s Polo Storico is a perfect example of how manufacturers are developing unique services for classic car collectors.

142 Brand Warranties & Certifications Brand by brand, all services offered to collectors and classic car specialists.

150 A Tale A tale of the heart and mind.

CONTENTS // 7

Top of the Classic Car World

Editorial by Fritz Kaiser, Founder of The Classic Car Trust.

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Dear collectors, aficionados and friends  Fritz Kaiser is a Liechtenstein entrepreneur, investor, and philanthropist who collects iconic ‘50s and ‘60s sportscars. In this image is Fritz Kaiser with one of his cars, a 1959 Aston Martin DB4 GT, VIN 0131L.

Classic cars are en vogue. They feature in one out of every five advertisements for luxury brands, and if you’re out driving a classic on a bright Sunday morning, you’ll inevitably get a happy thumbs-up from a teenager, an admiring gaze from a beautiful woman, or an excited look of recognition from a fellow aficionado. It’s amazing to see how many people of all ages and backgrounds are fascinated by the design, the technology, or just the sound of these vehicles, and how classic cars still trigger dreams of a golden age. There are still more than six million classic cars on the road, in garages, in museums, and in major collections around the world. They offer enjoyment to millions of people and stand at the heart of a billion-dollar business. Many of these cars are also loved by investors, and the most valuable change hands for tens of millions of dollars before becoming the centerpieces of important collections. This first edition of what will be an annual publication focuses on the top end of the market. Once a year, we will take a bird’s-eye view of the world of classic cars and bring you insights and opinions from the leading lights of the community, together with exciting stories of successful personalities who all have one thing in common — remarkable visions and a great passion for classic automobiles.

The top 100 classic car collectors in the world I’m often asked who I think are the most important collectors, and what we can learn from them. Beyond dropping some prominent names, it has been impossible, until now, to answer this question properly. In an increasingly transparent society, the collector community has, for various reasons, kept off the radar. Well, some people love the limelight and others don’t. We respect them all and want to become their trusted friend and tell some of their more intriguing stories. When we decided to make the list of the 100 most important collectors — a bit like the Forbes lists — we knew that we needed to develop a well-grounded database. Fortunately, some 25 years ago, just about when Ferrari launched the F50, when McLaren unveiled their F1 road car,

and when Jaguar presented the XJ220, a group of visionary technical types dreamed about offering mankind wisdom and knowledge at the touch of a button. Their Internet dream became a reality, and this has allowed us to build a robust database for our market intelligence. Our research team recognized that the digital footprint we leave when we buy, sell, and enjoy our cars is stored somewhere in the vast data cloud out there. They have spent hundreds of hours over the past year using every technical means to systematically search for, collect, and analyze all the available information about the most important classic cars and their collectors and caretakers. We also have data on dealers and carmakers’ museums, though this information is not included in our list. We now know that the top 100 classic car collectors own historic automotive gems worth a combined total of 8 billion US dollars. Half of these cars are in the United States of America. The average age of collectors is 72; the oldest individual is 96, and the youngest 43. The top three brands are all Italian. Ferrari is in the lead, followed by Alfa Romeo and Maserati. Most of the front-runners in our list are businessmen who made their money in fashion, real estate, financial services, or the automotive industry. To produce our list of collectors, we developed a sophisticated scoring system that takes into account value, historic importance, awards won, reputation, and their contribution to the classic car society. This produces a total score of up to 100 points. The list is dynamic and will change as the market changes and our knowledge grows. We very much welcome any kind of help that might improve our database. And while our endeavors might reveal some surprises, we hope that they will also create valuable reference points for collectors, and help nurture the passion of aficionados around the world.

The next generation of collectors Even though they don’t share the youthful memories that fuel my generation’s dreams, my sons still admire the iconic sports cars of the ‘50s and ‘60s in our collection. At the same time, they are excited about modern sports cars, and I can’t predict what they will enjoy 10 or 20 years from now. Personal taste in cars, design, art, and craftsmanship change over time and generations.

Top of the Classic Car World // 9

Half of the top 50 collectors are in their seventies, and most of them live in the United States of America. They are successful people in their own field and have spent a significant part of their life following their passion and putting together these wonderful collections. These people jointly own automotive gems worth billions of dollars. But what will happen to these pieces of history in the future? What are their owners’ succession plans? Will they sell the cars? Donate them to institutions? Create their own museums? Or will their heirs and heiresses be the next caretakers? You don’t need to be a genius to see that the high-end classic car world is coming to a crossroads. So, how do we preserve these treasures and these values? In our cockpit article you will find more

Getting a glimpse of the Kaiser Collection at the Kaiser Partner Campus in Liechtenstein, the home of The Classic Car Trust.

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interesting market data, and hopefully some valuable food for thought, while the last chapter of this editorial describes our own contribution to the cause.

racing in Italy into such apt words. The Mille Miglia is, of course, just one of many notable classic car races, alongside the Le Mans Classic, the Historic Grand Prix in Monaco, Goodwood, and more.

Enjoying classic cars. Today and tomorrow

Some aficionados prefer static events, and there are plenty of these all over the world as well. Two, however, stand above the rest. Pebble Beach in California is the global champion, and Sandra Button, chairperson of this world-class celebration, gives us her insights and outlook in an interview. In Europe, every serious collector wants one of the rare invitations to the Concorso d’Eleganza at Villa d’Este in Italy, which is organized by the German BMW group. Winning an award at Villa d’Este is one of the greatest honors a collector can receive. Lorenzo Ramaciotti, who heads the judging committee, offers more insights in his

“Your name and car are announced and then you’re off. Off on an adventure, with masses of people around you… an enthusiastic and knowledgeable crowd that make you feel like the lucky hero… behind the wheel, with tired eyes and a brain jumping between dream and reality…” Read the story of the Mille Miglia written by our chief editor, Antonio Ghini. I have driven in the Mille Miglia myself, and I salute Antonio for being able to put the thrills of classic car

interview with us. The past couple of years have seen the emergence of many more “see and be seen” at events – with lots of champagne for collectors and friends of historic automobiles. Personally, I feel truly alive when taking a serious Sunday morning drive in my DB4 GT up the mountains to St. Moritz; and there’s nothing to beat the cool joy of cruising the Cote d’Azur with my wife in the Spyder Cal or the 507. Not forgetting the classic Alba truffle tour with family and friends. The wonderful smell of old leather and gasoline, the design, the engine, the (non-digital) equipment, and the noise make such a difference. Let’s hope that we’ll be able to get spare-parts, gasoline, and road permissions for many more years to come so we can enjoy our passion to the full.

About The Classic Car Trust Our world has never changed so fast. Trends like “the connected life” and “mobility as a service” will fundamentally transform the automotive world over the next decade. But what will this mean for classic cars? Major collectors, heads of governing bodies like Jean Todt, the president of FIA, and the business community all recognize that profound change may well cause disruption; but we all have one thing in common: we love these precious cars and want their story to continue.

By offering market intelligence, featuring great stories, and inviting influential figures to share their thoughts, we hope our publication will contribute to this effort. We also want to help bring leading collectors and leaders of the classic car business community together to discuss and seek answers to the most pressing questions, and ultimately to keep our cars on the right track for the future. 

The Classic Car Trust is dedicated to fostering the heritage, enjoyment, and preservation of classic cars in a fast-moving world.

Top of the Classic Car World // 11

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Jean Todt

His focus is racing and road safety, but he loves his classic cars as though they were sculptures. President of the Fédération Internationale d’Automobile (FIA), he believes in the importance and value of our world a further pledge for a stable future. by Antonio Ghini

Jean Todt on the terrace of the building that hosts the FIA HQ in Paris.

Jean Todt // 13

1971

Jean Todt on the 240Z at the Montecarlo rally.

1986

1990

1993

as Racing Director of Peugeot Talbot Sport wins the World Championship with the Turbo 16.

with Ari Vatanen in one of the 4 Paris-Dakar won.

the success at 24h Le Mans with the Peugeot 905.

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o succeed in everything you attempt in life requires special gifts. Currently serving his third term as President of the Fédération Internationale d’Automobile (FIA) as well as acting as the United Nations Secretary-General’s Special Envoy for Road Safety, Jean Todt is a man who has chosen the automobile as his life’s companion. Lucidity and vision are his salient features, fine-tuned over the years in a variety of professional experiences. Todt’s ability to think clearly was an essential aspect of his achievements as a youthful co-driver, working alongside the great champions of the World Rally. And his vision proved to be a fundamental ingredient of his accomplishment in bringing Peugeot Talbot to head the championship in the space of eleven years, winning four Paris-Dakars and two 24 Hours of Le Mans. The same mixture of lucidity and vision were also evident at Marinello, where his 16 years with Ferrari harvested 14 Formula 1 World Titles: 8 Constructors and 6 Pilots. While the automobile world at large focuses on the new Formula 1 season under way in Australia, unbeknownst to the wider public, Todt nurtures a passion for classic cars, and this is the subject of our conversation in his spacious office at the FIA headquarters in Place de la Concorde in Paris. “I own a few models, and for me they’re more like sculptures than cars because I simply don’t have time to drive them,” he declares with a look on his face that suggests this may not always be the case. “Every year I go to one or two events: Chantilly, Pebble Beach, Villa d’Este, or Goodwood and Le Mans Classique. I also keep an eye on the auctions... and I must say that the sheer beauty of these cars far outshines that of today’s models.” FIA and its president evidently share a deep feeling for a rich heritage of mobile masterpieces. The Motor Sport Commission headed by Paolo Cantarella, a key figure in the car world, along with vice-president Prince Joachim of Denmark, embraces hill climbs, track racing — including Formula 1 — and rallies. To understand the significance of this involvement, suffice to say that this year there were more participants in the Historique edition of the Ralley Automobile Monte-Carlo than in its contemporary counterpart. The same was true for the GP Historic that attracts single-seaters of different types and ages. “The aim of the Commission is to make sure that the cars taking part in these events are equipped with basic safety systems and devices.” Todt explains. “In vehicles made before the days of current safety norms, any

accident can be extremely serious. We all remember what races were like in those days, to add to which many of today’s drivers lack the experience necessary for coping with the different circumstances that can come up when racing automobiles of this sort.” Readers will be reassured to learn that this does not imply changes that could compromise the historic value of the models in question. “Of course we’re well aware that the authenticity of the vehicles must be preserved, and in this sense the FIA Mobility Administration provides essential assistance, supporting specific events organized by the automobile clubs of the various member countries. Moreover, there’s FIVA, which is an independent body that also works in cohesion with FIA to supply the vehicles in question with a technical sports passport. Granted, this has nothing to do with certification of originality, which is something we’re not involved in either. The originality of a classic car is a matter that only the constructors themselves can vouch for, based on their expertise and the papers in their archives. Since it’s often a question of cars that are worth millions, their authenticity has enormous implications for their value. FIA and FIVA should certainly not have a say in any of this. Much the same thing happens with the authentication of works on the art market. There are specialists who do precisely this, and the same should be true in the classic car sector, so that fakes and replicas are clearly labelled as such.” Todt clearly contemplates his cars in much the same way that an art collector views paintings he has bought because he loves them. “It’s true, I also have a passion for art, one that developed in the wake of my love for cars. In my time at Maranello, I used to wind down after a day of stressful work by going over to see Emilio Mazzoli, the great Italian art dealer who lives just outside Modena, sometimes even late in the evening. Spending time surrounded by his paintings gave me a sense of absolute well-being.” A similar feeling is one of the benefits of viewing the models that fascinate him at the various Concours d’Elegance. “Often it’s the details that count... a far cry from those of today’s automobiles.” So the art market and the classic car market have a lot in common, with the specialized dealers acting as the equivalent of the art galleries. In both cases, it’s auctions that reveal market trends, while the constructors who certify specific vehicles are the counterpart of the experts whose appraisals guarantee the authenticity of particular works of art.

“In both cases, you need to know whom you can trust, just as you do when you consult a physician, a lawyer or a banker. It’s proven competence that counts.” Although Todt claims that his love for art developed once he had already made a name for himself in the world of cars, one of his early passions certainly reveals a farsighted interest in decoration. As an ardent rally enthusiast, he made an essential contribution to the magnificent collection of BMW racing vehicles decorated by famous artists. “I knew Neerpash, who headed sports activities at BMW, and I spoke to him about Guy Loudmer and his acquaintance with the artist Alexander Calder. The idea of a car at Le Mans painted by an artist of Calder’s standing immediately appealed to him, and that particular vehicle became the first of many.” So it was Todt who first came up with the idea of truly mobile art, giving rise to what was to become an extraordinary collection of vehicles that expanded the concept of dynamic creativity. Jean Todt could not have achieved so much in life without meticulous time management. During the conversation with The Key, his secretary fends off all phone calls. At the appointed hour, he eats something light and healthy at his desk. He’s always working, even when he’s in the car. “The automobile is a fantastic means of transport that gives you the freedom to go where you must and wish. I have the good fortune to enjoy the services of a chauffeur that allows me to work even when I’m en route for somewhere else...” So what does he think of self-driving cars — do they really have a future? Will it be, as if we all had a chauffeur? “No, only the very rich in a few select countries. If you take a look at the available data regarding accidents, there are far more of them in developing countries, where those who ride motorbikes don’t wear helmets and safety belts are not compulsory in cars. In such countries, self-driving cars are unthinkable,” he declares with a slightly worried look. Todt and his lovely wife, the actress Michelle Yeoh, do a great deal to promote road safety, and this explains the furrowed brow.

Todt celebrates the victory of the 2000 F1 World Championship with Michael Schumacher.

2000

Todt was appointed by the Secretary-General of the United Nations Antonio Guterres as his Special Envoy for Road Safety.

2015

Third mandate as FIA President.

2018

“Classic cars will always be hugely appealing, as a visit to Rétromobile clearly illustrates. It’s an event that attracts people from all over the world. And the same is true for Le Mans Classique. Obviously many of the aficionados are of a certain age, since cars of this sort embody a special mixture of memories and nostalgia. In my case, for example, I adore the cars made from 1955 on, because I can remember them. Earlier models don’t have the same appeal.” It’s a topical subject, as this issue of The Key also reveals. We’re drawn by what we remember; familiarity, even at a distance, is an important factor in the desire that fuels collectors. Yet Todt is able to add a thought-provoking perception that invests the world of classic cars with further value. “The cars of the past, with new batteries and today’s fuels, always work. Contemporary cars, on the other hand, are full of electronics, and when they’re old enough to become classics they’re going to be very difficult to repair, restore and use. This is exactly what’s happening with Formula 1. In New York, one of Schumacher’s single-seaters was sold for seven million. But unless they’ve got a team of specialists at hand they won’t even be able to get it moving!” This is another aspect of today’s world of collecting that needs to be taken into account. Classic car collections embody aesthetics, technology, social values and the deep-seated pleasure of those who have the good fortune to take part. Jean Todt, whose professional success and acclaim derive from his absolute rigour and vision, demands as much, and probably more, from himself as he does from others. And when he goes into his own garage and sees his personal collection, he feels the same sense of relief and happiness that he did when he used to drop in on his friend Mazzoli, whose paintings helped him forget the tensions of Formula 1. 

There’s still one question to be asked before bidding him farewell and heading down to the foyer of the FIA building, where a micro-museum comprising objects and screens traces the history of thirty-three Formula 1 World Champions: What does he think the future holds in store for classic car collecting?

Jean Todt // 15

Best of the Best The almost impossible-to-rank queens of the year. â&#x20AC;&#x2030;by Tillmann Schaal

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Best of the Best // 17

A Rare Bugatti wins The Peninsula Classics Best of the Best Award

t was a glamorous evening. On a snowy-laden 8 February, the glamorous City of Light found itself firmly in the spotlight as The Peninsula Classics Best of the Best Award grew international wings and arrived in Paris. Previously held during the Monterey Car Week, this year’s award ceremony was held at the stunning The Peninsula Paris during the world-famous Rétromobile show, a haven for international motoring connoisseurs. The award was created by The Hon. Sir Michael Kadoorie, together with Christian Phillipsen (the main force behind it), William E. “Chip” Connor, and Bruce Mayer. Each of these gentlemen cite a passion for automotive excellence as the inspiration behind the award. They are known as some of the world’s foremost motoring experts and were brought together by their shared passion for fine motor vehicles, impeccable restorations, and the preservation of tradition and heritage. And they certainly enjoy revving up their engines. ‘Never lift’ is their motto!

the world. As Christian Philippsen reminded the attendees in his presentation speech, the name Atlantic was chosen in memory of Jean Mermoz, the much-admired French aviator who disappeared over the Atlantic Ocean in 1936.

by Franco Scaglione (Concorso d’Eleganza Villa d’Este); a 1957 Ferrari 250 GT Cabriolet by Pinin Farina (Goodwood Cartier Style et Luxe Concours d’Elegance); and a 1964 ATS 2500 GTS Coupé by Allemano also on a design by Franco Scaglione (The Quail, A Motorsports Gathering).

A supercharged accolade

The Bugatti was selected following its review by 24 automotive experts, designers, and notable celebrities within the motoring world. After being named “Best of Show Concours d’Etat” at the 2017 Chantilly Arts & Elegance — it should be mentioned that under previous ownership, it had already won Best of Show at Pebble Beach — the Bugatti roared to the front of the pack, overtaking worthy opponents to once again take pole position.

Now in its third year, The Peninsula Classics Best of the Best Award brought together eight of the world’s finest classic cars — the best of show winners from the top international concours. This year’s hot eight were first made between 1929 and 1964, and, in addition to the Bugatti, included a 1929 Mercedes-Benz S Roadster by Barker (Pebble Beach Concours d’Elegance); a 1933/35 Lancia Astura Aerodinamico Coupé by Castagna (Concours of Elegance Hampton Court Palace); a 1939 Alfa Romeo 8C 2900B Spider by Touring (Amelia Island Concours de Sport); a 1951 Ferrari 212 Export Cabriolet by Vignale on a design by Giovanni Michelotti (The Gran Turismo Ferrari Cup, Cavallino Classic); a 1957 Alfa Romeo Giulietta Sprint Speciale Prototipo by Bertone on a design

Speaking about the award, Rob Walton, who, alongside wife Melani, co-owns the Bugatti with the Mullinses, said: “The other seven nominees were simply stunning, which makes winning the award feel even more special. What this award does is allow us to take a step back and admire the quality and beauty of the greatest classic cars in existence today. For an automotive fan like myself, it’s a joy.”

The Peninsula Classics Best of the Best Award recognizes elegance, engineering, craftsmanship, attention to detail, tradition, and ingenuity. In other words, excellence and desirability. For automobile aficionados and beginners alike, it is no secret that the winning car — a stunning 1936 Bugatti Type 57SC Atlantic — meets these criteria in abundance. “The Atlantic represents the pinnacle of everything I adore about French automotive styling and is widely described as the Mona Lisa of the automobile collector world,” said Peter Mullin, Founder and CEO of the Mullin Automotive Museum, and co-owner of the Bugatti. “From its signature curves to its aviation-inspired rivets, to the sleek Jean Bugatti-designed all-aluminium body, the car is truly a remarkable piece of art. I’m very honored to have shared it with the world amongst other worthy ‘Best of the Best’ contenders.” The Bugatti resides in California, USA at the Mullin Automotive Museum — so it is perhaps fitting that in the year The Peninsula Classics Best of the Best Award crossed the Atlantic, the Bugatti also found itself traversing that great expanse of water to be crowned the most revered classic automobile in

18 // TOP OF THE CLASSIC CAR WORLD

1936 Bugatti Type 57SC Atlantic, Best of the Best 2017.

Pebble Beach 2017 Best of Show 1929 Mercedes-Benz S Barker Tourer Owner: Bruce McCaw This stunning car is the result of German engineering combined with British craftsmanship. Built with lightweight tourer coachwork by Barker of London clothing a Ferdinand Porschedesigned 7-litre supercharged engine, it is the vision of the British race car driver Lord Howe; which explains the striking Curzon Blue hue, the Howe family color. It has since been restored by the current owner to the exact specifications of the noble family.

Hampton Court Palace 2017 Best of Show 1933 Lancia Astura Aerodinamica Coupe by Castagna Owner: Antonius Meijer Lancias were brilliantly engineered cars and Vittorio Mussolini, son of Benito, wanted to engage their latest model, the V8-engined Astura, in racing. He ordered a body built by Castagna, initially planned for an Alfa Romeo, to replace the original body fitted on this car, after having suitably modified its chassis. This true one-off is now fresh from a seven-year restoration and has recently won several awards on the concours circuit.

Best of the Best // 19

Amelia Island 2017 Best of Show 1939 Alfa Romeo 8C 2900B Lungo Spider Owner: Dano Davis One of the most technologically advanced cars of its time, this impeccably restored vehicle belongs to the most sought-after Alfa models of the 1930s. Closely derived from the dominating racing version, with coachwork by Carrozzeria Touring of Milan, the elegant grand tourer is one of just seven Touring Spiders built on the long-wheelbase 2.9-litre chassis.

Cavallino Classic 2017 The Gran Turismo Ferrari Cup 1951 Ferrari 212 Export Cabriolet by Vignale Owner: Peter Kalikow

Based on a model constructed primarily for competition, this small-bodied, righthand-drive, open-top Ferrari was built for the Portuguese Ambassador in France, Jorge da Cunha dâ&#x20AC;&#x2122;Almeida Araujo. Its simple charm and elegance was brought to fruition by Vignale, after a sketch drawn by consultant stylist Giovanni Michelotti.

20 // TOP OF THE CLASSIC CAR WORLD

Villa d’Este 2017 Best of Show 1957 Alfa Romeo Giulietta SS Prototipo Owner: Corrado Lopresto The extraordinary dark red streamlined prototype was shown at the Turin Motor Show in 1957. Its historical caliber lies in its famous place as a link between Franco Scaglione’s legendary Alfa Romeo Berlinetta Aerodinamica Tecnica design studies and the production version of the Giulietta Sprint Speciale models that followed. Complementing the fluid body lines was a highly-tuned lightweight aluminium 1.3-litre engine delivering 100 horsepower.

Goodwood Cartier Style et Luxe 2017 Best of Show 1957 Ferrari 250 GT Cabriolet by PininFarina The 250 series established the Ferrari legend. Berlinettas and spiders dominated racing, whilst coupés and cabriolets were sold to prominent clients who enjoyed their Gran Turismo capabilities and did not mind displaying their wealth. Pinin Farina had become Ferrari’s favourite coachbuilder and penned this supremely elegant open two-seater that was a perfect match for the music of its 3-litre, V12 engine.

Best of the Best // 21

The Quail 2017 Best of Show 1964 ATS 2500 GTS Coupé by Allemano Owner: Bruce Milner The ATS is a landmark insofar as it was the first Italian GT mid-engined car. It was developed by ex-Ferrari engineers who had left after a row with Enzo Ferrari. At the same time they ran a Formula One team but the results were not up to the expectations and the backers soon retired. Between seven and ten road cars had been produced, all sporting tasteful Allemano coachwork, of which this is an even rarer lightweight version with a 2.5-litre, V8 engine.

Under the bonnet

A venue fit for royalty

Powered by a twin overhead cam supercharged 8-cylinder engine and considered by many to be the first supercar ever made, the winning Bugatti Atlantic was designed at the height of the art deco movement by Jean Bugatti, Ettore Bugatti’s son. Jean was a trained engineer and a gifted stylist. He based the car on his 1935 Aérolithe concept car which was famously riveted externally for fear that the flammable Elektron magnesium-alloy body parts would catch fire if welded. The three following cars were built of aluminium instead, but Jean nevertheless kept this signature riveted seam on the body of the Atlantic.

It seemed appropriate that concours royalty should be crowned at an exclusive reveal party held in The Peninsula Paris’s subterranean garage, which followed a private dinner held in the hotel’s restaurant. Located just steps from the Champs Elysees, the five-star luxury property with “Palace” distinction is the only hotel in the city to feature an underground garage — making it the perfect venue for The Peninsula Classics Best of the Best Award.

This example, chassis number 57374, was the first Type 57 Atlantic produced. The car was delivered new in 1936 to Britain’s Nathaniel Mayer Victor Rothschild, the third Baron Rothschild, and has since passed through few owners in its 82-year history. It has been shown internationally and most recently was on display at the Los Angeles-based Petersen Automotive Museum for the “Art of Bugatti” exhibit.

22 // TOP OF THE CLASSIC CAR WORLD

Describing Paris as “a fitting venue for such a distinct honor,” the Hon. Sir Michael Kadoorie, Chairman of The Hongkong and Shanghai Hotels, Limited, and owner and operator of The Peninsula Hotels, revealed: “Concours d’Elegance originated in Paris in the 17th century as a gathering of horse-drawn carriages, and we are delighted to bring the modern-day equivalent back to this beautiful city.” Speaking of the award’s legacy, he added, “My great hope is that we not only succeed in thrilling long-time car enthusiasts, but that this award will also ignite passion in those just discovering the world of motoring.” 

The celebration of the award by the owners Robson Walton and Peter Mullin and their wives, together with the organizers of the event Sir Michael Kadoorie, Bruce Meyer, Christian Philippsen and William “Chip” O’Connor.

Best of the Best // 23

Top 100 Collectors 2018

24 // TOP OF THE CLASSIC CAR WORLD

M i l e s C o l l i e r, n u m be r o ne i n t h e 2018 r ankings, inherited f ro m hi s f at he r, C. Miles, a g re at p as s i o n f o r car s . In t hi s i m ag e , C . M i l e s po s e s w i t h h i s M G PA /PB at t h e 1939 L e M an s r ace .

Who are the world’s most significant car collectors? That’s the question we answer in our publication “The Key,” which opens a window onto eight billion dollars’ worth of marvelous classic vehicles. We find out what it’s like to be one of the world’s biggest collectors, and we pay tribute to some of the people who play such an important role in keeping classic car heritage alive. We want to celebrate these passionate and successful individuals and honor their commitment to the well-being of the classic car community – today and tomorrow.

Top 100 Collectors 2018 // 25

Miles Collier

Fred Simeone

Age: 78

Ralph Lauren

Age: 78

Peter Mullin Ranking score: 75.20

Nationality: American

Ranking score: 82.60

Nationality: American

Favorite brands: Ferrari, Bugatti

Nationality: Dutch

Favorite brands: Bugatti,

Collector since: 1983

First car of collection:

Favorite brands: Lancia,

Delahaye

First car of collection:

1955 Jaguar D-Type

Alfa Romeo 6C 2500 SS

Lagonda, Jaguar

Most interesting piece:

1955 Mercedes-Benz 300SL Gullwing

Top awards:

Most interesting piece:

1936 Bugatti Type 57SC Atlantic

Most interesting piece:

2005 Amelia Island Best of Show - Sport

1937 Alfa Romeo 8C 2900A

1953 Lancia D23 Spider Pininfarina

Top awards:

1930 Mercedes Benz SSK “Count Trossi”

2013 RRDC’s 2012 Bob Akin Award

Top awards:

2018 Peninsula Best of the Best Award

Top awards:

2007 The Quail Best of Show

2012 Paleis Het Loo Best of Show

2011 Pebble Beach Best of Show

1990 Pebble Beach Best of Show

2017 Octane Awards - Museum of the Year

2004 Paleis Het Loo Best of Show

Age: 82

Ranking score: 84.84

Age: 71

Nationality: American

Ranking score: 87.34

Favorite brands: Alfa Romeo,

Nationality: American

Jaguar, Ferrari

Favorite brands: Porsche

Collector since: 1970

Most interesting piece:

Summary: Born into a true American car

Evert Louwman

enthusiast’s family, Miles Collier grew up

Age: 79

Ranking score: 74.58

1993 Pebble Beach Best of Show Summary: Peter W. Mullin is an Amer-

surrounded by cars. His father and his

Summary: Fred Simeone is a retired

Summary: Evert Louwman grew up

ican businessman and philanthropist.

Summary: It is almost impossible not to

uncle introduced sports car racing to the

neurosurgeon, born in Pennsylvania, who

with a father working in the automo-

He successfully founded a company

know the name Ralph Lauren. Whether

United States and fostered Miles Collier’s

fell in love with cars in his early childhood.

tive industry. His father founded a car

and serves as its chairman. His affinity

you know him as a prestigious fashion

passion for racing. Miles Collier was a

His father was not only the one who

dealership and later on started to collect

for cars, especially French cars, started

designer and successful businessman

race car driver for many years, becoming

aroused Simeone’s interest in cars, as

classic cars as well. Louwman carried on

long before his business career, namely

or as ardent classic car collector, Lauren

also in 1984 the inaugural recipient of the

he always went to junkyards with him,

this tradition and expanded his father’s

when his neighbour brought home a

is in both fields a man you cannot get

prestigious SVRA Driver of the Year. In the

but also the one who gave him his first

grandiose collection. The most important

Delage one day. He saw it and fell in

around. When you look at the magnificent

late 80ies he acquired the Cunningham

car a long time ago — an Alfa Romeo. A

European and international cars are part

love immediately. Therefore, it is hardly

cars of his collection, you can clearly see

Museum Collection, which is known

peculiarity of Simeone’s collection is the

of the collection. The most remarkable

surprising that Mullin is the owner of the

that design is what Lauren loves about

today as the Collier Collection. The Collier

preserved state of the cars. His collection

quality of the collection is probably that

best French car collection in the world.

cars, as cars “say as much about you

Collection began to grow rapidly during

is probably the only one of its kind in the

almost all the cars are preserved or

For French classic car lovers, the col-

as your clothes do. For me, they are like

the 90ies, when Miles Collier acquired

US. His exclusive collection includes the

even in original condition. Miles Collier

lection cannot be missed. From Delage

art pieces crafted for not only speed, but

some of the finest and most original

rarest and most significant race cars ever

emphasizes that “it is about a heritage

to Talbot and Delahaye to Bugatti, the

style and beauty.” His collection covers

examples of sports cars ever built. For his

built. You can find cars from excellent

that deserves to be conserved, which

collection includes the most outstanding

a broad spectrum of remarkable cars,

ground-breaking preservation aesthetic,

and outstanding car brands such as Alfa

is why some vehicles remain in their

and exclusive French classic cars, all a

from classic cars with brilliant and unique

historical importance, cultural value

Romeo, Jaguar, Ferrari, and many more.

original state with the honest patina of a

car enthusiast’s heart desires. Unlike his

designs and iconic automobiles to high-

and relevance of all pieces, the Collier

Simeone donated his exclusive and out-

century of use” Louwman not only wants

dad, Mullin is not that amazed by the

end racing cars. If you ask for a favorite

Collection is widely considered as one

standing collection of cars to the museum

to preserve the condition of his cars, but

engines of the cars, but more by their

car brand, he would probably answer

of the most refined car collections in the

of his foundation, probably as he does

also their history. Therefore, he wants his

design, shape, and beauty. However,

Ferrari and Bugatti, although every single

World. To foster the Heritage of classic

not see the cars exclusively as a hobby,

collection to be open to the public for at

to see the cars in all their splendor, he

car in his collection is worthy of being

cars among new generations and share

but as “representatives of certain times

least 200 more years, even when cars in

founded the Mullin Automotive Museum,

someone’s favorite car. Guests of his New

knowledge of classic cars, he also man-

and places of history.” The museum is

the future look very different, “but at least

which is open to the public; every

York Fashion Week show got a glimpse of

aged to partner with Stanford University

open to the public and, therefore, every-

the Louwman Collection will give them

car enthusiast can marvel at Mullin’s

his exclusive collection, as he staged the

to create the Revs Institute, one of the

one can visit the stunning museum and

an idea of how we used to get around

stunning and outstanding French cars.

show in his private garage, in the middle

leading center of knowledge and archive

see the breath-taking cars of Simeone’s

in the past.”

No surprise that Mullin, with his affinity

of all his precious cars. One of the many

of automotive history ever preserved

collection. The Spirits of Competition is

for cars and the love he has put in to his

reasons Lauren fell in love with collecting

for scholars and connoisseurs alike. His

not only the theme of his collection within

museum, was elected Man of the Year

classic cars is because “the real beauty of

refined collection, the museum and his

the museum, but also the name of an

by Automobile Magazine in 2015.

owning a rare and magnificently designed

effort in sharing classic car knowledge

annual award the museum presents to a

and passion worldwide makes him our

person from the world of motorsports.

number one of the 2018 ranking.

26 // TOP OF THE CLASSIC CAR WORLD

car is the fact that you can use it.”

Arturo Keller

Larry Auriana Age: 74

Ranking score: 66.40

Favorite brands: Ferrari, Maserati,

Nationality: American

Alfa Romeo

Favorite brands: Mercedes-Benz,

Collector since: 1983

Bugatti

First car of collection: 1929 DeSoto

Samuel Robson Walton

Most interesting piece:

Ranking score: 66.00

Albert Spiess

Age: 68

Ranking score: 64.72

Age: 74

Collector since: 1978

Anthony Wang

Ranking score: 64.90

Most interesting piece:

Nationality: American / Chinese

Most interesting piece:

Nationality: American

1967 Lamborghini Marzal

Favorite brands: Ferrari

1930 Mercedes Benz SS Erdmann &

1929 Maserati V4 Sport 16 Cylinder

Favorite brands: Ferrari, Maserati

Top awards:

Most interesting piece:

Rossi

Zagato

Most interesting piece:

2014 Villa d’Este Best of Show

1962 Ferrari 250 GTO

Top awards:

1962 Ferrari 250 GTO

2017 Best of the Best Lamborghini

Top awards:

2007 Best of Show Villa Erba

2014 IACC Business and Culture Award

Top awards:

Concorso Neuchatel

1991 First in Class FCA National

2008 Coppa d’Oro Villa d’Este

2017 Most Historically Significant Post-

1998 Designer’s Choice Trophy Meadow

War Race Car Amelia Island

Brook Concours

Summary: Albert Spiess has always act-

2018 Peninsula Best of the Best Award

ed behind the scenes. Over the last 40

Summary: Anthony “Tony” Wang is the

years, he has amassed one of the most

former president of Computer Associ-

Age: 86

Nationality: American

Summary: I can say it, because he is a

Nationality: Swiss

Favorite brands: Lamborghini, Aston Martin

Age: 75

Ranking score: 62.20

Concours Washington

modest person, but of private collections

Summary: Larry Auriana worked as

in the world, Arturo’s is probably among

a financial specialist and held various

Summary: Sam Walton is an American

spectacular collections of automobiles in

ates International Inc., also known as

the top three,” says fellow collector Sir

executive positions during his career. The

businessman and renowned car

the world. Apart from successfully man-

CA Technologies. CA Technologies was

Michael Kadoorie. “Ask anybody who

only thing more interesting than Auriana’s

collector. From 1992 to 2015, he was

aging his family business and making it

founded by Anthony’s brother Charles

has been to it.” A highly reserved and

career is his passion for classic cars. Au-

chairman of Walmart, the largest retailer

internationally known, Spiess collected

Wang in 1976. Today it is one of the larg-

private person who does not like the

riana acquired his first car at the gentle

in the world. His collection focuses on

cars in his spare time. His collection

est independent software companies in

spotlight, Arturo Keller is one of the

age of 12 and nowadays owns probably

the greatest 1950s and ‘60s sport and

comprises prototypes, concept cars,

the world. CA Tech was the first software

key figures in the world of classic car

the most important Maserati collection

racing cars. As he loves racing on track,

one-offs, and limited-edition models

company in the world to achieve $1

collectors. His collection is extremely

in the world. His collection includes the

he has amassed a spectacular collection

crafted by the most famous designers

billion in annual sales. The Wangs were

private and not open to the public.

only 16-cylinder Maserati ever built, as

of mostly Ferraris, Maseratis, and

and manufacturers. His love for Lam-

born in Shanghai in the early 1940s at a

Apart from owning the best and rarest

well as astonishing cars by Alfa Romeo

Porsches. He is a frequent driver at the

borghini is something truly unique. He

time when the city was under Japanese

Mercedes collection in the world, Keller

and Ferrari. He likes to collect cars that

Monterey Historic Races in California.

has collected pretty much all concept

occupation. The family moved to

has acquired extremely rare pieces over

embody living and have a breath-taking

He owns two original Ferrari 250 GTOs,

cars and 001 chassis made by the

Queens, New York, and eventually out to

the years, such as the 1037 Alfa Romeo

history. His collection celebrates the

which are the stars of his collection. In

factory in Sant’Agata Bolognese, putting

Long Island. Charles Wang co-founded

2.9 Touring Spider and the wonderful

superior design of the Italian automotive

2018, he was awarded the Peninsula

together the best Lambo collection in

CA Technologies when he was just 31

1931 Alfa Romeo 6C 1750 Flying Star.

industry, and Auriana thinks of his cars

Best of the Best Award for the 1936

existence, including the Marzal and

years old. Anthony Wang owns one of

Keller won Pebble Beach two times,

as “a tribute to a group of Italians that

Bugatti Type 57SC Atlantic, co-owned

Bravo prototypes and the only Miura

the most spectacular Ferrari collections

and won the Coppa d’Oro at Villa d’Este

made an important contribution to the

with Peter Mullin.

Roadster ever built. He is not just an avid

in the world, with two GTOs and

in 2008. Thanks to his unique taste for

automotive industry in the 20th century

collector of cars. Spiess has managed

several other incredible pieces. He has

elegance and beauty, he is, with reason,

— the great designers, engineers, and

to collect original documents, archives,

sponsored McLaren in F1. Together with

considered a true god of collecting.

sportsmen who raced these cars — and

and pre-production chassis from major

his wife, Lulu, he races often on tracks.

we hope to share those cars with all

car brands. He won Best of Show at

Wang has been an ardent supporter of

of you.” Although Auriana has a huge

Villa d’Este.

vintage racing since the early 1990s.

collection of exclusive cars, it is not his intention to look at them only in a museum. One can say that his cars never collect dust, as they see racetracks and show circuits all the time.

Top 100 Collectors 2018 // 27

Robert M. Lee Ranking score: 57.36

Age: 82

Age: 80

Nationality: American

Jack Nethercutt

Ranking score: 56.80

William ‘Chip’ Connor Ranking score: 60.80

Jon A. Shirley Ranking score: 60.56

Favorite brands: Alfa Romeo, Hispano

Nationality: American

Nationality: Hong Kong

Nationality: American

Suiza, Ferrari

Favorite brands: Bugatti, Ferrari

Age: 81

Favorite brands: Ferrari, Porsche

Favorite brands: Alfa Romeo, Ferrari

Collector since: 1983

Most interesting piece:

Ranking score: 61.10

Collector since: 1965

Collector since: 1980

Most interesting piece:

1931 Bugatti Type 51 Dubos Coupe

Nationality: American

Most interesting piece:

First car of collection:

1949 Ferrari 166 MM Touring

Top awards:

Favorite brands: Ferrari

1959 Ferrari 250 TR59/60 Fantuzzi

Ferrari Testarossa 1958

Barchetta Lusso

2005 Amelia Island Best of Show - Elegance

Most interesting piece:

Spyder

Most interesting piece:

Top awards:

2007 Amelia Island Best of Show - Elegance

1956 Ferrari 290 MM Spyder Scaglietti

Top awards:

1954 Ferrari 375 MM

2006 Pebble Beach Best of Show

Top awards:

1999 Pebble Beach Best of Show

Top awards:

2009 Pebble Beach Best of Show

2014 Pebble Beach First in Class

2003 The Quail Best of Show

2008 Pebble Beach Best of Show

Leslie Wexner

Age: 69

2015 The Phil Hill Cup

2014 Pebble Beach Best of Show Summary: William E. “Chip” Connor

Age: 88

Summary: The great-nephew of Merle Norman, Jack Nethercutt was born in

Summary: Everything he touched turned

Santa Monica, California in 1936. The

to gold – that is probably the saying that

son of J.B. and Dorothy Nethercutt,

Summary: Leslie Wexner is a well-

is an American businessperson who

Summary: Jon A. Shirley is an excellent

described his incomparable career the

Jack recalls as a child sweeping

known businessman who founded a

was born and raised in Tokyo. He is the

American businessman who can look

best. Robert M. Lee, born in America,

floors and stirring sulphur baths for

highly successful fashion group that

chairman and CEO of one of the world’s

back at a remarkable career. As president

succeeded in the fields of manufactur-

his great-aunt’s growing company. He

includes the world-famous label Victo-

largest merchandise sourcing compa-

of Microsoft, he was part of one of the

ing, hunting and fishing, luggage and

inherited his father’s love of cars and

ria’s Secret. In addition to his remarkable

nies. In addition to his business career,

world’s leading multinational technology

clothing, and building and developing.

after his graduation from the University

business career, Wexner also owns a

he is also a passionate vintage car

companies. Not only is Shirley very

His broad range was also reflected in

of Southern California, had a successful

spectacular collection of classic cars. He

enthusiast and one of the world’s leading

well-known within the technology scene,

his enthusiasm in collecting cars. His

racing career throughout the 1950s and

collects only the rarest and finest Ferraris

collectors of vintage cars. His collection

but also among car enthusiasts. There’s

grandiose collection of classic cars is

into the 1960s. The Nethercutt Collection

in the world. A true Cavallino aficionado,

shows a wide range of beautiful vintage

no question that you can not talk about

not limited to one brand. An avid car

is a family-owned museum featuring

Wexner has managed to collect the

cars from the classic era over the 1950s,

outstanding classic car collectors without

enthusiast is able to find Ferraris, Bent-

over 250 rare collectible cars begun

most special pieces of the brand from

‘60s to the sports and racing cars of the

mentioning Jon Shirley. His impressive

leys, and Rolls-Royces in his collection.

by J.B. and Dorothy Nethercutt, where

Maranello, such as the 1956 Ferrari 290

1970s. His collection, including Alfa Ro-

collection of classic cars includes several

He considered the cars of Alfa Romeo,

they continue to restore museum-quality

MM Spyder Scaglietti. His cars all have

meos, postwar Porsches, and a Ferrari

vintage Ferraris and astounding brands

Hispano Suiza, and Ferrari his ultimate

cars and enter and win at virtually every

a unique racing history or limited-edition

competing in Le Mans, contains a wide

such as Porsche, Jaguar, and Maserati.

favorites. Lee’s collection contains far

concourse in which their stunning cars

design. Wexner does not want ordinary

range of unmistakable cars. Each of his

However, Alfa Romeo and Ferrari are

more amazing car brands than stated

appear. They are current record-holders

things — he’s always looking for the

cars has a remarkable and impressive

the brands that amaze Shirley the most.

here. If you would have asked him how

for the Best of Show award at Pebble

special one.

history, and he especially prefers cars

Nevertheless, he is not merely collecting

he describes himself as a classic car col-

Beach Concours D’Elegance with six

with a racing provenance. Every single

all these amazing classic cars, but also

lector, he would have said he considers

wins. For their incredible series of awards

car in his collection is ready to be driven

racing them in famous races and rallies

himself as “the responsible custodian of

and reputation as preserver of world

in vintage-racing competitions as well as

all over the world. He best describes his

remarkable artifacts of history.” Sadly, he

automotive heritage, Pebble Beach

through stunning landscapes. “What has

approach to collecting cars by saying,

passed away in 2016. Fortunately, his

dedicates each year the Nethercutt Most

made these cars so collectible is that

“They are cars. They are meant to be

collection has stayed in the family, so his

Elegant Closed Vehicle of the Show.

people do take them out and race them

driven. They are not meant to sit around”.

passion lives on thanks to his daughter.

They own, without a doubt, one of the

and have a wonderful time with them.”

One of the most impressive examples

most special and complete collections of

Quotes from Connor like these empha-

for his passion for cars is when he fully

automobiles in the world.

zise all the joy and love he has for cars

restored a Ferrari Daytona NART (now

and his unique vintage car collection.

sold) on his own and reached third in class at Pebble Beach.

28 // TOP OF THE CLASSIC CAR WORLD

Bruce McCaw

John Mozart Age: 76

Ranking score: 55.02

Age: 70

Nationality: American

Ranking score: 55.76

Favorite brands: Bugatti, Ferrari

Nationality: American

Collector since: 1979

Favorite brands: Ferrari,

Most interesting piece:

Mercedes-Benz

Sir Michael Kadoorie

Nick Mason Age: 74

Ranking score: 53.60 Nationality: British

Favorite brands: Ferrari, Aston Martin

Lawrence Stroll Age: 59

Ranking score: 53.22

Age: 77

Collector since: 1975

Nationality: Canadian

Ranking score: 54.36

First car of collection:

Favorite brands: Ferrari, McLaren

Nationality: Hong Kong

Austin Seven Chummy

Most interesting piece:

1962 Ferrari 250 GTO

Favorite brands: Rolls Royce, Ferrari

Most interesting piece:

1968 Ferrari 275 GTS/4 NART Spider

First car of collection:

Top awards:

Most interesting piece:

1962 Ferrari 250 GTO

Top awards:

1941 Chrysler four-door sedan

1988 Pebble Beach Best of Show

1958 Ferrari 250 TR 58

Top awards:

2001 Cavallino Classic Gold

Most interesting piece:

1998 Pebble Beach Best of Show

Top awards:

2009 Octane Awards Greatest

2016 Pebble Beach Gran Turismo Trophy

2017 Chantilly Concours d’Elegance

Racing Car Ever

Best of Show

2013 Pebble Beach Road & Track Trophy

1952 Mercedes Benz Type 194 Coupe Top awards:

Summary: John Mozart is a self-made

2013 St James Concourse Best of Show

entrepreneur who sold his first company,

2017 Pebble Beach Best of Show

Eurasian Automotive Products, in 1979

Summary: Born in Hong Kong, the

Summary: Not another brick in the

one of the world’s most successful

to a company called SKF, which at the

Honorable Sir Michael Kadoorie is a

wall, but another keen car enthusiast,

fashion brands and has invested in many

Summary: Bruce R. McCaw is the

time was the world’s largest ball bearings

passionate enthusiast of all motorcars.

is the famous drummer of Pink Floyd,

important fashion companies. He is also

oldest of the four McCaw brothers. He

manufacturer. After selling Eurasian

Since the mid-1960s, he has taken a

Nick Mason. Pink Floyd was a highly

a prominent classic car collector. His

has, as his other brothers, invested most

Automotive Products, he launched a

special interest in the vintage and early

successful rock band, playing concerts

passion and enthusiasm for cars can

of his time in recent years collecting the

real estate business. Mr. Mozart is a

veteran period and has now become

and making music for decades. Mason’s

be traced back to his father, who was

greatest cars ever produced. His taste

passionate collector who bought his first

a caretaker to an eclectic collection

affection for cars started in his early

a keen Formula One driver back in the

is truly unique, spanning from one-off

notable car, a Duesenberg in 1981. He

spanning from 1903 to the present day.

childhood, as his dad loved cars as

days. His remarkable collection of classic

prewar models (like his stunning 1928

built his collection very slowly and today

Many of these cars have been winners

much as he does now and showed him

cars is made up mostly of rare and ex-

Mercedes Barker Tourer) to ‘50s and

houses 100+ significant classic cars in a

in numerous prestigious events. He

all the stunning refinements cars have.

traordinary Ferraris. A passionate driver

‘60s models. He has a special love for

private museum, the Mozart Foundation

owns the original Ferrari TR 58 that won

To this day, Nick Mason has managed

and racer, he owns his own racetrack,

Mercedes, owning the Type 194 Coupe

Automotive Museum, located right next

Le Mans with Phil Hill. He much enjoys

to establish a classic car collection that

Mont-Tremblant Circuit. Stroll talking

that won Le Mans in 1952. Also, he has

door to the Silicon Valley Computer

rallying and participates competitively

is more than outstanding. His collection

about his racing habits reflects his unde-

a thing for British cars: he managed to

Museum. He acquired his GTO in 1998

in historic events. Among his many

is composed of sports cars with unique

niable enthusiasm about cars, especially

acquire and restore the splendid 1930

for an undisclosed price. “There are very

activities, Michael is chairman of China

histories. Although most of the cars

Ferraris. On racetracks, he tends to take

Bentley Speed 6 Coupe by Nutting “Blue

few great cars that are dead original. So,

Light & Power Holdings Limited and The

in the collection are Ferraris, Mason

risks to exploit the abilities of his cars,

Train.” But he is not just a collector. He

degrees of originality start to prevail.”

Hongkong & Shanghai Hotels Company

describes his collection as “just a curious

but on roads, he drives more sensibly. “If

races quite often: “I was always inter-

This shows John’s approach to car col-

Limited – owner of the prestigious

muddle of cars.” Mason is not only an

conditions and laws permit, I try to feel

ested in racing and high-performance

lecting: he tries always to keep his cars

Peninsula Hotels, Quail Lodge, and the

avid car collector, but also a keen car

the sensations that a Ferrari can give you

cars. I raced in the USA in the 1960s

as original as possible, not over-restoring

Quail Event. He has received a number

racer. As he takes part in races like 24

both on and off the track.”

and 1970s, in an Austin-Healey and an

them. For his philosophy and the mag-

of international decorations in recognition

Hours of Le Mans, all of his cars are

Elva Mk7. I won a number of races, and

nificent collection, he has built during the

of his business and charitable work. In

kept in racing condition. He not only

finished quite well in national standings.

years, he is surely one of the key figures

addition, he is one of the founders of

takes part in races, but has also made

Now I drive in vintage Formula One and

of this World.

the prestigious Peninsula Best of the

a film about his favorite hobby. Mason’s

Best award.

affinity for cars can be seen not only in

CanAm.”

Summary: Lawrence Stroll is a very well known man in fashion. He developed

his film, but also in his book, “Life Could Be a Dream,” about his outstanding and exclusive collection of classic cars.

Top 100 Collectors 2018 // 29

Anthony P. Bamford Ranking score: 52.86

John McCaw Jr.

Age: 67

Giorgio Perfetti

Ranking score: 52.80

Nationality: Swiss

Nationality: British

Nationality: American

Favorite brands: Ferrari, Porsche

Corrado Lopresto

Favorite brands: Ferrari, Rolls-Royce

Favorite brands: Ferrari

Most interesting piece: 1962 Ferrari 250 GTO

Age: 73

Summary: Anthony Paul Bamford,

Age: 71

Ranking score: 52.38

Tom Price Age: 74

Ranking score: 49.20 Nationality: American

Age: 62

Favorite brands: Ferrari,

Ranking score: 50.30

Aston Martin, Alfa Romeo

Most interesting piece:

Nationality: Italian

Most interesting piece:

1958 Ferrari 250 TR Spyder Scaglietti,

Favorite brands: Alfa Romeo,

1932 Alfa Romeo 8C 2300 Spider

1957 Ferrari 315 S

“Lucybelle II”

Isotta Fraschini, Lancia

Top awards:

Collector since: 1975

2014 The Quail Best of Show

2017 Best of Show Nominee Pebble Beach

1989 FCA Concours Lake Lanier Island

First car of collection:

Baron Bamford, is an English business-

1st in Class

Fiat Balilla

Summary: Tom Price is a Northern Cali-

man, chairman of JCB. He succeeded

Summary: John E. McCaw Jr. is the

1993 FCA Concours Lake Lanier Island

Most interesting piece:

fornia car dealership mogul who worked

his father, Joseph Cyril Bamford, as

youngest of the four McCaw brothers,

3rd in Class

1931 Alfa Romeo 6C 1750 Gran Sport

his way through the University of Colora-

chairman and managing director of

a family with an extreme passion for

Aprile Spider Corsa

do and then got a job with Ford for eight

JCB in 1975, at the age of 30. He was

classic cars. Like his brothers, McCaw

Summary: Giorgio Perfetti is an Italian

Top awards:

years. He acquired his first dealership in

knighted in 1990 at the age of 45. His

is also an avid collector of special auto-

candy tycoon and entrepreneur living in

2006 Coppa d’Oro Villa d’Este

1976. Today the Price Family Dealerships

collection of wonderful automobiles

mobiles. His collection focuses mainly

Switzerland, whose company distributes

2017 Best of Show Villa d’Este

owns and operates Volvo, Toyota, Land

is widely regarded as one of the most

on the best racing Ferraris of all time,

its products in over 130 countries.

special in the world, firstly, because he

with great winning histories. In 2017, he

He owns the most complete Ferrari

Summary: Corrado is an architect with

dealerships in upscale Marin County. He

owns two original Ferrari 250 GTOs, but

was among the Best of Show nominees

collection in the world. The collection

a unique taste for beauty and design. All

also owns dealerships in Sacramento

also because of his love for British cars.

at Pebble Beach, where his brother

is not only the most complete, but also

of his cars are strictly Italian prototypes,

and Sunnyvale. His spectacular car

Bentley and Rolls-Royce are his favorite

Bruce prevailed. Apart from Ferraris, he

one of the most private. However, if you

one-offs, chassis number 001, and

collection features sport and racing cars

brands. He is not just a collector, but

has a passion for prewar English cars,

call yourself a car enthusiast and are

masterpieces crafted by Italian manufac-

from the 1950s up to the 2000s. The

also a frequent racer. He has indeed

mainly Bentleys. He is, without a doubt,

interested in the cars of Giorgio Perfetti,

turers from all eras. His cars are among

theme of his collection is cars that have

travelled all around to the best circuits to

one of the main names in the American

you can buy one of the books in the

the most original and preserved in the

strong racing pedigrees. He races his

drive his very special cars. In England,

collectors’ scene at the moment.

Cavalleria series. Cavalleria is a series of

world. A collector since he was 18 years

cars frequently on track: “I’ve raced the

he is a point of reference for all classic

16 fascinating books containing detailed

old, he is the only person in the world to

250 Testa Rossa probably 80 times in

car collectors.

and exclusive information about the

have won four Gold Cups at Villa d’Este

the last 25 years. I’ve done 180 races

Ferraris owned by Perfetti. Although he

(and one Best of Show). In 20 years, he

in the GTO. For me it’s all about having

only owns and collects Ferraris, Porsche

has collected more than 250 awards

fun with the cars. If it’s a race car, I want

is also one of his favorite car brands.

(with 60 Best of Shows) at international

to race it. If it’s a street car, I want to

concourses, with seven awards at

drive it. Some of them do both. I have

Pebble Beach. He wins because of

a 1932 Alfa Romeo 8C Spider that I’m

the historical significance of his cars

racing, and I’ve done a lot of tours in

and, mostly, because of the wonderful

that. It’s exciting to get these cars out

restoration and research work done on

on the road.”

Rover, Aston Martin, Infinity, and Jaguar

his pieces. In 2016, UNESCO awarded him the preservation FIVA prize at Villa d’Este for the preservation restoration of the Alfa Romeo Coda Tronca prototipo. Lopresto’s cars were displayed at Piazza della Signoria in Firenze for the first time ever. He owns the most complete Isotta Fraschini collection in the world, with the first ever made, the last ever made, and the 1990s prototypes designed by Giugiaro and Tjaarda. 30 // TOP OF THE CLASSIC CAR WORLD

Bruce Meyer Age: 77

Harry Yeaggy

Sam Mann

Age: 76

David Sydorick Nationality: American

Favorite brands: Delage

Ranking score: 48.50

Favorite brands: Alfa Romeo,

First car of collection:

Nationality: American

Fiat, Ferrari

1941 Ford convertible

1958 Ford

Favorite brands: Ferrari

Most interesting piece:

Top awards:

Most interesting piece:

1955 Maserati A6G 2000 Zagato Coupe

1937 Delage D8-120 S

2008 The Quail Best of Show

1935 Duesenberg SJ “Mormon Meteor”

1961 Ferrari 250 GT SWB California

Top awards:

Pourtout Aéro Coupe

2015 Enthusiast of the Year

Top awards:

Spyder

2011 Unique Concourse d’Elegance

Top awards:

Concours d’Elegance of America

2007 Pebble Beach Best of Show

Top awards:

Firenze Best of Show

1991 Pebble Beach Best of Show

2011 Amelia Island Best of Show - Sport

2006 Best of Show Villa d’Este

2015 Best of Show Villa d’Este

1996 Pebble Beach Best of Show

Ranking score: 48.80 Nationality: American

Favorite brands: Ferrari, Porsche Collector since: 1964

Age: 72

Ranking score: 48.76 Nationality: American

First car of collection:

Favorite brands: Ferrari, Duesenberg

1961 Porsche 356D

Collector since: 1982

Most interesting piece:

First car of collection:

1979 Porsche 953 K3

Summary: Bruce Meyer is a world-class

Peter Kalikow

Age: 82

Ranking score: 45.82

Ranking score: 46.88

Nationality: American

2014 FCA National Meeting Best of Show

classic car collector with a passion for

Summary: Harry Yeaggy is the preserver

Summary: David Sydorick is a retired

Summary: Sam Mann, a professional

special racing cars. He likes cars that

of some of the best cars in the world.

Summary: Peter Kalikow is a very

investment banker from America. He

industrial designer, has issued around

have had extraordinary owners and

The car that saved the Corvette from

successful American businessman. He

is a member of the board of directors

80 patents in his career. These include

significant race provenances. Every car

bankuptcy is stored in his wonderful

is the third generation to run the family

of the Petersen Museum as well as the

a safe, quick, and sterile system for

he owns has a great story. Meyer is

25-car garage. The completely original

business, one of the leading real estate

Mullin Automotive Museum. His rather

piercing ears in a retail environment that

the founding chairman of the Petersen

’56 Corvette was the first ever to win a

companies in New York. Kalikow is also

small car collection is incomparable and

is now used worldwide and shaving gel

Automobile Museum in Los Angeles,

race, showing the world that Corvette

no stranger in the automobile field. His

includes very exclusive and special cars.

for men that doesn’t require water. In

California, where he now serves as

had a racing spirit, too. Yeaggy’s garage

car collection catches one’s eye through

It is considered one of the best Zagato

addition to his exceptional career as a

vice-chairman. Meyer is also on the

is very private, especially because he

its exclusiveness and individuality. The

collections worldwide. He probably owns

designer, Mann is known worldwide for

board of directors of the Henry Ford

does not like the spotlight. However, he

cars in the collection are exclusively Fer-

the best Zagato creations ever made.

his unique passion for incredible auto-

Museum, Mullin Automotive Museum, the

shows his cars at Concourse d’Elegance

raris. Kalikow collects the most special

His wife, Ginny, is also really passionate

mobiles. He has won Pebble Beach four

Nethercutt Collection, and the Steering

of America, where he has won several

Ferraris, focusing on the design of the

about cars and, of course, especially

times. He won the Best of Show award

Committee for the Pebble Beach Con-

Best of Shows in recent years. Most

cars and not their racing history. Another

about Zagatos. Not surprisingly, Sydorick

with a 1932 Chrysler LeBaron-body

cours d’Elegance. Meyer is a member

notably, he won the most coveted award

focus of the collection is versions of the

is a close friend of Andrea Zagato, with

Speedster, a car designed and built for

of the Bonneville 200MPH Club, where

at Pebble with his incredible Duesenberg

Superamerica Ferrari. Not surprisingly,

whom he often collaborates on different

Walter Chrysler himself, in 1991; with a

he piloted a record run. He has won the

SJ Mormon Meteor in 2007. He got

Kalikow’s cars have won numerous

projects.

1938 Delage D8-120 de Villars Cabriolet

prestigious Lee lacocca Award for his

public fame when he bought the James

remarkable awards, including several

in 1996; a 1934 Voisin C15 Ets Saliot

dedication to American automotive tra-

Bond Aston Martin DB5 at auction.

Best of Show awards. The cars in his

Roadster in 2002; and a 1937 Delage

dition, the Meguiar’s Award for Collector

Yeaggy had to work really hard during his

collection mean a lot to Kalikow and that

Portout Aerodynamic Coupe in 2005.

Car Person of the Year, the Automotive

career to afford his beautiful cars, as his

is probably one reason he does not sell

His collection is focused on the best

Icon Award from the Petersen Museum,

family was so poor they could not even

them. He sold a car once, and regretted

pieces of design ever produced from all

as well as induction into three different

afford a car. This makes his collection

it so much that he bought it back. “I

eras, even if his favorite cars are from

prestigious automotive halls of fame

even more incredible, as he chose each

own the cars purely for the pleasure of

the prewar period. His collection is truly

for his tireless dedication to promoting

piece with great care.

owning cars and not for any monetary

unique, as the best pieces are one-off

reasons.”

or concept cars manufactured by the

awareness and recognition of American hot-rodding and automotive innovation.

most innovative brands of all time. He

Meyer has won eight awards at Pebble

also enjoys driving his cars frequently.

Beach and owns five Le Mans winners,

With his wife, Emily, Sam drives between

and the Petersen Museum has a section

5,000 and 7,000 miles a year in his

dedicated solely to his cars. In addition,

automobiles.

Mattel created a Hot Wheels special editions of his cars. His favorite car? The first Shelby Cobra ever made. Top 100 Collectors 2018 // 31

Craig McCaw Ranking score: 45.80

William “Bill” Pope

Age: 69

Jay Leno Age: 68

Ranking score: 45.30 Nationality: American

Ed Davies

Favorite brands: Ferrari

Charles E. Nearburg

Ranking score: 45.14

Age: 63

Favorite brands: Ferrari, Bugatti

Ranking score: 45.72

Most interesting piece:

Nationality: American

1939 Delahaye Type 165 Cabriolet

Most interesting piece:

Nationality: American

Favorite brands: Ferrari, Alfa Romeo

Favorite brands: Maserati,

Top awards:

1956 Ferrari 290 MM Spyder Scaglietti

Favorite brands: Porsche, Ferrari

Most interesting piece:

OSCA, Jaguar

2009 Concorso Italiano La Bella

Top awards:

Most interesting piece:

1962 Ferrari 250 GTO

First car of collection:

Macchina

1994 III. Cavallino Classic The Judges Cup

1969 Porsche 917K

Top awards:

1955 Lancia B24 Spider

2015 Amelia Island Concours Class Award

Most interesting piece:

Summary: Jay Leno is a very famous

2017 Montecito Motor Classics First in Class

1953 Aston Martin DB2 4 Bertone

American actor, comedian, and success-

Roadster

ful television show host. He hosted the

Summary: Ed Davies does not really like

Dallas-based oil and gas exploration

Summary: Craig McCaw is an extremely

Top awards:

famous and successful TV show The

the spotlight, but this does not mean

firm, Nearburg Exploration. The oil

forward-thinking business person. After

2011 Desert Classic Concours d’Ele-

Tonight Show for more than a decade.

his collection is not outstanding. Davies

and gas business was just a means to

graduating from Stanford, he entered the

gance The Most Significant Open Car

After his time on The Tonight Show,

owns one of the most spectacular col-

an end. In fact, Nearburg has always

family broadcasting/cable business. He

Award

he united job and hobby and started

lections of Ferraris around, with cars that

dreamed of being a race car driver. And

eventually turned the company into the

2014 Amelia Island 100th Anniversary of

his own TV show on YouTube called

have made the Cavallino one of the most

that’s what he became. Nearburg raced

20th largest cable carrier in the US by

Maserati Racing

Jay Leno’s Garage, where Leno shares

loved brands of all time, including an

for many years in many professional

his passion and affinity for cars, from

all-original 250 GTO. He is not the type

competitions and leagues. He drove the

the early 1980s. McCaw has exquisite

Nationality: American

Age: 68

Ranking score: 45.02

1995 FCA National Concours Luigi Chinetti Memorial Award

Summary: Charlie Nearburg became a successful entrepreneur thanks to his

taste for classic cars. In 2015, he

Summary: Scottsdale’s William “Bill”

classics to supercars and restoration

who shows his cars at every concourse

24 Hours of Le Mans in 1997 in a Ferrari

acquired an original Ferrari 250 GTO for

Pope is real estate developer with a spe-

projects to road tests. The show covers

d’elegance. He prefers to drive them

333 SP. He retired from professional

the highest price ever paid at auction for

cial passion for vintage race cars. Pope

everything the heart desires and is defi-

and race them on track. You might have

racing in 2004 after a respectable career.

a car at the time. His collection features

has built in Scottsdale, Arizona one of

nitely worth watching. The same can be

seen him racing at Monca Historic GP,

Nearburg acquired his 250 GTO from

exclusive, elegant, high-end sports cars,

the finest vintage racing car collections,

said for Leno’s real garage – from Fiat to

Spa Classics, or Moroso Track Days.

Californian collector Tom Price in 2010.

both pre- and postwar. He has a thing

with a particular love for Maserati and

Packard, Delahaye and Lamborghini, it

He has won several competitions as a

He has a special love for Ferraris, but

for Alfa Romeos and Ferraris, but he also

OSCA cars. The Scottsdale Automotive

covers everything a keen car enthusiast

racing driver, including the FCA National

also for Porsches and Lancias. He is

collects wonderful prewar Duesenberg

Museum opened to the public in 2010

is looking for. Leno’s collection not only

Concours in 1995.

also widely known for having set various

and Bentleys. He is a famous name in

and is now one of the must-visit places

offers outstanding and amazing classic

speed records. On September 21, 2010,

Pebble Beach circles, as he competes

for a car enthusiast. He has always

cars, but also rare and iconic cars such

the “Spirit of Rett” made two phenome-

there every year. McCaw is surely one

loved vintage cars and their history.

as The Tumbler, better known as the

nal speed runs. With an average speed

of the most relevant American collectors

Pope started his collection with a 1955

Batmobile. Besides his excellent job on

of approximately 414.4 MPH, the “Spirit

around at the moment.

Lancia B24 Spider. The more he know

YouTube, Leno also does an excellent

of Rett” is the fastest single-engine car

about classic cars, their value, and their

job as a judge for events such as Penin-

in history.

special features, the more his interest

sula Classics.

grew. He feels more of a custodian and caretaker of these pieces than just a normal collector. His collection is truly unique, as it features prototypes and one-offs from both the pre- and postwar periods. Especially spectacular is his Aston Martin DB2 Bertone concept car. Pope is an institution in the American collectors scene.

32 // TOP OF THE CLASSIC CAR WORLD

Age: 76

Joseph Cassini

Ranking score: 44.50

Nationality: American

Age: 85

Nationality: American

Favorite brands: Stutz, Packard

Ranking score: 44.92

Favorite brands: Porsche

Collector since: 1976

Nationality: American

Collector since: 1998

First car of collection:

Favorite brands: Bugatti, Delahaye

First car of collection:

1956 Thunderbird

Andreas Mohringer Ranking score: 44.28

Most interesting piece:

1959 Porsche convertible

Most interesting piece:

Nationality: Austrian

1970 Porsche 917

1936 Delahaye 135M Figoni & Falaschi

Most interesting piece:

1927 Isotta Fraschini Tipo 8A Fleetwood

Favorite brands: Ferrari, Maserati

Top awards:

1961 Porsche Type 356B 1600 Carrera

Roadster

Most interesting piece:

2008 Madgwick Cup - Goodwood Revival

2007 Coppa d’Oro Villa d’Este

GTL Abarth Coupe

Top awards:

1959 Maserati Tipo 60/61 Allegretti

2010 Cavallino Classic Coppa 4 Cilindri

2015 Pebble Beach Best of Show

Top awards:

2004 Pebble Beach Best of Show

Top awards:

2013 Ault Park Esprit de Sport Award

2013 Pebble Beach Best of Show

2016 The Quail Best of Show

Summary: Carlos Monteverde, born

2017 1st in Class Villa d’Este

and raised in America, is a name you

Jim Patterson

Summary: Jim Patterson is an American

Robert Ingram

Age: 67

Ranking score: 44.38

2017 Pebble Beach Best in Class

collector from Louisville, Kentuky. He

Age: 73

Summary: Joseph Cassini is a retired

Carlos Monteverde Ranking score: 44.08

Nationality: Swiss/Brazilian

Favorite brands: Ferrari, Jaguar

definitely should have heard of if you are

studied at the University of Louisville,

Summary: Robert Ingram earned his

attorney and former state superior

Summary: Andreas Mohringer achieved

interested in classic cars and car races.

majoring in marketing. He also participat-

success in the pharmaceutical business.

court judge from America. He is also

success with his pharmaceutical compa-

Monteverde is not only a very successful

ed in the Air Force ROTC program, and

He has served as director of many

a passionate collector of classic cars.

ny, selling and trading pharmaceuticals

race car driver, but also a keen collector

worked throughout his education. He

research centers and institutes. Since

His collection consists of prewar cars,

from different countries to Germany. He

of classic cars. He was highly successful

bought and remodeled an old restaurant

early childhood, when he would drive

which are mostly American exclusive

has established a remarkable car col-

in various races and won awards in

which he reopened as Jerry’s. Within

his bicycle past a dealership to see the

limited series or even one-off models.

lection with exclusive sports and racing

various competitions and races like the

eight years, he opened two additional

latest models, he has been fascinated

Among his favorite car brands are Stutz

cars, and certain prototypes with an

famous Le Mans Classic, Monterey

Jerry’s. He is the founder of Long John

by the amazing world of cars. Ingram

and Packard, but his collection offers

exceptional history. The cars of Andreas

Historics, and many more. Among the

Silver’s, which has franchised over

got inspiration for his collection from a

much more than these two. His rather

Mohringer are as amazing as they are

top awards he has won is the 2008

1,300 locations, employing more than

trip to the historic automobile races in

small collection also includes cars by

unique. Not surprisingly, the cars in his

Madgwick Cup – Goodwood Revival.

8,400 workers. He became a Wendy’s

Monterrey. The collection that Ingram

Duesenberg, Chrysler, as well as Isotta

collection have won several remarkable

Not only did he win awards in several

franchisee and formed Western Restau-

and his wife have assembled is focused

Fraschini. His collection and his affinity

awards at events such as Villa d’Este

races, but his cars also won awards at

rants Inc., which operated 47 Wendy’s

on tracing the history of sports cars,

for cars can be best described the best

and Cavallino Classic. He also takes part

shows. Monteverde’s collection consists

restaurants. As a collector, he twice won

made by Porsche. The history of a car

by himself, as follows: “I am fortunate to

in rallies such as Gaisebergrennen and

only of the best and most outstanding

Best of Show at Pebble Beach with two

can be very distinctive and unique and

be able to do what I do. I do not have

Italia Classics.

classic racing cars ever made. Although

stunning prewar automobiles. Limited

is very important for a car. As Ingram

the wherewithal to own all the great cars

his collection includes many astonishing

edition, one-off, and Art Deco French

says, “The more original the car is, the

of the world at once, but I do have the

and stunning cars, the most exclusive

cars are his favorites but he also likes

past ownership of the car, and its racing

ability to own some of the greatest cars

ones are probably made by Ferrari and

Ferraris and 1950s sport cars. Patterson

history, if any, all factor in a car’s value.”

in the world, one at a time.”

Jaguar.

is surely a name to remember when

Not for nothing is his collection, which

going to Pebble Beach or Amelia Island

consists only of the best Porsche cars,

Concourse d’Elegance.

considered one of the best Porsche collections worldwide. Moreover, his outstanding and remarkable cars won several awards at different shows. Just last year, one of Ingram’s cars won the Best in Class at Pebble Beach.

Top 100 Collectors 2018 // 33

Ranking score: 42.64

Shiro Kosaka

Nationality: British

Favorite brands: Abarth,

Age: 79

Favorite brands: Ferrari

Alfa Romeo, Fiat

Ranking score: 43.46

Most interesting piece:

Nationality: American

1963 Ferrari 250 GTO

1964 Alfa Romeo Canguro

Favorite brands: Ferrari

Top awards:

Collector since: 1960

2010 Best of Show Uniques

2005 Best of Show Villa d’Este

Most interesting piece:

Concourse Firenze

Peter Sachs

Brandon Wang

1961 Ferrari 250 TRI/61

Ranking score: 42.24 Nationality: Japanese

Jean Pierre Slavic

Gregory Whitten Age: 66

Ranking score: 41.56 Nationality: American

Age: 69

Favorite brands: Ferrari, Alfa Romeo

Ranking score: 41.96

Most interesting piece:

Nationality: Swiss

1957 Aston Martin DBR-2

Favorite brands: Ferrari, Aston Martin Summary: Shiro Kosakas collection is

Collector since: 1976

Summary: Just like his car-collecting

Top awards:

Summary:

considered one of the best and most

Most interesting piece:

colleague Jon Shirley, Gregory Whitten

2006 Amelia Island Concours d’Ele-

Brandon Wang is an English car

important collections of Abarths. It also

1960 Ferrari 250 GT SWB Berlinetta

achieved his success through Microsoft.

gance - Sport

collector, widely known in the classic car

includes some of the best Alfa Romeo

Competizione

He was hired after he pirated a copy of a

2008 Amelia Island Best of Show - Sport

world. He has a passion for Ferraris from

and Ferrari prototypes ever built. As you

the 1950s and ‘60s. His GTO is one of

may have realized the focus and main

Summary: Not surprisingly, Jean Pierre

so perfect, he was hired instead of sued.

Summary: Peter Sachs’ grandfather

the most original ones around, presented

theme of Kosaka’s collection is Italian

Slavic is a Swiss in the watch business.

Throughout the years, Whitten became

Samuel Sachs is the Sachs in Goldman

at Villa d’Este a few years ago. He won

beauty and design. One special Abarth

He established his own company, a ma-

a notable vintage car collector. His

Sachs. After studying at Harvard and

Best of Show at the Unique Firenze

in his collection comes from a huge

jor supplier for the watch industry, which

collection includes outstanding sport and

NYU, Peter Sachs started working at

Concourse d’Elegance in 2010. He orga-

rumor. As the story goes, Kosaka was

he later sold to Rolex. Slavic is a keen

racing cars from the best manufacturers.

Goldman Sachs, where he spent 37

nized the GTO Party at his villa in the

keen on acquiring the car, but Fiat re-

classic car collector without whom the

Ferrari, in particular, plays an important

years before retiring as a director. In the

UK. He races frequently at Goodwood

fused to sell it unless Kosaka was willing

automotive field would be unimaginable.

part in his collection. Alfa Romeo is an-

1960s he began collecting and racing

Festival of Speed, Spa Ferrari Days, and

to open a museum. Kosaka opened the

Many exclusive cars can be found in his

other of Whitten’s favorites. But the col-

cars. A retired successful SCCA, IMSA,

Goodwod Revival.

Gallery Abarth near Yamanaka Lake, just

outstanding collection. Postwar racing

lection is so much more than these two

USRRC, and vintage racer, cars are truly

under Mount Fuji in Japan. Although it is

and sports cars, in particular, form an

remarkable brands. If you had the ability

his life passion. Sachs acquired his 250

hard to blame him, whether he opened

important part of his stunning collection.

to stroll through Whitten’s garages, you

GTO in 1981 through a trade. He traded

the museum only to be able to acquire

Although the collection is focused mostly

would come across Porsches, Jaguars

his 275 GTB Speciale for the GTO,

the Abarth is up for discussion.

on Ferrari and Aston Martin, it also con-

and Fords as well. The most important

which was owned by a Chicago com-

tains other important car brands such as

and stunning car in his collection is un-

pany called Joe Marchetti’s International

Lamborghini, Bugatti, Rolls-Royce, and

doubtedly his GTO, which he frequently

Auto Ltd. Sachs’ 250 GTO is one of the

Jaguar. For a car enthusiast like Slavic,

drives. Whitten’s cars are not only driven

three Series I models that were bodied

the iconic roads in the Swiss mountains

through iconic landscapes, but also on

as a Series II in 1964. He drove his first

are probably as good as you can get.

famous racetracks for famous events

actual race at Silverstone (England) in

Not surprisingly, Slavic enjoys driving his

such as the Ferrari Historic Challenge

1960 in a Turner 950 and continued

cars in the Swiss mountains. “We do

and the Monterey Motorsports Reunion.

racing until 2007. In 1963, he was the

have some great roads in the mountains

SCCA national champion in F Modified,

so I try to keep a couple of cars at my

driving a Lotus 23. He won an SCCA

chalet in Gstaad in addition to the ones

divisional title in 1964 with a Brabham

in Geneva. I love driving old cars and I

BT5, setting a lap record at Lime Rock

buy them mainly for the pleasure that

Park (Conn.). Sachs also raced in the

gives me and for their aesthetic appeal.”

IMSA Firehawk, Grand-Am Cup and vintage series.

34 // TOP OF THE CLASSIC CAR WORLD

rival programming language, and it was

Age: 77

Friedhelm Loh

Age: 83

Nicola Bulgari Ranking score: 38.62

Nationality: German

Ranking score: 39.22

Nationality: Italian

Favorite brands: Mercedes-Benz,

Age: 68

Nationality: Italian

Favorite brands: Buick

Ferrari

Ranking score: 40.12

Favorite brands: Alfa Romeo, Ferrari,

Most interesting piece:

Nationality: American

Isotta Fraschini, Lancia

1933 Marmon V16 Victoria

1928 Mercedes-Benz 680S Sports

Favorite brands: Glickenhaus, Ferrari

Most interesting piece:

Top awards:

Tourer

Favorite brands: Ferrari

Most interesting piece:

1940 Auto Avio AAC 815

2007 Amelia Island The Automobile

Top awards:

Most interesting piece:

Quarterly Trophy

2009 Pebble Beach 3rd in Class

1958 Ferrari 250 Testa Rossa

Jim Glickenhaus

Mario Righini

1967 Ferrari 412 P Competizione

Age: 72

Ranking score: 38.28

Giuseppe Lucchini Age: 66

Ranking score: 38.16 Nationality: Italian

Top awards:

Summary: Mario Righini’s collection

2012 The Quail Quail Award

of cars is probably one of the most

Summary: Nicola Bulgari is an Italian

Summary: Friedhelm Loh is a German

Summary: Guiseppe Lucchini, the Italian

interesting in the world. While working

billionaire and great-grandson of the

entrepreneur who successfully grew his

businessman who is chairman of his

Summary:

for the family’s auto wrecking business,

founder of the luxury brand Bulgari,

father’s firm within the electricity sector.

family-owned business, has been an avid

James Glickenhaus is an American film

he managed to save the most important

Sotirios Bulgari. Classic Cars are among

Now he is chairman of his own company,

car collector for many years. His affinity

producer, financier, director, and automo-

pieces he found over the years. Thanks

his favorite passions. Bulgari is widely

which also operates in the same field as

for cars does not end with collecting

tive entrepreneur. He is currently general

to his taste for and knowledge of special

renowned for his collection of 1930s

his father’s firm. He achieved success

cars, as he also founded the auto racing

partner/managing director of Glicken-

automobiles, he collected outstanding

and ‘40s American cars. His collection

not only with his firm, but also his

team BMS Scuderia Italia. The team

haus & Co. Glickenhaus wrote, directed,

unique pieces of automotive history,

is considered to be one of the most

collection of classic cars. His collection

was very successful and participated

and produced a number of films in the

such as the first car ever built by Enzo

complete assemblage of American

consists almost exclusively of remarkable

in Formula One for many years. Since

1980s and ‘90s, including the films The

Ferrari, the 1940 Auto Avio AAC 815,

prewar automobiles in the world. “I

Mercedes and Ferraris. The outstanding

departing Formular One, the racing team

Exterminator and The Protector. Glick-

and the Nuvolari 1933 Alfa Romeo 2300

fell in love with the Buicks. To me they

cars of his collection have been awarded

has been involved in touring car racing

enhaus is also an avid collector of former

Monza that won the Targa Florio. His

were a symbol of America. They had

prizes at famous automobile shows,

and sports car racing. His collection of

racing vehicles, especially Ferraris. His

whole collection is situated in a castle

glamorous styling, personality, power,

such as Pebble Beach.

Ferraris is remarkable and one of a kind.

coachbuilt Ferrari P4/5 by Pininfarina

near Modena, surely a magical place for

and responsiveness. They are luxurious

Lucchini’s collection only includes the

has been extensively covered by national

a car collection. Most of the cars are in

without being ostentatious and offer

best of the best Ferraris.

publications such as Car and Driver. He

exceptional, untouched states, which

the quality normally associated with far

is also the owner and managing director

makes this collection even more unique.

more expensive import cars,” Bulgari

of Scuderia Cameron Glickenhaus, in

once said in an interview. Over the years,

charge of the SCG 003 project.

Bulgari has collected nearly 250 Buicks, Pontiacs, Oldsmobiles, and Cadillacs, among other American makes. A visit to his private museum in the US is surely something you have to make if you love classic cars.

Top 100 Collectors 2018 // 35

Rank

Collector

Nationality

Score

John Bookout

36.78

Larry Carter

29.32

A. Dano Davis

36.78

Lee Harrington

28.78

Roger Willbanks

36.60

Saulius Karosas

28.50

Engelbert Stieger

36.48

Silvia Nicolis

28.20

Lord Irvine Laidlaw

36.06

Gary Pearson

28.04

Oscar Davis

35.42

Curtis Gordinier

27.92

Peter Neumark

35.40

Jan De Reu

27.82

Christian Glaesel

34.84

Ion Tiriac

27.80

James Jaeger

34.68

J. Willard Marriott Jr.

27.62

Timm Bergold

33.92

Fritz Kaiser

27.22

Pierre Bardinon

33.48

Martin Gruss

26.52

Antonius Mejier

32.94

Andreas Pohl

26.20

Chris Cox

32.74

Peter McCoy

26.20

Richard Workman

32.42

Arnold Meier

26.00

Paul Vestey

32.24

Guy Berryman

25.80

Cameron Healy

32.20

Pierre Mellinger

25.80

Brian Ross

32.12

Ermanno Keller

25.80

Bernie Ecclestone

31.80

Clive Beecham

25.60

Matteo Panini

31.20

Bernard Carl

25.08

Andrew Pisker

31.00

Davide Parmegiani

24.32

David Smith

30.80

Warren "Ned" Spieker

24.22

Adrian Beecroft

30.42

Francesco Guasti

23.80

Jack Croul

30.18

Umberto Camellini

23.80

Charles Wegner

29.90

Jimmy K. Dobbs

23.80

Martin Viessmann

29.46

100

Clive Joy

23.80

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Ranking as a stimulus “The Classic Car Trust Global Collector’s List” offers collectors a reference tool to assess their overall achievement and see where they stand alongside others all over the world who share their passion. Establishing a ranking for Olympic athletes or putting together the Fortune list of companies is relatively straightforward. You simply compare times or distances in the first case, and financial data in the latter. Compiling our collectors’ list was trickier, because as well as looking at estimated dollar values we wanted to take account of many other facets, including provenance, history and awards. We also give extra points to collectors who recognize their wider responsibility by working to nurture and sustain the classic car community. When we first decided to make this list of the top 100 collectors, we knew we needed to build a robust database. We

all leave a digital footprint when we buy, sell or enjoy our classic cars, and these footprints allowed our diligent research team, working over hundreds of hours, to build up strong market intelligence about the most important classic cars, their collectors, caretakers, dealers, etc. Our increasingly transparent society brings advantages but also responsibilities, and our research team was careful only to use publicly available data, or information received directly from the data owners. Our rankings are the fruit of our own in-depth analysis of the available data. This analysis covers different ways of classifying a collection and applies a sophisticated scoring system that awards points for these different perspectives, adding up to a total score for each collector. The components of this score include the estimated value of the collection, which inevitably reflects the number of cars it contains, as well as the quality of the individual vehicles.

Other components relate to the historic importance of the vehicles, and to the results and prizes won at Concours and other events. Last but not least, the marks awarded for the support collectors give to the wider classic car world reflect the need for education and socially useful collecting. This latter perspective is enormously important, especially bearing in mind the number of professions involved in the sector, the implications for employment, the huge financial turnover and the substantial contribution to GDP. Our first global ranking of the top 100 collectors puts a spotlight on the top 50 and provides some exciting insights. As befits the dynamic nature of the classic car world, the ranking will evolve as more information comes in, some of it contributed by the collectors themselves. We are only at the start of the journey, but we’re convinced that the results of our work will prove very useful. 

Top 100 Collectors 2018 // 37

Elvisâ&#x20AC;&#x2122; 507 Before & After Found in the US abandoned, repainted in red and without an engine, the BMW 507 bought by Elvis Presley during the military service in Europe was brought back to its magnificent original beauty by BMW Classic. â&#x20AC;&#x2030;by Massimo Delbo

Elvis, already a Rock Star as shown by the number of fans in this picture, receives the keys of his freshly bought 507.

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Elvisâ&#x20AC;&#x2122; 507 Before & After // 39

n 1958, 23-year-old heartthrob Elvis Presley was riding on a wave of global success. Already considered the most iconic singer of the time, he had also developed a passion for expensive cars. On the other side of the Atlantic, things were far less rosy for German car manufacturer Bayerische Motoren Werke, better known as BMW. The company, founded in 1916, was almost twice Presley’s age, but it found itself in very different circumstances, still struggling to recover after the devastation of WWII. BMW certainly paid a high price for the conflict: Some of its production plants, located in the Soviet-controlled German Democratic Republic, were lost to the West German company, while the USA had banned German manufacturers from building airplane engines, and the British had become legal owners of the tooling and manufacturing rights of the pre-war BMW six-cylinder engine. This engine, installed on the iconic 328, represented the basis of BMW’s production. It is hardly surprising, then, that the Munich-based company struggled to get back on its feet. Only able to offer a large V8 sedan, too expensive to be viable in the then severely impoverished Germany, the company needed to follow a completely new direction, and start building utilitarian cars.

A German Supercar with an American Air In 1956, BMW launched the 507, a modern, exciting supercar with a V8 engine displacing 3.2 liters and generating 150 HP. The company’s aim was to break into the wealthy American market with an attractive and profitable sports car that might allow the brand to regain its prewar status. But fate, together with some mistakes, prevented this from happening. The final car cost much more than had been anticipated, and considerably more than the 300 SL marketed by the company’s more established competitor, Mercedes-Benz. In the end, BMW sold only 252 507s in total, plus two prototypes, which is perhaps just as well, considering it made a loss on each one built. The 507 made its debut at the Frankfurt International Motor Show in November 1955, and was launched on the American market the following spring. It was initially offered at USD 9,000 but this soon rose to USD 10,500 (just over twice the retail price originally envisaged). The 507 was a great car with a top speed of 200 kmph and an exclusive aluminum body designed by Albrecht Graf Goertz, which was almost

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entirely hand formed. For this reason, it caught the attention of some of the most wealthy car lovers of the period, including famous ones like the aforementioned “King of Rock’n’Roll”, Elvis Presley. In 1958, Elvis was doing military service in the small city of Friedberg (Hessen). In late December that year, he spotted what later became known as the “Elvis 507” in a Frankfurt dealer’s used car lot. After a short test drive, he bought the car (his first 507) on the spot: chassis #70079 was painted in Feather White and sported center-lock rims, a black-and-white interior and a Becker Mexico radio. The 15-month-old car had already lived an intense life: A few days after rolling off the assembly line (on September 13th, 1957), it appeared at the Frankfurt International Motor Show and was repeatedly used for test drives by the press. The following month it was paired with legendary racing driver Hans Stuck, who exhibited it at the London Motor Show and then drove it to Belgium, to show it to King Baudouin, before motoring down to the Turin Motor Show. In 1958, Stuck and the 507 (registration plate M-JX 800) were still together, and between May and August 1958 they entered, and won, numerous hill climbs in Germany, Austria and Switzerland, as well as the Concours d’Elegance in Wiesbaden. The car also had a part in the movie Hula-Hopp Conny starring Cornelia Froboess and Rudolf Vogel. After this, the 507, carefully serviced at BMW after every race, was given a new gearbox but kept its upgraded engine. It then found its way to the Frankfurt used car lot where Elvis Presley saw it. Presley registered it with a temporary US military plate. These military plates were changed every year, and decades later this complicated the task for car historians trying to piece together the car’s early history. Presley used his BMW 507 to drive between his home and the US Army Base in Friedberg. A victim of his own success, Elvis found that his female fans would write messages on its white body in lipstick. Needing to find a way to solve this problem, he had the car repainted in red. In March 1960, at the end of his military service in Germany, Elvis shipped the car to the USA and a few months later sold it to a Chrysler dealer in New York. This was his first 507, but not his last: in 1963 he purchased chassis #70192 as a gift for Ursula Andress who starred with him in “Fun in Acapulco.”

After completely  dismantling the car, the recovery of the original chassis and body and the reconstruction of the missing parts.

Interiors: before & after. The extraordinary work done by BMW Classic brought the interiors back to their original splendor. 

 First red and then white, as it was originally. The 507 that Elvis bought when he was 23 years old.

Elvis’ 507 Before & After // 41

Meanwhile, the Chrysler dealer quickly sold chassis #70079 (for 4,500 USD). Its new owner, radio host Tommy Charles, took it to his home town of Birmingham (Ala.) with the idea of racing it. He fitted it with a Chevrolet V8 engine, although he had to cut away part of the front frame in order to fit it under the hood. He also replaced the gearbox, rear axle and cockpit instruments. The resulting “hot rod” won Charles a race in Daytona Beach (Fla.) and also competed in several more competitions before being sold at the end of 1963. In 1968, after two more changes of ownership, the BMW 507 was purchased by space engineer Jack Castor, who lived near San Francisco. Castor, a passionate classic car collector, used the car occasion-

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ally before putting it into storage, intending to restore it. First, he needed to put together a comprehensive dossier on the car and gather the parts necessary for the work. He knew it had been raced in period by Stuck, and that sourcing a correct engine would not be easy, but he was not aware of the car’s link with Presley. He learned of this much later from the editor of Bimmer magazine, Jackie Julet, who put him in touch with BMW Group Classic in Munich to have the car and its history double-checked. It was the BMW archive experts who found the “smoking gun,” in the form of an insurance proposal dated December 1958 which confirmed that chassis #70079 had indeed been registered to one Elvis Aaron Presley.

You wouldn’t tell at first glance… but it’s the same car! Even the logo, ruined by time, is brought back to its original beauty.

The Art of Letting Go It took the classic department of BMW years to convince Castor to sell them the car, and finally to start (in 2014) the complex restoration work, which was made particularly difficult by the need to find a correct engine. Although the main objective was to save as much as possible of the original material, some components, completely unavailable on the market, had to be remanufactured from scratch. A new instrument panel was cast, on the basis of the original, while the seats were reconstructed, keeping the original, restored, steel subframes, and the window winders and door handles were re-manufactured by 3D printing. The engine was completely rebuilt from spare parts, in conformity

with the BMW 507 original specifications, but, being a composition of old and new parts, it was not given an engine number. The front frame, which had been cut down to make room for the American V8, had to be reproduced in its original geometry and integrated into the floor assembly, while the missing gearbox was replaced with a correct one. Care was also taken to ensure authentic paintwork, and the car now sports its original color combination. The car is currently on display in the BMW Zentrum museum in Greer (S.C.) wearing pristine white paint perfect for some new lipstick tributes! Not a bad ending to the story of a car that stayed under the radar for nearly 50 years. 

Elvis’ 507 Before & After // 43

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Together again. She is beautiful as in the 50s. Elvis, always with us, with his guitar.

Elvisâ&#x20AC;&#x2122; 507 Before & After // 45

Sandra Button: Pebble Beach Today & Tomorrow The woman who could transform Pebble Beach from a traditional event to a world class celebration. By John Lamm

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Sandra Button: Pebble Beach Today & Tomorrow // 47

At Pebble Beach reality overcomes fantasy. Here is an example.

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t’s not unusual to get an email or any other announcement of a new automobile concours somewhere in the world. These gatherings can produce great shows of automobiles ranging from 1886 to today and all have one aim: emulate the Pebble Beach Concours d’Elegance.

judging. Then we keep that bar high with the kind of classes we offer.” She adds, “We stay true to the fact that we put cars together that can be fairly judged. As long as the judging and the platform are the best they can be, what follows is that enthusiasts bring us the best cars possible.”

A lofty goal considering the prominence of this show for the past 67 years. It has been described as a “global celebration of the automobile” and its scope is true to those words. Walk the field on the Sunday of the Concours and you are liable to meet guests or entrants from the Netherlands, India, England, France and elsewhere.

What about the matter of how the Concours needs to evolve as demographics and tastes change? Pebble has made a point of getting collectors and others involved in guiding that evolution. Button points out, “It’s happened quite organically that the car enthusiasts and the collectors come to us. They say, ‘This is Pebble Beach, the mecca, so I have this idea for a class and I think you should get these cars together. And I know where they are.’ We work together to trim the class to make it right for Pebble Beach and get those cars on the field.”

Guiding all this is Sandra Button, who has served the Concours for the past 33 years, the last 15 as its chairman. She has been a major factor in charting the growth of, as many simply call it, “Pebble.” No further description is needed in the automotive world. Sandra and her husband, Martin live in nearby Carmel, California, and have a collection of automobiles that ranges from a 1926 Vauxhall to a 1972 Ferrari 365 GTC/4. It’s not unusual to discover the Buttons are off on an automotive adventure somewhere in the world. England. Argentina. Or Japan, where they recently participated in a rally driving with of all things, an Avanti. We managed to catch Button at her home and talk about the Pebble Beach Concours d’Elegance. Our first question: “What is the business of this Concours?” “I think that our job is to create the world’s best gathering of automotive history on an annual basis,” she begins. “Almost like a mobile museum that happens once a year. Of course, it’s ever changing because we only can have 200 cars on the field, and there’s so much automotive history.” “Plus we have to think about how to change,” she continues. “How to evolve while still being on brand for the level of Pebble Beach. There’s also the matter of keeping an eye to our charitable giving, which has been part of what we’ve been since 1950.” So, what does the Pebble Beach Concours d’Elegance do to maintain its reputation as the best concours in the world? Button smiles and says, “That’s a scary question but I believe that we start with a great foundation. We make the place available, we make it the best it can be, and we set the bar as high as possible with the

along the lodge sides. Tents feature shops and a major art show. The layout is delightfully compact and will stay that way. Button feels that “one gift of Pebble Beach is the size of our competition field; we have to be disciplined to stay within that space. We’re often asked, ‘Oh, is the show going to be bigger and better this year?’ Well, hopefully it’s better, but it’s not going to be bigger because we have a finite space... and it’s a little jewel of a place where the land and sea meet right there at Pebble Beach.” One result: “We’re forced to discipline ourselves to only take the very best in terms of classes and entries. But even though there are challenges I think the fact we’re held in such a beautiful place makes a big difference. It’s also sort of a neutral place, not home to a lot of car enthusiasts or to any car manufacturers.”

“Some of the ideas click for us immediately. Sometimes I think, ‘Well, maybe 10 years from now, but we’re not quite ready.’ I would say in almost every case, the most fantastic classes we’ve put together, whether they’re pre- or postwar — the Ruxtons in 2014 for example — come from the enthusiasts to us. Then we work together.” As a parallel to the evolution at Pebble, Button points to the demographics of the cars being offered at auction during Pebble Beach Automotive Week.

“In a weird way, it’s like going on vacation with your family. If you go to a relative’s home, everybody is still pulled into their local ties. If you all go to Hawaii together, you spend more quality time together. I think going to Pebble Beach is like that.” Button explains, “Everybody is coming from somewhere else, they’re all together and they’re here for one reason, to celebrate the automobile. They live and breathe it for a whole week, so I think our size and location work for us.”

“Over the last 10 years that’s evolved to where David Gooding has many more postwar cars than prewar— and they’re very carefully selected prewar cars. Similarly, now we have many more postwar cars on the field than we do prewar.” She again smiles and adds, “But just when someone might think, ‘Oh, the prewar cars are all dead,’ you throw in a class of fantastic vintage cars or early racers and the amount of attention they get from all ages is amazing. The general feedback from enthusiasts is exciting, comments like, ‘Wow, I never though I’d like those early White Knights, but they are really cool.’”

Wander the rim of the Concours field and you will find that line of hospitality areas. Each is sponsored by a bank, a winery, a corporate jet firm or, no surprise, an automaker. Mercedes-Benz led that movement decades ago and is now joined by automakers from the U.S., Germany, England, Japan, Italy and South Korea. While they might be rivals at a conventional auto show, the Pebble Beach Concours d’Elegance is, again, neutral territory. A journalist, for instance, might be on a trip to the Pebble Beach Automotive Week as a guest of the likes of Mercedes, Cadillac, Bentley or Infiniti, but is more than welcome to attend the functions of the rival automakers. “Consider the difference in age between companies like Mercedes, which is 131 years old, Bentley, celebrating 100 years in 2018, and a relative newcomer, like Hyundai,” Button suggests. “They are here because there’s something about the environment at Pebble Beach that is a clear celebration of the automobile. The enthusiasts are here. People are here to talk cars, love cars and understand everything about them. There are also people who buy them.”

All this excitement takes place on the lawn behind The Lodge at Pebble Beach. And it starts early. Cars can be brought to the lawn at sunrise and there is already a crowd waiting for them. Hagerty Insurance sponsors the Dawn Patrol and early arrivals get coffee, donuts and a hat to prove their attendance. Two long lines of enthusiastic spectators create a path along which the cars snake onto the show field. Later, seen on concours Sunday from the lodge, that lawn is a very busy place. Hospitality suites stretch

Sandra Button: Pebble Beach Today & Tomorrow // 49

A tradition of Pebble Beach is having truly special classes. Here the three Ferrari Boano one-offs on the famous Ramp.

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Sandra Button: Pebble Beach Today & Tomorrow // 51

 The magic moment when the cars enter the green: a dreamed-of and an unforgettable goal.

“There are many car events to which guys go but don’t bring their wives,” Button points out. “But Pebble Beach has traditionally been a couple’s event and I’m surprised how many couples will make car-buying decisions whilst they’re here.” “They see a lot of new cars, and say, ‘That’s what we want.’ Or, ‘We’re going to sit down with this manufacturer and talk about options, decide together on colors.’ That’s why when you look in some of the manufacturer’s stands, they have a whole room where you can look at interiors. I think having it be a couple’s event is key.” In addition to large displays of today’s cars by such automakers as Lexus, Hyundai, Cadillac and BMW, there is the Concept Car lawn. Located in front of The Lodge, this is the opposite of the lawn in back with its vintage automobiles. Here automakers can display their latest concept cars: the cars of tomorrow. “At an auto show,” Button explains, “you need to walk from stand to stand to see these imaginative machines. On the concept lawn they are close together ... Rolls-Royce, McLaren, Lincoln, Aston Martin ... the list goes on.” Proof of how important this concept lawn can be came in 2017 from Infiniti. The luxury arm of Nissan, Infiniti has no vintage race cars. That didn’t stop them from creating the Prototype 9. Meant to mimic a race car of the late 1940s, the open-wheel, single-seater Prototype 9 with its shining hand-hammered body was debuted at Pebble Beach. The electric concept car was even on the Thursday Tour d’Elegance during which automobiles entered in the Sunday Concours journey around the Monterey Peninsula. We next touched on a very important element of the business of the Pebble Beach Concours d’Elegance: charitable giving. You can tell by the sound of her voice how important this to Button. She proudly points out the Concours has contributed more than $25 million, and those funds stay relatively local. “All of those funds are funneled through the Pebble Beach Company Foundation,” she explains, “and their primary thrust is anything to do with education and changing the lives of children.”

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“When you’re at Pebble Beach you might think, wow, how could there be any need for charity? But in reality, Monterey County has some pretty big needs. The educational level here is well under the national average by a huge percentage. The number of children on some kind of support and food aid is relatively high.” She adds, “We fund organizations like the Boys & Girls Clubs of Monterey County, the Kinship Center, which is a fantastic organization that helps abused and neglected children find safe and loving homes. And Monterey County also has a county hospital, Natividad Medical Center, where anyone in this county can walk in and get free care. We support that as well.” Other educational initiatives include scholarships in the name of famed race driver and longtime Pebble Beach judge, Phil Hill. Plus the concours works with the Revs Program at Stanford University. We couldn’t finish without asking Sandra Button, “Will there be a Pebble Beach Concours d’Elegance in 2086, the 200th anniversary of the automobile?” “I think so. I agree that there’s a dynamic we have to allow for, to acknowledge that young people’s relationship with the automobile may be different than ours. That doesn’t mean it’s the end of the love of cars; cars just may be loved in a different way.” “It used to be every family had one car. That was pretty normal. Then more women went to work and there was the need for another car. In the last 50 years so much has changed regarding what’s in your garage and why. People now have different cars for different reasons and different uses.” Button surmises, “Maybe in the future not everybody has to own a daily driver. The fact they can get their Zipcar or call their automated car to pick them up or take their kid to the dentist might leave more room for a fun car. There’s no need to spend as much on a daily car.” “Maybe people will subscribe to collector car groups, and just use cars when they want to. It could be a different kind of ownership and a new way to enjoy automobiles ... With vintage cars, like Ferraris, Corvettes and Mercedes-Benz from 2017 being shown at the 2086 Pebble Beach Concours d’Elegance.” 

Sandra Button  perfectly matching her 300 SL. Sandra Button: Pebble Beach Today & Tomorrow // 53

Lorenzo Ramaciotti: Celebrating the best in beauty and style at Villa d’Este

The chief judge at Concorso d’Eleganza Villa d’Este explains why car design deserves to be treated as an art form. by Massimo Delbo

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ver since he was a boy, Lorenzo Ramaciotti had dreamed of designing cars, and in 1973, just after graduating as a mechanical engineer from Politecnico di Torino, he joined Pininfarina, back then the leading brand in car design. He had a wonderful career with Pininfarina: in 1988, he was made general manager and also given overall responsibility for design within the firm, positions he held until 2002, when he was appointed CEO. In 2005, by which time he was widely acclaimed as the father of some of the most beautiful cars of the last 30 years, including Ferrari models such as the 456, the Enzo, the 550 Maranello, and the Mythos dream car, he decided to retire. However, this new life only lasted until June 1, 2007, when, after “pressure” from Fiat Group CEO Sergio Marchionne, he returned to active work as general manager of Fiat Centro Stile for Fiat, Fiat Professional, Abarth, Alfa Romeo, Lancia, and Maserati. A few years later, he took on the role of chief design officer at the newly founded FCA (Fiat Chrysler Automobiles), where he was alo responsible for Jeep, Dodge, Chrysler, Ram, and SRT. In this position, he coordinated and supervised the style of the whole group and chose to retain, more for personal pleasure than anything else, direct responsibility for the style of the Maserati and Alfa Romeo brands. In 2016, he once again decided to retire and devote himself to enjoying his private life with his wife, Ilaria, children, and grandchildren, although he continues to serve as a judge at the most important classic car shows around the world.

most important car historians in the world. Because of my father’s job, we moved around northern Italy a lot, although I didn’t really enjoy car rides that much as I used to get slightly car sick. My uncle, who worked for the Driver and Vehicle Licensing Agency in Modena, was the one who introduced me to the wonderful world of cars. Because of his work, he had good links with car dealers and could get his hands on second-hand Lancia Aurelia B20s and Flavias, and even Alfa Romeo 1900 Supers. To run these cars cheaply, he was always transforming them so that they could be powered by methane, as many others in the Emilia region did in the 1960s, since this gas was cheap and readily available there. From a young age, I was fascinated by racing cars — my “hero” was Colin Chapman — and I also loved drawing cars. I still have my old schoolbooks, in which every blank space is filled with my early sketches. Back then, “car styling” was not a clearly defined profession, and there was no school where it could be learned, so when I realized that I wanted to design cars professionally, I decided to study mechanical engineering at the Polytechnic University of Turin, on account of its close proximity to the car world. My idea was that once I had graduated, I could go and work at Maserati. In the end, this idea came to nothing because in 1967 the Orsi family sold Maserati to Citröen. In the

meantime, I had my first contact with a coachbuilding firm: in 1967, together with my friend Guido Spinelli, later a very successful businessman in the truck spare part business, I took part in the annual Grifo d’Oro student challenge, a competition organized by Bertone. Spinelli and I designed and built a model of a sports car for this event, which was an important opportunity as all the best drawings would be exhibited at the entrance to the Turin Motor Show, to be seen by everybody in the business. Even though we had no idea how to build a model car, we ended up with something that, even today, doesn’t look so bad. However, Bertone obviously did not agree! To tell the truth, they decided that the overall quality of the projects presented was so low that none of the entrants deserved to win the Grifo d’Oro trophy. How did you come to join Pininfarina, the firm where you ended up staying for 32 years — practically your entire working life — before your first “retirement”? After graduating, I sent my resume to all the coachbuilders in the Turin area except for Bertone; given the outcome of the Grifo d’Oro competition I had made up my mind that I would never work for them! Pininfarina called me and I had an interview with Leonardo Fioravanti. I showed him my sketches and told him that my dream was to design cars, nothing

Where did your passion for cars come from and what gave you the idea of making a career of it? That’s a good question to start with, but I don’t think I have a clear answer. I was born in Modena. My father was a bank manager and my mother a teacher, so there wasn’t really anything in my immediate family roots that can explain my interest in cars. All I can think of is the influence of my grandfather, who was in charge of Maranello train station in the 1930s, and the close friendship my father shared with Omer Orsi, whose family, back then, owned Maserati. This resulted in my forging a lifelong friendship with Adolfo Orsi, today considered one of the

Lorenzo Ramaciotti: Celebrating the best in beauty and style at Villa d’Este // 55

else. I always felt that he hired me because of the passion I expressed more than the sketches he saw, but whatever the reason, I was in! And this was, of course, the most important car design firm of the period — the perfect place for a curious young man like me to learn and discover. I was officially hired on January 2, 1973. I was one of the few graduate engineers there, and the very first to go through an internal training program: every two weeks I had to switch departments in order to experience different areas of work, and I would spend my lunch breaks discovering the prototypes and studies hidden away in the underground warehouse. I clearly recall how exciting this was and can also remember Fioravanti telling me that until the end of my three-month trial period, I wouldn’t be allowed to enter the style department. Over the years that followed, I was head hunted on occasions and sometimes offered very attractive positions, but I always opted to stay at Pininfarina because of the creative energy of the place and the freedom I was given there. For 15 years, I worked as the alter ego of Leonardo Fioravanti, a man to whom I owe a great deal, and later I became the trusted right-hand man of Sergio Pininfarina; I

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couldn’t have asked for more. Subsequently, with the advent of a new generation, I realized that all my points of reference were changing, and felt it was time to retire. My father had retired quite late, and just eight months into his retirement he passed away. Ever since then, my aim had always been to enjoy life to the full, and this plan included early retirement. So I formally retired on June 30, 2005, feeling ready, at last, to satisfy my natural inclination for laziness and fulfil my dream of sleeping longer in the mornings! Two years later, in 2007, you were back, called by Marchionne to manage the style department of the Fiat/FCA group. Were you bored with retirement? Not really, but the project was too attractive to turn down. Throughout my career I had worked as a design consultant, creating style for car manufacturers, and yet I had always liked the idea of being, one day, on the other side of the fence, working for the “customer”: the car manufacturer itself. The project, which involved creating many “style centers,” basically an independent one for every different brand within the company, was so challenging that it was impossible to refuse. I also felt a sense of responsibility toward design as a

profession, and set out to raise its profile within these companies. I wanted to see the design stage moved upstream in the organizational scheme, which is surely where it deserves to be, given that it is one of the main ingredients in the success of a model, a brand, and a company. Today, the work carried out at style centers is a top-level activity: these centers are now in direct contact with the CEO and have a dedicated budget, and they are therefore places where talented people can carve out a career. I saw this as my way of saying thank you to the car design profession, which had given me so much, and also as a way of completing my own range of experience. If you could go back and talk to 1973’s Lorenzo, what would you say to him? Nothing at all! Why deprive him of the pleasure of daily discovery and the privilege of being allowed to make a few mistakes? Which cars are you most and least proud of? Every designer has skeletons in the closet. Probably the Mitsubishi CZC Coupe/Cabriolet is the car I’m least proud of, even though it would have been very difficult to do better. On the positive side, there

 Refined and romantic: Between Lake Como and the ancient Villa d’Este, now a hotel, the terrace at the Concours organized by BMW offers a truly unique experience.

is more than one car that I am proud of, and since I simply can’t narrow it down to only one, I would like to mention the first and the last: the 1989 Ferrari Mythos and the 2014 Maserati Alfieri, built 25 years apart. It is important to underline, however, that for decades now, the creation of a car has been something that is not down to a single person, but rather to a group of people. My role was to direct the orchestra and add the final touches, and of course my signature. Are cars works of arts? This is a question that I have never asked myself. If we consider design as the study of beauty applied to usable, everyday objects, then I would say that they are. Personally, I have never felt like an artist creating a masterpiece — more like a craftsman creating a sculpture that has the capacity to fulfill needs but also arouse emotions. Today, more and more, I realize that a beautiful car can evoke the same emotions as a painting, and if I were asked to choose between a Ferrari 250 SWB and a Fontana cut of the same value, I’d most probably pick the car, because I understand it much better; plus, it comes with the added value of being usable: I can take it out for a spin any time I want!

So, given some money to invest, would you be more likely to buy a classic car than a house to rent out or a painting to hang on a wall? Architecture is a different concept of art and, as with cars, the beauty of buildings cannot be attributed solely to the design expertise of a single man: their creation is a complex undertaking in which many people need to be involved. Furthermore, houses as an investment are a lot of work, because you have to maintain them, find an agent to rent them out for you, and then hope that the tenants will pay regularly. I’m not really hot on paintings — I don’t know enough about them to be sure of what I might be buying — so yes, I’d definitely buy a car, mostly because I could get some direct pleasure from it, and maybe, in the end, make some money too. Is there still a particular style that might be defined as Italian? Today, of course, borders are definitely less marked than they were only three decades ago. People, ideas, information, and objects move around more than before, and faster too. Whereas in 1973 it made sense to design a car model in Italy knowing that it would mainly be sold there, nowadays an Italian-designed car will be offered and sold anywhere. On the

other hand, the “Italian style” of that time was very popular throughout the world, and thanks to a kind of “cross fertilization” effect, its influence was certainly felt. In the 1950s and ‘60s, Pininfarina and Michelotti, as well as Bertone, Ghia, and Frua, were the symbols of Italian style, and they worked with numerous manufacturers all over Europe. Then, Italian style was discovered by Japanese designers who, having previously been influenced by American cars, started to look at Italian ones for inspiration in order to move forward. The same happened in Korea, which of course is the home of the fastest-growing car companies of recent years, and we are now seeing the same process happening in China, where Italian style, perhaps revised or modified, is an important source of inspiration. The Italian taste for a more “emotional” style, based on organic forms and sensual lines, where poetry prevails over reason, is aped by many brands, sometimes with caricatured effects. The main thing is to be able to distinguish between the original and the copies. What was true, and indeed still is, is that there is no single recipe for “beauty.” Beauty is the sum of so many different, sometimes infinitesimal, components, and mostly it lies in the eyes of the beholder, as the saying goes. When it is paired with something more, for example when it also fills a

Lorenzo Ramaciotti: Celebrating the best in beauty and style at Villa d’Este // 57

A special day at Villa dâ&#x20AC;&#x2122;Este, when magnificent cars replace the flowers.

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Lorenzo Ramaciotti: Celebrating the best in beauty and style at Villa dâ&#x20AC;&#x2122;Este // 59

gap in human needs or represents a strong technical innovation, then the result will likely be something iconic, like the old Fiat 500, the Mercedes-Benz 300 SL Gullwing, or the Citroën DS. But this is not something that you can plan: it just happens. Talking about car designers, would you say that there is a “dream team”? In real life, no, because a team of “design superstars” wouldn’t work as well as an efficient team of talented professionals with a big name orchestrating their activity. But, just for fun, if I were to form such a team, I would certainly pick Giorgietto Giugiaro first of all, as he created some of the most successful cars across different periods, and talked different style languages too. My team would also include Mario Revelli di Beaumont, for his artistic and technical capability, Franco Scaglione (a difficult man to handle but a genius when it comes to design), and Bruno Sacco, a man who has shown himself to be capable of transforming the brand style of the entire Mercedes-Benz range, and whose simple and beautifully proportioned lines would certainly help to promote exportation of the “Italian feel.” I would add many other names, too, such as Fioravanti, Gandini, and De Silva, but even if I confine myself to Italians, the list is already too long! How has style evolved over the past four decades? I’ve learned not to look too far into the future, because those who do so tend to be wrong! We only need to think of the turbine cars of the ’50s or the spaceship-like concepts of the ’60s. What has really changed are not the cars, but the world around them, and those changes were unexpected. After all, the first portable telephones appeared in comics, or in science-fiction movies, which, as rule, can hardly be considered based on reliable scientific study. The approach to style has changed, too, mainly in the sense of the means we use to create it: gone are the pencils and papers of the past, now we use tablets and virtual modeling. And I’m talking as someone who has worked at Pininfarina, whose forward-looking outlook was one of its strategic assets. Pininfarina, in the 1960s, was the first design company to buy a 3D scanning machine, and in 1972 it became the first to have a 1:1 wind gallery. Furthermore, although this is less well known, in the early ‘70s it also started investing in 3D modeling, pioneering a trend that was to emerge 20 years later. If you could pick 10 cars, not designed by you, what would you choose? I prefer to limit my choice to cars built before 1973,

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the year I became a professional designer. And this is my lineup: • 1959 Ferrari 250 SWB — The most beautiful Ferrari of all, and the car I love the most. • 1938 Alfa Romeo 8C 2900B Touring Berlinetta — The epitome of prewar Italian automobiles. • 1955 Citroën DS, first series — This is like something from outer space; we’ll never have anything like it again. • 1964 Alfa Romeo TZ Canguro Bertone — The inspiration for the sketches I did in my old schoolbooks, and for the latest Alfa Romeos. • 1966 Lamborghini Miura — The perfect mix of style, technology, performance, and vision. • 1965 Ferrari Dino 206 SP — Racing cars are sometimes as magical as the works of a painter. • 1961 Jaguar E Type Coupé — An iconic English car with some Italian touches. • 1954 Maserati A6GCS/54 Berlinetta Pininfarina — This was my point of reference for the re-launch of Maserati. • 1947 Maserati A6 1500 Pininfarina Protoype — This car is actually lost. I have only seen it in pictures, but I love its radical, no-compromise design. • 1938 Phantom Corsair — So innovative, and so little known. I wanted to have an American car in my list. After all, car designing was invented there! Most of the cars in your selection are classics, which perhaps reflects the fact that you are chief judge at one of the most important classic car shows in the world, the Concorso d’Eleganza Villa d’Este, held in Cernobbio on the shores of Lake Como. Do you think in 20 years from now, we’ll be bringing Teslas to classic car shows and looking at them with the same passion and interest as we do the prewar cars? The automobiles we tend to see and pick out at Villa d’Este, as at other events around the world, belong to the same category of cars, namely those built between the 1910s and the 1950s. I have to admit that when, in 2014, I came across the Ferrari Pinin among the entrants at Villa d’Este — this car was a one-off, built in 1980 when I was head of prototype manufacturing there — I began to feel as if I was becoming part of the historic period myself! What about the new generation and the future? How do you see the future for classic cars and how will the new generation regard them? It is easy to imagine that the next generational transition will be a difficult one, particularly for prewar cars, but also for the models of the early postwar years. Every generation, so far, has tended to

The judge’s duty is finished: now it’s time to admire the cars parading at the award ceremony.

collect the cars they remember from their childhood years and those that, as teenagers or young adults, they dreamed of owning. The whole perception of the automobile has changed: for the prewar generation they were a sort of mystical object, whereas for adults of my generation, cars were, in our formative years, the symbol of freedom and a certain lifestyle. When I look at our grandchildren, I realize that they see cars as an everyday commodity, without any sort of enchantment. However, there will undoubtedly be a few among them who will catch what we might call “the bug,” and therefore, yes, this makes me think that there is a future for classic cars. It is important to underline that these considerations do not apply to very important cars with enormous historical value, as it can be taken for granted that these will continue to survive and be preserved. What I’m referring to are the more normal models, maybe already manufactured in almost industrial production numbers, which do not stand out in automotive history. The classic car world, like everything else, will have to change and adapt to new perspectives and new supporters. Even though the way in which an object was once perceived is not something that can easily be crystallized and seen through the eyes of a new generation, it is

certainly true that the more we foster knowledge of cars and an understanding of what they meant and represented to so many during the last century, the more we will be contributing to their preservation, because we will be stimulating fresh interest in them among the upcoming generations. Added to this, we have to consider the social revolution that is now under way, in which we are seeing more and more “new rich” coming from developing countries. The number of classic cars is obviously finite, so the question is: will the existing old cars be enough to satisfy the demand from potential new buyers? Most likely not, and this could create a sort of shortage on the market, and therefore push values up. What are your views on the issues of originality and the preservation and restoration of classic cars? It is very difficult to set rigid standards, because each car has its own history and demands a dedicated solution in order to be optimally cared for. In general, a restoration needs to be fully documented, and I think FIVA should establish a protocol to be followed, with clear stipulations on the standard documentation that must be created during the work. There should be a clear record of what the car was like before starting the work, and of all that has been done

to it and how, because once the restoration is over, certain important details will no longer be physically visible. We should try to conserve, as far as possible, every single original part, and, if replacement is unavoidable, we should keep the original for future reference. Replacing an old original component with a new one may seem easier and more practical, but it comes with a real risk of losing, forever, the original shape, as certain shapes and detailing were the result of the tools used to create them and of the craftsmanship available at the time, and this is therefore something that should be respected absolutely. As for the paint, even though I’m not one of those who insists that the original color should be respected at all costs, I nevertheless feel that the type and color of the paint used should correspond to those that were available when the car was built, and that we should thus be willing to accept that the result is not going to match the look and standard of new cars today: the metallic paints of the 1950s and 1960s were definitely less attractive than today’s versions. The point of no return, when a car really needs to be restored, comes when it loses the capacity to do what it is supposed to do: run. It doesn’t have to be made to look new, but neither should it be allowed to look like a car that has just

been found in a barn, complete with rust, peeling paint, or cracked interiors: I want to see beautiful, complete paint jobs, respectful of the historical period in which the cars were originally painted, not cars that have bits of paint dropping off them as soon as they are driven. Is self-driving technology going to change the shape of cars? I have seen no sign of electric cars introducing radically new shapes, even though the technology under the skin is vastly different. It is possible that the changing habits of motorists will have more impact on the design of self-driving cars. Personally, I don’t see why we should travel in closed boxes when, being “relieved” of the task of driving, we find ourselves freer to enjoy our surroundings. For this reason, I’d go for the full-glass option, for the sheer pleasure of being able to look out and all around me. Added to this, despite my many years in the car business, I still suffer slightly from car sickness, and the feeling of being encapsulated in a car certainly doesn’t help. 

Lorenzo Ramaciotti: Celebrating the best in beauty and style at Villa d’Este // 61

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The Quest for Beauty

Original beauty has no equal. A UNESCO recognition for Corrado Loprestoâ&#x20AC;&#x2122;s Giulietta Coda Tronca Prototipo. by Duccio Lopresto

The Quest for Beauty // 63

here is something common to all humans that makes them fundamentally different from other species. It could be represented by the 5th Sonata by Beethoven or by the desperate chants of blues street singers. It could be the “Ultima Cena” painted by Leonardo da Vinci or the graffiti adorning those sad, gray concrete buildings of modern cities, making our surroundings a bit more cheerful. It could also well be a shiny, restored 1920s Isotta Fraschini with its chromed, luxurious details or a simple, completely preserved, untouched Fiat Topolino found in a barn. We cannot be satisfied by just observing how beautiful and perfect nature is, but we often try to shape it according to our own pleasure and taste. We want to leave our mark on this planet, in everything we do. This is why this article ends quoting Ulysse’s words in “Dante’s Inferno.” They represent the principle that should guide every human being: a constant universal search for knowledge, virtue and beauty. We are all doomed to pursue beauty. It’s in our bloodstream. We are all Ulysses. I would like to tell the story of my father, Corrado, who has married this philosophy in full, making it his life mission. He applied it so deeply and with such passion, strength and dedication that he has created one of the most important and admired collections of Italian cars in the world. He followed his ideology so strongly that it is not only money that counts — in fact, it is of relative value — it is beauty, design, history, passion and dedication that represent real worth. He taught me that collecting cars should be an active experience, a research for knowledge and preservation of Beauty. A collector of unique cars should invest a lot of time and effort in searching for the history before restoring them, applying his own philosophy to these objects that we consider pieces of art, just like paintings: sculptures in motion. Let’s go back in time to November 4th, 1966, when the city of Firenze was destroyed by the flood of the Arno, the worst in 400 years. The damage caused by the water and mud had a devastating impact on the millions of original books, paintings, archives and sculptures kept in the museums and homes in the city of the Renaissance. In a desperate effort to save the Worldwide Heritage site, Italian and foreign volunteers alike, known widely as the Angeli del fango (“Mud Angels”), came to Firenze to save and restore its severely damaged beauties. New, innovative techniques and methods of conservation were conceived, together with the set up of advanced restoration laboratories. Fundamental was the work of the Opi-

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ficio delle Pietre Dure, which applied state-of-the-art technology together with principles of chemistry and physics to preserve the original colors of the paintings and the marble of the sculptures. The approach was clear: preserve everything that could be saved, while restoring with new painting the elements that were damaged too severely by the water. This event inspired my father to apply the same philosophy and techniques of preservation, for the first time ever, to the world of classic cars. In particular, he chose a very special car as a test case: the prototype of the Alfa Romeo Giulietta SZ Coda Tronca, the first car in the world to feature the famous “cut tail” shape. I still remember the day when, with great emotion, my father informed me that he had found the Alfa Romeo Giulietta SZ Coda Tronca Prototipo in the United States. Its American owner, who bought the car in the sixties to race but then left it untouched in his garage for nearly 40 years, had decided to get rid of the car. The day after this call, my dad was on a flight to Philadelphia. A few hours later, the deal was signed and the unique Alfa became part of the Collezione Lopresto. It is important to explain why this car is so relevant for automotive history and heritage. “L’Arma della Vittoria” (“The Weapon of Victory”) is how the magazine Auto Italiana celebrated in March 1962 the newly created Alfa Romeo SZ Coda Tronca, a car born from experimental trials and “shape and function” needs, which are the peculiar aspects of Zagato’s design DNA. The Alfa Romeo SZ Coda Tonda (rounded tail) was the starting point of the development of our car. If it’s true that the Coda Tonda was easily dominating the 1300 GT classes, it is also true that the fast and light Lotus Elite were the hands-down winners in all other most important international races. That was an issue for Alfa Romeo, as big car manufacturers at the time were using race wins as a powerful selling tool. You win on Sunday so that you sell out on Monday. That was Alfa Romeo’s strategy at the time and it worked pretty well. For this reason, they had to create a completely new car. Elio Zagato, driven by his visionary spirit, working together with the Politecnico di Milano, Alfa Romeo, and excellent testers such as Conrero and Facett, started a technical analysis aimed at the evolution of the SZ Coda Tonda. After long and intense studies, they decided to use as an inspiration the research on aerodynamics done by professor W. Kamm in

the ‘30s. According to him, a highly extended shape increases the aerodynamic efficiency and maximum speed of a car. Elio Zagato, with the design help of a young Ercole Spada, modified a Giulietta SZ Coda Tonda, stretching the nose of the car and cutting the tail. They started with the front part, taking inspiration from the work applied to the Maserati 450 S built for Sir Stirling Moss a few years before. As the newly modified car had a long and unusual body, which could compromise handling to the detriment of maximum speed, they decided to also cut the tail. When Elio Zagato, sitting next to Ercole Spada, tested the newly modified car on the highway between Milano and Bergamo, the result was just incredible: an increase of 20 km/h in maximum speed. Ercole Spada, with the chronometer in his hands, at first did not believe the results. They tried again and again, always getting the same result. The car was much faster: more than 220 km/h with a small 1.300cc engine, compared to the 200 km/h of the Coda Tonda. Same chassis, same engine, same wheelbase and, in addition, fifteen additional kilos caused by the stretching to the back part of the car. It was a revolution! The first time Elio competed with this same car, he won the first overall prize at the 1961 Monza GP. Alfa was back. Lotus was not unbeatable anymore: Zagato and Spada had discovered the true “Weapon of Victory”! This car was then used as the official testbed for all future cars by Alfa Romeo and Zagato. It inspired the developments of the TZ1, TZ2, Junior Zagato, Giulia Berlina, Alfetta GT and GTV, up to the most recent Alfa Romeo cars. Our Alfa Romeo Giulietta SZ Coda Tronca is the car we are talking about here: the actual car that Zagato built cutting the tail and stretching the nose of an Alfa Romeo SZ Coda Tonda. The car that sparked a revolution in aerodynamics and design for the whole automotive industry. It is a true milestone, which had to be preserved carefully in a way of which only my father could think of. In an interview with the FIVA, my father stated: “In art it is mandatory to try to save as much as possible of the original. Every retouch has to be done in a way that does not affect the original work, and the same has to be done for sculptures. For example, when restoring a Caravaggio painting, you have to know that behind the paint there are often scratches that the artist made with the wooden shaft of the brush to

The Coda Tronca  when discovered and the drawing that defined its aerodynamic, starting from the SZ Coda Tonda.

The UNESCO  ambassador giving the award to Corrado Lopresto, the mind behind this cultured project. Here with the author of this article, his son Duccio.

To preserve the  original paint they injected special glues, similar to the ones used in painting restoration. The same care was applied to the interiors.

The Quest for Beauty // 65

sketch some part of his figures, and if you clean the paint too energetically you risk removing them.” My father treated this car as a work of art, saving as much as possible of the incredibly well-preserved original. With techniques borrowed from the restoration of painting and sculpture, the car was first taken apart, cleaned and restored without any of the typical invasive interventions of traditional restoration. The original paint was maintained, fixing those parts at risk of detaching with special glues, carefully injected below the original paint. The body was polished with wet sandpaper. To allow the welding of some parts, a special paste was applied on the paint to freeze it and prevent damage due to high temperature. Also, special treatment was applied to Plexiglass and seals, as well as the interiors, with techniques to preserve all the original parts. But he also drew on art and archaeological techniques: he decided to clean only half the car, leaving the other half frozen in time. In the uncleaned part, he preserved everything (including the dust) under a thin layer of transparent matte lacquer. The restoration was completed a few months before the 2016 Concorso d’Eleganza di Villa d’Este, the most exclusive, elegant concourse in the world. Presenting the car in such a condition (half cleaned and half preserved), my father wanted to provoke the car community and, at the same time, show his new ideas of restoration. Villa d’Este accepted the car in its unusual condition. On Sunday, with a shocking announcement, the FIVA, for the first time under the patronage of UNESCO, awarded my father the Preservation Award in recognition of the particular philosophy applied to this car and the incredible preservation work done. My father has won four gold cups at Villa d’Este and one Best of Show, but that prize was something completely different: It transcended car collecting. It was the recognition of 35 years of work on creating a unique approach that is now admired and respected by classic car collectors around the world. The provocation had the unexpected effect of changing the whole automotive scene. On that day, a car was no longer just considered an industrial object, a means of transportation or even a piece of design: It was celebrated as a World Cultural Heritage piece. FIVA subsequently invited my father to talk about this restoration approach at the UNESCO HQ in Paris for the 50th anniversary of the FIVA, where the car was featured on the official brochure of the event and

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where FIVA decided to include my father’s techniques among the official guidelines for preservation of historic vehicles. Like in any aspect of life, perspectives always matter. When restoring a Michelangelo painting, would you change its colors to adapt the object to your personal taste? If it is in bad conditions, would it make sense to restore it completely, with new paint and new materials? The answer, for us, is quite clear: never. Unique classic cars must be treated like paintings or sculptures: objects that are part of the cultural heritage and need to be preserved. If we consider them as such, we will be able to treat and respect them as art objects. Being an architect and a true Italian, my father has always had a deep love for art and beauty. But the real turning point occurred when he started collecting and restoring 17th century paintings. It’s in those years that he matured a deep understanding of how a good restoration should be. When he decided to use the same approach with cars, he surrounded himself with the best “Maestri” in the field, such as Tito Anselmi, Dino Cognolato, Veniero Molari and Felice Bianchi Anderloni. He had close and personal relationships, with these men, who taught him all the secrets of the art of collecting and restoring classic cars. In twenty-five years, he has never spoken to me about how much our cars are worth. He has always talked in terms of history, culture, beauty or design, which are the values that represent our philosophy. Oscar Wilde used to say that the cynic is a man who knows the price of everything and the value of nothing. I consider my father more an artist than a businessman or collector. I have been to concours all around the world, but I have rarely seen the same dedication, love and attachment that my dad shows to these cars, which he considers pure works of art, sculptures in motion. When people tell me that “cars are meant to be driven,” I do not completely agree. Cars have different functions. They are a means of transportation, and in this they offer driving pleasure and emotion. You can enjoy them on a beautiful rally on the Tuscan hills or on the racetrack. But, for me, they represent one of the highest expressions of art and design. The aesthetic function of cars, especially prototypes and special one-offs, is the aspect that strikes me most. Particularly because it is not evident with paintings or sculptures. It is a subtle kind of beauty, which you have to discover slowly, with dedication and attention, studying the shape of the car but also knowing the history behind its conception.

My father always digs deeply into the history of a car: who designed it, why, in what historical circumstances. He always tries to keep original elements that he can save and he restores only when it is strictly necessary. He spends days researching the history of the designers and who built the cars. The work applied is a university-inspired approach with inordinate attention to detail. For example, when we restored the 1931 Alfa Romeo 6C 1750 bodied by Aprile, we worked together with the Politecnico Universita’ di Milano to find the exact colors of the paint of the car. We only had a black-and-white picture of the car. Applying the same scanning technology they use to restore pre-war black-and-white movies, we scanned this image and found the original color combinations of the paint. Many have asked us why we stick to this unusual philosophy. As I mentioned at the beginning, the quest for beauty is what keeps us alive and human. It is what gives sense to our existence. People who collect classic cars usually do it as a hobby. They see cars as toys for grown-up boys or as investment vehicles. This is not how we perceive cars. We see beauty in the patina of the original paint, in the imperfect lines of the original body hand-sculpted by master artisans back in time, in the original leather that was created with special materials, such as the python leather of the Isotta Fraschini 8ASS or the magnificent original leather made using textile fabrics of our Lancia Aprilia, still in completely original condition. People tend to follow the easy path: make everything new. It is faster, cheaper and it will pay off in terms of investment, maybe. Our approach is exactly the opposite. My dad likes to compare himself to the artist who suffers while giving birth to his creation, always driven by a constant, painful, torturous, fascinating quest for beauty. As Irving Stone wrote in his book “The Agony and the Ecstasy”: “One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.” 

This quote from  the poet Dante reminds us how, dealing with an extraordinary discovery, you can give value to the time elapsed.

“... fatti non foste a viver come bruti, ma per seguir virtute e conoscenza.” “... you were not created to live as brutes, but to follow virtue and knowledge.” (Dante, Inferno, Canto XXVI, Firenze 1320)

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Cognolato in his magic Bottega, together with his sons and some of his excellent technicians.

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The art and craftsmanship of Dino Cognolato

Following the tradition of sixteenth-century Italian artisans, the great restorer from Padua created a Bottega, where knowledge is at the core of every last detail. â&#x20AC;&#x2030;by Antonio Ghini

The art and craftsmanship of Dino Cognolato // 69

very day, at ten past six in the morning, a distinguished and courteous gentleman with a short beard and white hair arrives at the newsstand in Vigonza, a small town just outside Padua. He buys two newspapers of famously opposed political persuasion: “It’s only by comparing two opinions that you can seek to understand the truth,” he remarks. Shortly afterwards, having drunk a lukewarm cappuccino and some freshly squeezed orange juice, he will sit in his car in the still-deserted supermarket car park at Alì, almost opposite the large gates of the company that he owns, and read them carefully. He’s Dino Cognolato, who is 80 years “young” and starts the day after drinking his first coffee in bed, brought to him by his beloved wife, Lucia. “This way, I can read in peace. If I went in to the company, they’d get me involved in something straight away….” Whilst his brilliance has been responsible for marketing some of the most exclusive luxury brands, he prefers to leave the company premises entirely anonymous: “I never wanted to put a sign on it; if anyone wants us, they’ll find us….” It’s a large industrial warehouse, the biggest of the three that make up the company, and it’s more like the workshop of a jeweller specializing in embossing silver than a garage where cars are restored. This is because it’s jewels that immediately catch the eye of anyone fortunate enough to go in: unique Alfa Romeos, sumptuous Isotta Fraschinis, exquisite Bugattis, proud Mercedes or powerful Ferraris. Meanwhile, those who emboss the precious metal that covers them, and the upholsterers and fitters — all on a par with the historic figures of the automotive arts — work in a hushed atmosphere where even the sound of a hammer on sheet metal is more like music than noise. “Aluminum should be struck without ear plugs,” Dino insists, “because you can tell from the sound of the metal whether it has been beaten properly.” Cognolato’s company does have a name: it’s called Carrozzeria Nova Rinascente. “I chose this name when I moved from Padua; Gabriele d’Annunzio (poet, writer and legendary figure in Italian culture and politics during the first part of the last century, Ed.) created it when he resurrected a big Milan warehouse after a fire. It seemed like a good omen to me.” In fact, the Vigonza warehouse was an important step for him, the third generation of coachbuilders — “In Padua, my grandfather worked on horse-drawn carriages...” — because it meant not only putting behind him the company that had employed him — Officine Meccaniche della Stanga, which built trains

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and public transport vehicles and about which he commented “it changed ownership, employed engineers, and technicians like us were going backwards instead of forwards” — but also the small body shop he had opened in Padua when he was barely 21 years old. “I’ve been very lucky,” he says with his customary polite modesty. “I took evening classes in drawing,” one of the things that he still excels at today, “and I was valued as a draftsman at Stanga, where I had to draw at a scale of 1:1 on the materials used. I was then given the opportunity to study work timeframes and to design tools to make them faster and more efficient. I designed a bending tool and a riveting system for railway cars which worked very well....” Just hearing him say this, standing in his blue jacket next to a nearly completed 1957 BMW 507, you understand that his luck did not come about on its own. “Then, in Padua, when I’d opened the body shop on via Niccolò Tommaseo and already restored a Lancia Aprilia and a Bugatti, I was brought a new 600 Fanalone by the nearby FIAT dealership, which they’d not been able to sell. It was an antique ivory colour. I had a colour sample from before the war that suggested combinations and also showed how to do the edging between two shades. I painted the roof in metallic ruby red. When the car went back to the dealership, it sold after five hours! They immediately brought me another white one, and this time I

painted/did the roof in metallic emerald green. From then on, I started to provide this service regularly and was paid well and promptly. But that wasn’t enough: what made my reputation was a customer known to be demanding to the point of obsession. He was a famous architect from Padua, called Iscra. He’d bought a Jaguar XK120. We completely restored it, including the burl woodwork. It was a runaway success. People in Padua started to say, “If he’s made Iscra happy, then he’ll be lucky all his life!” In truth, however, there was slightly more to it: Cognolato brought about that luck with his own hands, and from that moment he knew how to masterfully interpret the need inside each of us to give meaning to our lives. This involves combining the right amounts of the opposites of reason and irrationality in each of us, and that is extremely difficult. Dino solved this problem by creating his own microcosm, where he complements the rationality of his own natural professional mastery with a mix of emotions and curiosity about the magic that stems from nature and from the most extraordinary things made by man. His imagination is fueled by the history of technology, interest in art as a Renaissance expression of the workshops of the great masters, and a philosophical synthesis, understood as the reading and practical interpretation of everyday and spiritual values. “Functional things should be beautiful...,” and he cites the Great Pyramid of Giza and the rope

Dino, the Master, and his timeworn instruments.

rollers who gave the rope a slightly flared shape; the extraordinary form of the Eiffel Tower, constructed off-site and assembled without a hiccup using 22mm rivets — these are his words — for the bolting; and the talent of the Italian engineer who made the Golden Gate piles, and had to find rock under 5 m of sludge at the bottom. But the real model on which he has methodically based his style as an entrepreneur is that of Italian Renaissance art. Looking at his Vigonza factory, it’s easy to imagine it as one of the workshops of the great masters of the past. He mentions Michelangelo, Raphael, Mantegna; he also refers to Giotto and Donatello, who traveled with a large entourage to take their art to the palaces and churches across half of Italy. He continues: “When a very young Leonardo went to Verrocchio’s workshop in Florence, he was put to work looking after the chicken coop and the rabbits....” The statement seems somewhat surprising, but Cognolato explains:

“...the chicken coop because eggs were mixed with earth to make the paints, and the rabbits because they made glue out of their bones.” As the Italian proverb says, “Learn the art; you never know when you might need it.” This is an example, just as the young apprentice that we come across in the workshop is an example: he’s working patiently on aluminum rims to be shaped with a big wooden hammer. “This young man has been here for two weeks, and he’s doing a training course on working aluminum. It’s gone well so far; the next stage, the hardest one, will be hammering out a half-sphere. When he’s able, he can start working on the cars for real.” It’s difficult to say whether young Leonardo’s smile when he was overseeing the chickens and rabbits was the same as the smile we saw on this young man’s face, but the joy of learning a trade under such expert hands must surely draw some parallels.

Cognolato, the philosopher, will find out, however, alongside him. Spending a whole day with him, there are so many moments and phrases that demonstrate this. It’s worth reading them, in an almost random sequence, to understand what his world is based on: Nature: “Colours need to be in the right proportions and the right shades – you only have to look at nature and birds....” Professional ethics: “I don’t deal in cars, I restore them. Buying, restoring and selling would be like betraying our work, mine, that of my sons, Roberto and Paolo, and that of my workers. Because if you restore a car that you want to sell, then there’s a temptation not to do it as well as you should, or to remove original parts to store away in order to earn more. For us, dealing would be wrong, and inappropriate as well.” Still on the subject of restoration, with a clear refer-

The art and craftsmanship of Dino Cognolato // 71

Cognolato knows exactly whatâ&#x20AC;&#x2122;s needed to reach perfection, from the 1:1 drawing of the model perfected using techniques from the past to the beating of the metal sheet, and the welding, along with the knowledge garnered from the studies the mechanisms even the most creative ones, found on the cars restored by him.

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The art and craftsmanship of Dino Cognolato // 73

ence to the American over-restoring style, he remarks that “this is no longer testimony to the era,” adding that “all that glitters is not gold. Wear and tear is also part of a car’s history; you need to salvage everything that can be salvaged — restoring costs more than building from scratch — but it’s the evidence of the original that counts.” Art: “The automobile was created as an industrial product; it’s not art. But if, after many years, it becomes a masterpiece that even young people like, that car has been illuminated.” 1942 Alfa Romeo 6C 2500 SS Bertone

Socio-cultural analysis: “Because of their culture and tradition, people from the Far East love their cars deeply and discreetly. In America, it’s different; it’s a young nation, and Protestantism encourages the valuing of wealth.”

1955 Ferrari 750 Monza Scaglietti

Business skills: “You need to know how to measure the growth of a company: those who encourage you to grow up to a certain point start to give you salt water to quench your thirst. You’ve expanded, bought equipment and got yourself into debt, and if work is taken away from you, you’ll find yourself with your warehouse closed, and in the tall grass.” Reputation: “For money, you can go to the bank and ask for a loan, but not with your name!”

1938 Lancia Astura Cabrio Pininfarina

1950 Lancia Aurelia Zagato

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Personal integrity: “My primary objective is to provide peace of mind for my employees, and to involve them. I need to be able to make them want to spend the day at work.” This philosophy also extends to a formula for personal peace of mind: “If there’s no solution, why worry? But if there is a solution, why are you worried?” Cognolato is objective about the practicality of his philosophy: seeing how he works, it’s not surprising that his prices are at levels comparable to those of American restorers, but he also has a couple of sayings for this: “Sell high, but weigh fairly” and “Remember that the cleverest man is the honest one.” The critical viewpoint that his “school of philosophy” expresses with wit: “Counterfeit cars are like women who have plastic surgery and can’t smile any more,” and, speaking of replicas, he makes an observation worthy of Aristotle: “You can tell whether a Vuitton bag is real or an imitation by how the woman carrying it walks,” but, he adds, “mind you, if, one day, imitations were no longer being produced, this would suggest that things were not

going as well as before for the company!” We look around — it’s now after four o’clock in the afternoon — and it’s time to find out how his business operates, what his relationships with his customers are like, and what the scope of the company’s work is. The first thing to know is that Dino’s two pillars are his sons, Paolo and Roberto, who are supported by several long-standing employees who seem to be part of the family. Paolo, a draftsman like his father, applies new technologies, while Dino continues to work, standing up, on large drawing tables to produce vehicles on a 1:1 scale. (Currently in his black apron, he changes outfits depending on the work that he does I suggest this wording could be deleted. including sporting elegant English jackets when he takes a guest to lunch.) Paolo animates the completed drawings using the computer miracles that Dino resigns himself to. Roberto, a big fan of motorbikes (which it just so happens he restores as a hobby), looks after relations with the most important international customers, and also works within the company himself. Carrozzeria Nuova Rinascente’s scope of activity — not forgetting that this is the name chosen by Cognolato — is very clear: “we do bodywork, upholstery and electrical installation. We don’t get involved with mechanics — the customer is free to choose who to use for that. I don’t understand mechanics, and I don’t want to give guarantees that I can’t meet. However, we do deal with related aesthetic details.” When a car arrives, and throughout the entire production process, Dino, a great photography enthusiast, documents everything: “We strip it down and check every component in order to see what can be salvaged and repaired. The car is mapped end to end, and drawn by me personally on a 1:1 scale.” This immediately gives you a sense of the seriousness of the approach. “Then, masking is created from the drawing, which enables sheet metal to be beaten out where necessary. We salvage everything we can, and also carry out micro-welds or apply reinforcement strips where the metal is worn out.” If the Vigonza workshop can be compared to an artisan jeweler’s, its vault has an incredible archive at its disposal, perfectly organized and curated. It started off with a catalog of colors used for the 600 Fanalones, and now it’s a kind of secret world heritage site.

“Our customers can come and see what we do when we’re working on their cars, whenever they want to. We have no secrets and I don’t have an office on the first floor where they can sit down.… (note the subtle irony). The customer is introduced to the senior assistant who’s overseeing his or her vehicle, and can provide any information required.” He smiles when we ask if he has customers who are somewhat reluctant to dig into their pockets… “No, we’ve never had any like that…. The best are the Swiss with their Calvinist mentality. They want the work to be done well and are prompt with payment, but if something isn’t right, they point it out to you politely.” One last bit of curiosity: how do payments work? “It’s simple; they follow the progress of the work. We invoice every 200 hours, and it’s a method that provides mutual guarantees.…” It’s evening by now, and we’ve been with Dino since early this morning, when he drank his cappuccino and freshly squeezed juice. We’ve followed him everywhere. We went for lunch in one of his usual restaurants, where, because he’s a health fanatic, he prefers fish — Venice is not far away — and has a weakness for scallops. We have enough notes to write a book; he’s told us so many other things about Mercedes, who commissioned him to rebuild, for their museum, an aerodynamic model in aluminum, the bodywork for which was used during the war to make aircraft: “Lovely to work with them, very well-documented, thorough, always ready to help, prompt payers.” He told us about the time he helped to convert the GTO Evoluzione into an F40 with Michelotto, a long-standing external consultant with Ferrari, and from Padua, like him. That’s right. Dino himself: the magical F40 originated with them! He also told us about the reconstruction commissioned by the Maranello company of the 125 S, the first Ferrari from 1947: “Enzo Ferrari said that he found part of his first car, which had been restored, in America.” Everybody knows that this part never existed, but it was his name that was chosen for the reconstruction. One last question remains: what dream does he still have? “Here it is,” and he shows us the chassis of a 1924 Fiat 525, with all of the original mechanical parts. “This is the car that I am making for myself.” From the way he says it and from the time that it’s likely to take, it seems like the present he wants to give himself for his eightieth birthday. And the bodywork? “It was never made; it remained a design, no. 1064 in the FIAT style centre, dated March 13, 1931, and

published in 1974 in a booklet by the ITALIAN FIAT Register, entitled Unseen Sports Vehicles from Fiat Production 1923-1933. Then I went to the FIAT Historic Centre on Via Chiabrera in Turin, where I found several very helpful documents and drawings that I could use to build it. It won’t be a restoration, but a construction as of now.” As of now — a good way to sum up this project of Dino’s—one of cultured nostalgia. Alone, in the dark of evening, driving towards the motorway, I get the feeling that I have had one of the best days of my life. It’s true. You can see people for years without really getting to know them. Possibly because often there’s not much to know. Then, in a single day, you discover an entire world by listening to a man who is usually reserved and not very talkative. A man who, with this long and intense conversation, may have wanted to talk to himself. Wonderful. I think that’s why I hugged him when it was time to say goodbye. 

1957 Maserati 450S

1962 Ferrari 250 GTO

1957 Maserati 200 SI

In these pages, some of the masterly restorations made in Dino Cognolato’s Bottega in Vigonza. 1958 Ferrari 250 Testa Rossa

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Albert and Rita Spiess sitting in one of the most extraordinary cars in their collection, the Lamborghini Marzal.

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n 1983, the American movie “Trading Places”, starring Dan Aykroyd and Eddie Murphy, sparked a real interest in the question of background, and the extent to which people are influenced by the surroundings they grew up in. What the movie shows at the end is that those with the right skills will ultimately succeed, even if a “wrong” early environment means that they have to work more, and harder, in order to achieve their success. As I drove back after a fascinating interview with Swiss classic car supercollector Albert Spiess, I couldn’t help thinking that Hollywood had certainly got it right! Spiess was born in 1950 in Schiers, a small village in the Grisons canton, into a family with no particular interest in cars. The family company, in the meat business, was well established and growing. Young Albert, destined to take over the firm, was sent to a private business high school, to learn how to run a firm, and was then schooled in the art of butchery. It is difficult to imagine a background less fitting than this as the starting point for someone who subsequently decided to start collecting classic supercars, and who has established, over 30 years of careful study and purchasing, the most refined and most important Lamborghini collection in the world. Mr. Spiess, if Konrad Lorenz had studied you instead of his ducks and geese, his imprinting theory would still be just that, a theory… How did you start collecting cars? Schools have played a very important part in my life, even though I wasn’t a model student. Indeed, I met my future wife, Rita, at the business school I attended as a teenager. Then, the six months I spent in Italy learning how to prepare the perfect “salame” and the most refined recipes with ham probably left a deep impression on me too. But, the truth is, cars were a passion for me from my very early years, and as a child I dreamed of being a car mechanic. My family drove beautiful cars, nothing too fancy, but definitely better than average, such as Jaguars and big American cars, or Italian Lancias and Alfa Romeos. The first car I ever drove was my mother’s Lancia Flaminia Coupe 3C 2.8 liters, which she gave me when I got my driving license. Soon afterwards, my father bought me a Series 105 Alfa Romeo GT 2000 Veloce, followed by other cars. When I went to England to study English, I definitely spent more time looking around for cars than learning the language. I came back with few notions of grammar, but with a wonderful carburetor and camshaft to pimp the Mini Cooper S I was driving! It was some time later, in the

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mid-1970s, that I finally acquired the first car I paid for myself, a De Tomaso Pantera GTS. But it is still quite a leap from this to embarking on collecting Lamborghinis… I fear this is the point, I’m not a typical collector and I don’t like my cars being considered part of a collection. Often, and probably today even more than in the past, the word collection, in the car world, suggests something that sits unused, and that is sometimes even far from ready to be used. I’m just someone who worked hard, very hard: there were years when the factory was my entire world, and allowed me to do almost nothing else. My only indulgence was to buy myself, once in a while, a car that took my fancy. I hardly like to admit this, but I had so little spare time that it was usually my wife who would go and pick up the new car or drive it to the shop for maintenance. But, back then, I never had more than one car at a time. The “old” one was always traded in to contribute to the purchase of the new one, and, like my father, I was not attached to a specific brand. Having said that, the emotion I felt when Lamborghini launched the Miura, and when, at the 1973 Geneva Motor Show, I saw the first Countach, the LP 500, was something that stayed with me over time. I immediately felt drawn to this brand, attracted by its capacity to be, at once, so sophisticated and so futuristic. It took me some time to make up my mind — indeed, beforehand, I bought a Ferrari 308 GTB Fiberglass and then a carbureted 512 BB, but in 1980 I took the plunge and ordered a brand-new Tahiti Blue/white leather Countach LP 400 S. In my view, the Countach was the future: it was the symbol of extreme cars, and Lamborghini had a color range that was definitely more interesting and appealing than what its competitors were offering. Back then, buying a Lamborghini was a risk: you had to pay the entire price up front, without being sure that you’d even receive the car. Foitek, a dear friend of mine and, for some years, the Swiss importer of Lamborghini cars, had to stop collaborating with the firm because it was so unreliable in delivering. For this reason, to order my car I had to go through somebody in Zurich with contacts in Sant’Agata. Everything was based on trust and hope. But I’ll never forget that first drive home from Zurich: I never test drove cars before buying them, and I had never driven a Countach before. The noise was simply amazing, as was the driving experience. My wife drove it a lot too; she was the one who would drive it to Sant’Agata for maintenance work and then get the

train back (and vice versa). In 1998, I sold it to buy a Ferrari F40, which I still have today. I subsequently regretted this decision, but I didn’t have the money for both cars — also because in 1982 I had bought a Miura SV (for its beauty) and a Silhouette (for its rarity). It was Ferruccio himself who first gave me the idea of having more than one Lamborghini. It was the early 1980s, at a Lamborghini meeting in Constance — I was there with my Countach — when I met this incredible man: a simple and warm person, brimming with positive energy. I found his work, building supercars, exciting, but I was even more struck by his ideas as an entrepreneur: he was capable of

inventing and building tractors, cars, helicopters and offshore engines. After this meeting, I set about learning more about the brand, and discovered that many one-offs were based on Lamborghinis. I began to see that the firm was an extension of a single man, this man I had the privilege of meeting. At this point, I started buying used Lamborghini cars from the past. The beauty of Lamborghini has always been the feeling you get when you visit the firm in Sant’Agata Bolognese. Every time, to me, it feels like visiting family: it was like that back then, when the ownership of the firm changed quite often, and it still is today, in spite of the company having grown into a large industrial enterprise. Sometimes the people at Lamborghini ask me to provide some of my cars for their

museum, and other times when they are developing new projects or have an interesting car, they might give me a call. I can’t imagine a more friendly and “win-win” relationship. Do you follow a particular theme when buying cars? Not really. I go for cars I like. I have never bought a single car for its current or future value, or because it would fill some empty space in a thematic collection. To me, my Urraco is worth just as much as my Miura. I see collecting as a hobby that is good for my soul, not an investment. I am aware, of course, of the economic value of some of my cars, but this has never been a limit or a target. I look for interesting colors, cars with a beautiful history, one-off cars, or ones

Albert and Rita in the splendid Maserati 450S that won “Best of Show” at Villa d’Este 2014. 

A look behind the curtains of the Spiess Collection // 79

The Spiess collection includes several unique cars, including the one-off Miura Roadster. Albert Spiess also owns another open-top Lamborghini: the 350 GTS.

with an important chassis number, and I never forget a maxim I applied in my business life: quality is definitely more important than quantity. Today you have a large number of cars in your warehouse, where you spend a lot of time working, and you take part in multiple car shows around the world. How do you combine your work and your cars and how do you manage their maintenance? I’m retired now, so I have plenty of time to play with my cars. Luckily my wife likes them too, so she allows me to spend almost all my time at the collection. Just the sight of them, parked but ready to go, is always enough to make me feel good, because I love cars for their aesthetics and their history, and not only for the

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way they drive. This is the reason I like to spend so much time researching a car’s history and documentation — to enhance its past. I never forget that the historical documents accompanying a car are, in the end, more important than the car itself. I love working on my cars myself, and even cleaning the warehouse can be fun. I also enjoy helping the amazing Nik, my trusted and highly skilled mechanic, with various jobs. We realize that we can’t have all the cars in perfect running order all the time. We select the ones we plan to use or show in the following months, and we prepare them so that they are ready, including driving them. Driving a supercar like a Lamborghini, be it a modern or a classic one, is important both for

the car (to keep it, and all its parts, active and alive) and for me, as it allows me to really understand the whole car and its “soul.” The Huracan Performante is probably the most beautiful of the contemporary cars to drive, while, going back in time, the Miura gives you a similar feeling. However, for the longest single journey Rita and I ever did in a Lamborghini — the Tour of Italy organized by the company to celebrate its 50th anniversary — we picked a 350 GT, a true Granturismo. We loved every single kilometer of that amazing journey, also because for Swiss people like us, constrained at home by really low, sometimes silly, speed limits, driving in Italy is like a dream, on account of the greater freedom and the wonderful attitude of people there who really love these thoroughbreds.

Looking back at your many hunts for cars and the many purchases you have made, do you have any interesting stories to tell and any secrets on how to secure a good deal? I have always loved the connection between people and cars, and the way in which cars can become part of a family. No two people are the same, and there are countless reasons why a person might decide to sell a car. The combination of these two factors makes every deal unique, and there is no single recipe for doing a deal, or at least none that I have ever discovered. Every occasion is different, but for me a good deal is when you get what you were looking for. If a seller wants to sell a car, for whatever reason, and he succeeds in doing so, then that is a

good deal, even if he perhaps got less than he initially hoped for. Similarly, if a buyer wants to buy, and he buys what he wants, then that is a good deal, too, even if he ended up spending more than he expected. Naturally, all this applies within reasonable limits. As for the stories I could tell, there are plenty, probably even more than I can remember. I recall, for example, a Miura Jota, a very rare car. It was discovered in Haiti, a country without a single kilometer of highway, so hardly the first place you would go looking for a car like this. It was owned by a Mr. Silvera, a hotel owner and personal friend of Ferruccio. Many Lamborghini customers were friends of Ferruccio, but I never understood whether Mr. Lamborghini tended

to sell cars to his friends, or whether people became his friends in the process of buying his cars. My most difficult purchase, to date, was the 350 GTV, the first Lamborghini built. It was in a Japanese collection, and the owner kept changing his mind, which was a nightmare for me, given the way I do things. It took me two years to finalize the purchase, but it was a magical day when everything fell into place and I finally got the signature on the contract. I then had to ship the car from Japan to Switzerland. It was the first time I had done this, and it was certainly no easy task. Today Iâ&#x20AC;&#x2122;m better organized, with a friend in Japan ready to take care of everything when needed. My one-off 350 GTS was in the USA, while the Faena by Frua turned up in Germany. All the other one-

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offs also had to be located, one by one, all over the world. Altogether a challenging and exciting task. Looking to the future, what do you envisage for the car world, the classic car world, and for your collection in particular? I would absolutely love to see a future in which it is men that drive cars and not the other way around, but that is more a hope than a vision, and I really fear I’ll be disappointed. Generally speaking, the future looks good for car collecting, as people and manufacturers are becoming increasingly aware that there can’t be a future without a past and that it is the constant interaction between the two that creates an interesting present. This is particularly true for special companies like Ferrari, Bugatti, and Lamborghini, which each boast such a rich and wonderful past and such a strong personality. This is the reason why,

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even though I love fast, modern hypercars, I’m not so attracted by “tuned modern hypercars” because they have no heritage. I always tend to overlook the German car manufacturers, too, even though my everyday car is an Audi, because their supercars are too serious…maybe just too perfect. I’m quite sure that important cars (the ones with a special history, the one-offs, and the ones manufactured in very limited series) are increasingly going to move away from the car world and closer to the concept of art.

cost me that much to buy. I started gathering them when they were mostly unwanted, and I got almost all of the contemporary ones used. The health of my collection is the result of all the time and the care I have invested in it, more than a reflection of what I have spent, and spend, on it, and this is why I simply can’t say what might become of it in 10, 20, or 30 years’ time. I don’t even know yet whether my very young nephew will be interested in cars or in the collection…

It is more difficult for me to plan and imagine the long-term future of my own collection, partly because I don’t like imagining it. Indeed, when you write your will, you don’t feel any pleasure in doing so: it is a duty you feel you must perform. We do not have children, so when I retired I sold my company. As for my cars, I have to admit that most of them did not

Is there a particular car you dream of buying? Of course, and it is one I know very well. I know where it lives, and I also know the lucky collector who currently owns it. Indeed, every so often, we talk about our shared love. But I can’t tell you what car it is; otherwise the owner will increase the price. Lamborghinis aside, I can tell you, though — because

Spiess's Bugatti collection, which includes both pre-war cars and all recent models from the '90s onwards.

company of friends alone, and without the pressure of people pointing at me. When I bring a car to a car show, I’m not showing myself. I’m there to share a piece of history and heritage with the onlookers. This is what is important, and I feel that it wouldn’t be correct for me to intrude too much in this. I often ask Rita to drive the cars on stage, because these cars belong to both of us, and she enjoys driving them as much as I do. Her favorites to drive are the Diablo Roadster and the Miura Roadster. As for this interview, the answer is easy: a friend, Fritz Kaiser, made me realize that what I have built has become too important to remain under the radar for much longer, and that sooner or later stories about me and my cars would start circulating. For that reason, he thought it would be better for me to tell my story myself rather than wait for someone else, perhaps someone I have never met, to tell it. I thought about it, and talked it over with my wife, and we agreed that he was right. Cars are often linked with personal memories and emotions. If you were asked to pick a single memory that really stands out, what would it be? For a moment there I feared you were about to ask me to choose a car. That would have been impos-

sible: after all, you can’t ask a father to choose one child rather than another. All or none! As regards the emotions I have experienced, there are many, and it is very difficult to choose. Some are linked to a particular car, some to a moment, and others to a person. The 350 GTS gave us one of our greatest moments when, totally unexpectedly, we won the Best in Show in Kuwait. As regards the people I have come across, I could never forget the time I met Mr. Marcello Gandini, the designer and “father” of the cars I love the most — the Miura, the Countach, and the Carabo — and asked him how he managed to design such beautiful cars. He just smiled in reply, without saying a single word. Looking back over these past 30 years in cars, the biggest emotion ever was probably when, in 2011, Rita and I finally built a warehouse in which to store our cars. I’ll never forget how special it felt to see them, for the first time ever, all together at the same time, in the same place: a fantastic sight. As an entrepreneur I have learned to do what I believe to be correct, but it was only at that moment that I really understood that the only people capable of creating something special are those who quite simply collect, without ulterior motives. All the rest are investors. 

The harmonious and clean lines of the one-off Lamborghini Bravo.

the car in question is in the Alfa Romeo Museum, and I can hardly buy the whole company just to have one car: it is the Alfa Romeo Carabo, the one-off designed by Marcello Gandini for Carrozzeria Bertone on the 33 Stradale rolling chassis. It is stunning, beautiful, and modern, even today. What is more, it anticipated the style that Gandini went on to use when he designed the Lamborghini Countach. You are probably the most “invisible” collector ever. You have won a lot of car events all over the world, but pictures of you with your cars are rare. This is the very first interview you have given, after more than 30 years of collecting. Is there a reason for this extreme privacy and for having finally granted us this interview today? It’s just me, my character: I don’t enjoy being in the spotlight — I prefer to savor my emotions in the

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1000 Miglia Just one great round of applause. It’s called the most beautiful race and maybe it really is. The experience helps us understand why. by Antonio Ghini

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The authentic enthusiasm of 1000 Miglia attendees is thrilling. As in the past, race participants are always surrounded by spectators.

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here is only one thing that the “real” Mille Miglia, which sadly ended in 1957, and the historic one held today have in common. The one thing that is the real reason this magical event is held each year. Anyone who has ever been part of the re-enactment has certainly felt it without fully realizing its value. It is neither the route nor the unique cars — even though they are fully certified to compete — which span the years from 1927 to 1957. Nor is it the risk, at times unbelievably high, of a speed test on the roads of that era, when safety features and asphalt surfaces were very different from today’s. So what is it that the two races have in common? To understand it, we need to travel back in time, to leap back to the 1940s when, after the interruption imposed by a terrible war, the desire to start living again ran wild. Italy, spurred by a characteristically Latin enthusiasm, embarked on a reconstruction that brought not only work but the first signs of prosperity; cinematography testified to this reality with wonderful neorealist films, which often portrayed the growing desire to enjoy a motorized means of transport. It didn’t matter much if this was just a scooter, like a Vespa or Lambretta, an old Topolino, or one of the first models designed for mass motorization. Motor vehicles also roused spirits because they could be used for racing, but in races that were offered to the public without the need to go to a race track and, thus, without the inconvenience of getting there and having to pay for an entry ticket. These were races on the roads, transformed for one day into daredevil tracks for thrilling competitions. This gave rise to the Motogiro, a full-blown motorcycle speed tour around Italy, in which hundreds of participants set off on an adventure with no assistance or certainties, driven solely by an incredible amount of enthusiasm. The Mille Miglia was a race so well-loved that it was even held in 1940 when the war had already begun, providing Enzo Ferrari with the opportunity to make his debut with his first proper creation, the 815 Auto Avio Costruzioni, with a driver who went on to become famous, Alberto Ascari. With the race now having a clear and definitive meaning, and representing a set of essential values, the Brescia organizers came up with the idea to use a strong graphic symbol to indicate to competitors the direction they would take at the most difficult points of the route — and this idea can be appreciated even more now. Their symbol was a red arrow on a white

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background, with the immediately recognizable number 1000 replacing the word Mille. For Italians, the appearance of the arrows on the roads along the route, between late April and early May, was the sign that a very special Sunday was coming up, when the roads would be closed and hundreds of cars unleashed to race along them. Today, that arrow is much more than a brand mark. Over and above the commercial value that history has ascribed to it, it holds the emotion of anyone who still remembers those times, with the smell of burnt castor oil, and the screeching of production tires being tested to their limit over a long and treacherous

course. It also holds a certain pride — and in many cases envy — for those who keep the memory alive each year. That arrow is part of the heritage of the city of Brescia, of Italy, and of anyone who understands that the car is one of the most important symbols of modern-day culture.

Unforgettable impressions This author belongs to the group of those who remember that extraordinary event, something that was much more than just a race. Having seen with my

Where else in the  world can you pass by places so rich in history and culture, while driving your jewel? The famous red arrow guides the drivers.

own eyes those vehicles with big numbers painted in white lead on their doors and hoods whiz past, year after year, between 1948 and 1957, right at the foot of the Apennines after negotiating the final challenge over the Futa and Raticosa passes to reach Bologna from Florence, is something so special that it cannot be fully described. Indeed, it was in Bologna that the name of the winner started to be murmured among the spectators who thronged the sides of the road. In fact, the results would begin to take shape there because of the organizers’ ingenious idea of using the start time as the race number for the vehicles. This way, the tiny Isetta that set off first from Brescia

had the number 2200, which meant 10 on the dot on the Saturday evening, while the big sports cars that were aiming for victory had numbers that began with 5 or 6, because they had set off between five and six in the morning. So, if car number 611 went by six minutes after number 555, this meant it had about a ten-minute lead over the competitor that had left before it. It seems complicated described like this, but by the time the cars reached Bologna, around ten hours after the start, the departure spacings had opened up to the point where the situation could be clearly discerned. This was the case for all classes. The first cars would go past at around 11 in the

morning. Because I had the good fortune to live in a house with a garden that looked out onto the Via Murri, a few hundred meters from the stamping and refuelling checkpoint, I would cling onto the garden fence from 9 o’clock, waiting for the first car to go past, which happened, more or less, at 11! It didn’t take me too many years to realize that this would be a Renault 4CV. How, you might ask? Because the first cars to set off were production cars with engines up to 750 cc in size, known as touring cars. These would include Isettas, in fact, as well as Fiat Topolinos, and then 600s. The French Spiders would also set off in this class, as well as compact and aerodynamic

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On their way to Bologna in a 1928 Mercedes-Benz SSK, Thomas Weber and Michael Bock allow themselves to take a short break.

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Renault 4CVs with sturdy 750 cc engines, and Panhard Dynas, with their aluminium bodywork. Six or seven Renaults would duly go past, followed by a couple of Panhards, and then silence would return for a good fifteen minutes. There was no need to look at the race numbers, because at this point they were all in the 750 class. But you did need to look soon after, when quite different cars started to arrive, very close to one another, with the thundering sports cars often having gained hours on the slower cars that preceded them, thanks to their distinct performance capabilities. Social networks? Smartphones? Hard to imagine, but news flew around as if the ranks of the public were made of human optical fiber. This was seen on Sunday, May 3, 1948. Cars continued to zoom past, the public participated, sometimes applauding this or that driver. That was the norm. Then, at one point, even before a strange red car appeared with no hood and no mudguards, driven by a skinny man wearing a cap on his head and old-fashioned goggles, the public started to cheer and applaud, some even stepping down off the pavement to capture the moment better. It moved me, although at the time I didn’t know why — I was eight years old, but that image has always remained before my eyes and in my heart. I had seen

Jay Leno with Ian Callum, celebrated at Piazza del Campo in Siena.

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Tazio Nuvolari with his mechanic Scapinelli go past, and they were at the head of the race, dominating it. Enzo Ferrari, whom I met in person some years later, was a few hundred meters from me, waiting for him at the checkpoint. It had been barely a year since he had started producing racing cars under his own name, and, together with the indomitable “Nivola,” he could have written a momentous page in the history of motorsport: after a shifting relationship in the past, he and Nuvolari could have added their names to the golden roll of the most magical race in the world. The public was fully aware of all this, with news of the arrival of Nuvolari’s battered Ferrari travelling faster than its famous and beloved driver. But it was not to be: in Reggio Emilia, less than 100 kilometer on and not too far from Brescia, a leaf spring connection in the now battered 166 SC gave way, and the legend was never written.

Enzo Ferrari and the Mille Miglia Many years later, when I had the opportunity to spend more than an hour alone with him in pleasant banter at the Ferrari offices, I reminded Enzo Ferrari of this episode. He just smiled. I was hoping for a comment,

but he just said, “The Mille Miglia, eh…” Perhaps the disappointment was still raw, or perhaps, at a time when his single-seaters had started winning again, he preferred to turn the conversation towards Pironi and Villeneuve. But let’s not go off on a tangent. At the beginning we asked ourselves a question: What is the reason for the persistent success of this race, sixty years after its discontinuation? It would be easy to continue just living with memories, such as the years of driving rain — a not entirely rare feature of the race — and the time when Eugenio Castellotti became a huge crowd-pleaser after maintaining an average of 137 km an hour for the entire race, despite the weather, in his Ferrari 290MM. Incidentally, it should be pointed out that the race, held on normal roads, involved a number of level crossings, with the drivers required to wait patiently and restart in the style of today’s safety car pull-off into the pits. Occasionally, reckless individuals got spectators to raise the barriers so as not to waste time. Another memory is of seeing Moss’s Mercedes 300SLR speed past, with the journalist Jenkinson as a passenger, fearlessly reading the notes he had taken during a reconnaissance mission on the roads. This pales slightly, however, when compared to the

A long and demanding trip: Finally arriving in Rome after 16 hours.

nerve of the photographer Klementaski, who found a way to take memorable photographs and even change the film on his camera while sitting next to Peter Collins in a Ferrari 315S. That year, 1955, Moss set the absolute record for the Mille Miglia: ten hours and seven minutes, at an average of 157 km per hour. Incredible! I was looking forward to turning 18 and getting my driving license, so that I could take part in that race. But the Guidizzolo tragedy of 1957 did not allow me to. The Mille Miglia would not be held again. It all seemed destined for oblivion: The checks and affixing of race numbers in Brescia, the waiting in line before departure on Viale delle Vittorie, the leap in the dark on roads that were unknown and fraught with danger, the adrenaline that pushed contestants beyond fatigue, the arrival in Brescia with satisfaction, and — incredible but true — a desire for the next race already. But when I presented myself for the checks in Brescia, with a magnificent 250 Tour de France, to take part in the re-enactment, it was all still there: the

crowd that thronged the checking area, the people looking at you with a mixture of admiration and envy, the waiting for departure from the famous platform, with the sound of the person in front of you getting louder the closer you got to your turn. Then, your name and your car were announced by the speaker, you saw the flag, and you were off toward adventure, with masses of people around you who remember those wonderful years. And that is the answer to the question of what binds the 1000 Miglia experiences, and what makes them unique and unparalleled: the presence of the public. A presence not only in Brescia, but a constant presence, in the villages, in the towns, at the checkpoints… An enthusiastic and knowledgeable crowd, helped by the mayors of the various towns along the route, to make you feel like the lucky hero of a long-awaited and much-admired event. Feeling was so strong about the re-enactment in Italy that the vehicles were allowed to drive through places usually inaccessible to cars, such as the San Marino Rocca, the piaza of theChurch of the Saint in Assisi, some of the most beautiful sites of ancient Rome, the Piazza del Campo in Siena — yes, the

one where the Palio is held — and the Piazza della Signoria in Florence. You arrive with your car, be it a Ferrari or a Mercedes, or even an Austin Healey, an Aurelia B20, a Fiat 1100, or a little Topolino, and you become a hero. Back then, the heroism lay in the risk and in the dream that each spectator projected onto the driver that he or she wanted to be. Today, individuals in the race, with numbers on their doors and fatigue in their eyes, represent a different heroism: that of helping to keep alive a memory that Italians do not want to give up, a memory from a world where automobiles were for the few, and drivers were the ones who were able to put them through the most extreme challenges. Today, that reality is being regenerated around the Mille Miglia, as eligible cars are few in number and often rare, and because, in truth, there are so many people who would like to be in your place, behind the wheel, with tired eyes and a brain split between dream and reality. Exactly as it was then. 

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The Value Drivers of Car Collecting The world of classic cars is now a mature market in which we can clearly understand the reasons of many sale successes, not only of the most expensive cars.

by Donald Osborne

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Donald Osborneâ&#x20AC;&#x2122;s sympathy and eclecticism make him one of the most famous characters in the classic car world. Among other things, he is also a respected opera singer.

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Global Collector Car Market, Quo Vadis?

s is the case in almost every aspect of life today, the questions, “Where are we headed?” and “What does this all mean?” loom large in the collector car market. Even the definition of what a “collector car” might be, can often be a heated topic of debate. A pristine pre-WWII automobile with flowing fenders, a massive polished radiator shell, an opulently detailed interior and large gleaming wire wheels or a noisy bright red 1950s sports racing car redolent of hot motor oil and high-octane gasoline after a long run on a winding mountain road are certainly in line with almost everyone’s idea of a valuable, cherished collectible vehicle. But we now see almost new supercars and GT cars being offered and sold at prices near, at or above their original prices not on used-car dealer lots but in the most prestigious collector car auction venues in the USA, UK and Europe. What does that mean? Is it ‘generational shift,’ in which hordes of members of the millennial generation invade the auction tents and ballrooms, elbowing aside the gray-haired stalwarts of the collector car hobby and dismissing without so much as a derisive glance formerly prized treasures from the great marques of the past? Or is it something entirely different — both collectors and investors seeking a haven for cash that might be less volatile than equities, real estate, fine art or commodities while at the same time providing social cachet and, dare we say it, more emotional connection than a painting on a wall or a stock certificate?

Macro Global Economic Effects For a long time, people have looked to see if macroeconomic global concerns directly impact the movement of the collector car market. It may have begun back in the late 1980s, when certain collector cars rapidly increased in value in comparison to traditional investments. This was most notable with Ferrari after the death of Enzo Ferrari in 1988. Some thought that any car produced by the marque would automatically bring a premium, even those still sitting in dealer showrooms. In a climate of today’s ultra-low interest rates, the LIBOR average of more than 9 percent in 1989 seems from a truly distant age. Now, it struggles to break 2 percent — and the potential appreciation offered by classic cars can appear to be a potent

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lure to investors who wouldn’t know a Delahaye from a Dacia or care that Enzo Ferrari started his career in racing with Alfa Romeo. Add to that global political and economic uncertainty, and the draw of assets with an international appeal, such as a Mercedes-Benz 300SL Gullwing, Porsche 356 Speedster or a Ferrari F40, take on a higher luster than real estate or a yacht.

Data Overload? There is more information available to collectors and would-be collectors of vintage cars than ever before. It’s well-known that we are in a confusing place at the moment thanks in large part to the exponential growth of electronic media. We are always only a few clicks away from being inundated with more data than we could have believed possible a few years ago. There are also still print media that provide valuable information that a collector can use to take the pulse of the market before buying or selling a classic car. Among the more useful tools are the Hagerty Market Rating and indices and the HAGI (Historic Automobile Group International) Index in the digital realm. The in-depth car-by-car coverage of Sports Car Market can be found in both digital and print, and the archive-worthy Classic Car Auction Yearbook is available in hardbound print. All are valued resources for finding reliable data and, more important, intelligent and well-reasoned analysis of that data. The information alone can be almost worthless. What difference does it make if a particular vehicle sells at 60 percent more than the last ten similar ones or for that matter, 60 percent less? Without context, we are lost in a sea of mere numbers. And those numbers have become more difficult to parse than ever before.

How Did We Get Here? To try to figure it out, we need to take a look at where the major market segments have been. The total of all sales at major national- or international-level live auctions in the 2015-2016 season was in the range of $1.2 billion. That’s an impressive number, to be sure, and a far cry from the approximately $300 million 10 years before. It is most interesting to consider that while headlines about auction sales and in particular the dramatic eight-figure results bring much attention, by most estimates auction transactions are a minority segment of the global

collector car market. “Auctions are the most visible value information in the collector car marketplace, but they are in fact less than 12 percent of the actual sales each year,” reports David Kinney, Publisher of the Hagerty Price Guide. “Most sales happen private treaty or with a dealer or perhaps a broker involved.” This proportion has not changed markedly, even with the great increase in both live and online auctions in the past decade. This would indicate that total worldwide collector car market trading reaches $10 billion annually.

Who Is Buying, and Why? With over a billion U.S. dollars changing hands at major collector car auctions in the last year, clearly there are a large number of people buying vehicles in that particular market arena. While the headlines are blazing with the eight-figure sales, those are only a handful of cars. The balance are those with an average price closer to five figures. Whether they are a Ford Mustang in the USA, an MGB in the UK, a Fiat 124 in Italy, an Opel Manta in Germany or a Peugeot 205 in France, vehicles built in the millions are the mainstay of the collector car market. What makes people buy these common vehicles, and perhaps more significantly, can any parallels be drawn between the “mass” collector car market and the top end? In approaching the wider question of “Why are collectors buying?” it’s useful to consider this — as the collector car hobby matures, more evidence of the fundamentals that govern other areas of collecting, such as fine art, watches or wine seems to appear. In those sectors, there exist certain quantifiable attributes of value that apply across all collecting disciplines and all levels of market pricing. They can include historical significance, rarity, quality of design, workmanship, provenance, condition, originality and desirability, to name a few. Many objects possess one or two of these attributes and the best have all of them. But, interestingly, they do not have to come together in the same way to create an object with great monetary value. A Ferrari built in small numbers, delivered new to a well-known owner, which marked a major advance in engineering or design, and whose solidly documented history covers every moment of its existence — including internationally important and recognized competition victories by top-level drivers — may obviously have

The legendary 1934 Alfa Romeo Tipo B P3, driven to many victories by Tazio Nuvolari, sold in Paris in 2017.

great interest in the collector marketplace and be highly coveted. If and when it was offered for sale in the public market, the dozen or so individuals or institutions interested, knowledgeable and well-heeled enough to afford it would analyze those attributes of value and make a decision to acquire it and at what price based on those criteria. Of course, there are also those who buy for other reasons, far more emotional. We’ll come to them a bit later.

Fine Art and Motorcars

automobile collections tended towards the encyclopedic and massive — more hoarding than curated gathering. That was partly a necessity, as those who wished to preserve vehicles of the past felt the need to acquire as many as possible, in order to save them from neglect or destruction. Any idea of a measured sense of connoisseurship was generally lacking, certainly on the scale and manner common for fine art and furniture. After all, collecting art traces its roots back to the Roman Empire, whose leading citizens sought to surround themselves with examples of Greek sculpture from centuries earlier.

Meanwhile, it’s important to remember that collecting motor vehicles is a very young hobby. It only began in earnest following World War II — and even then was confined to a relatively small group of people. Most of them had neither the collecting ethos of today nor what we might consider a sense of proportion in assembling their collections. Early

Over the centuries, traditions, rules and habits grew into the list of quantifiable attributes of value of which I wrote above. And that seemed to be applicable to each new area of collecting as it arose, governing the thoughtful, scholarly and perhaps profitable assemblage of a well-balanced and “important” collection. But, there’s more to it …

The Lesson of the Leonardo The setting of an absolute world record for a painting, $450 million, in New York in late 2017 for the painting titled “Salvator Mundi,” was an astounding event in the world of collecting. The offering of the work, mostly attributed to Leonardo da Vinci but the subject of some debate about its authorship and restoration, was closely followed by both the art and financial worlds. It is difficult to recall another occasion on which a piece surrounded by questions and acknowledged by all not to be the best example of an artist’s work had such an astonishing result. Does it have any relevance to our market world? It was more than interesting to note that the painting was offered in Christie’s New York Post-War and Contemporary Art sale, rather than an Old Masters sale as expected. Equally fascinating and more to our direct subject, Sotheby’s also did a masterful bit of cross-marketing with the $7.5 million sale of the Ferrari F2001 chassis

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211 in their November Contemporary Art sale in New York. The idea that this competition car, which as an automobile would sell in a very narrow market, could instead transcend its purpose and be considered as a historic, let’s allow even artistic, object resulted in an extraordinary result. Again, offering the F2001 in a contemporary art sale, where it would not only be exposed to a non-specialist audience but also appear to be a great bargain compared to many of the paintings surrounding it, was a brilliant marketing ploy.

Life, Values and the Principle of Substitution What both of these transactions have in common involves what we appraisers call “the principle of substitution.” In real property terms, it means that the maximum value of a property usually is established by the cost of acquiring an equivalent substitute property that has the same use, design and income. In personal property, especially one-of-a-kind or ultra-rare items, it can also be applied as, “What other piece would a person likely choose if they could not have

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the piece being considered?” So, if you cannot have the only da Vinci painting not held by an institution, what else might you purchase? The answer is that at least two people saw no alternative and were willing to go to great lengths to own this piece. The number of Ferrari Formula 1 cars that were driven to victory by Michael Schumacher is also necessarily limited. However, theoretically any wall in any home in the world could be the backdrop for the da Vinci painting, but there are not many in the world qualified by talent and nerve or physically adapted to actually fit into the seat in order to drive the F2001 chassis 211. So it is quite likely to become as static a piece of art as “Salvator Mundi.”Alternatives to the da Vinci and the Ferrari may not have been paintings and cars at all, but islands, yachts, airplanes and watches.

But Is It Art? Do these extraordinary results herald further moves in this direction? Will we see more motor vehicles being offered in fine art auctions, ones not as directly connected with the trade as is obviously Sotheby’s, owner of RM Auctions? I think we will, but they are likely to be very carefully managed situations.

I recall vividly attending a preview of a Los Angeles Modern Auctions (LAMA) sale back in December 2011. The theme was ‘California Design’ and the catalog featured a wide range of 20th century furniture and accessories from Greene & Greene, T.H. Robsjohn-Gibbings, Charles and Ray Eames, Richard Neutra, Sam Maloof and Frank Gehry. Also offered was Raymond Loewy’s personal Studebaker Avanti. A 1963 supercharged R2 model, it was completely stock and had been through at least five owners since Loewy took delivery in late 1962. Nicely refurbished rather than restored, it carried an estimate of $60,000-80,000 at a time when the best in the world would bring perhaps $40,000. It was a no sale. Since then, the market has discovered that professionally restored examples done to the highest level can bring well over $100,000. In fact, the auction record price now stands at $126,500 — for a car that the most knowledgable experts say was not the best. There are certain things that transcend their natural worlds. Maria Callas, Beverly Sills, Enrico Caruso and Luciano Pavarotti became world recognized by millions who had never stepped foot inside an opera

house. You do not have to know or care much about swimming to admire Mark Spitz or Michael Phelps. They came to represent a certain blend of creative achievement and personality that allowed them to become fascinating to a host of people who would normally not think of their peers at all.

It’s Ultimately Emotion As with da Vinci’s “Salvator Mundi,” the collecting market is not all about what the ‘experts’ think and say. Facts and data are terrific, but in the end, meaningful collecting — even great collecting — is about the heart, not the mind. We now come back to the factors that separate the enthusiast collector from the accumulator or hoarder. It is relatively simple to learn the basic “rules” of applying a set of attributes of value to an object and, ticking off the boxes as you go, determine what makes the most logical purchase. For a while and to a point, it works. First, look to experienced and established collectors to see what they’ve already bought. That’s great, except that in a limited market for a rare automobile, all eight people on the planet who want and can afford one might already have one. If you buy the ninth and final example, you

might have a tough time selling it unless someone else discovers its appeal — that is, that beyond the fact that eight other folks they admire or envy have one. Increasingly over the past three decades, it has been the experiential factor that has driven and sustained values in the collector vehicle marketplace. Whether an owner enjoys concours d’elegance competition, vintage tours, rallies or races, eligibility for the most prestigious, exciting or demanding events can mean a substantial difference in the value of the vehicle involved.

 Irresistible. This is how the cars look at the ever more professional international auctions, ready to be sold.

More and more, owners are seeking to be truly engaged with their collections. The fashion for assembling an encyclopedic array of cars, parked door handle to door handle in garages, warehouses or private museums, has greatly waned. The idea of worshipping un-driven cars, praised and sought after for what mileage they have not covered, is also slowly receding. It is increasingly the desire of buyers to connect with vehicles that make their hearts race when they see, hear and drive them as much as their appreciation might concern their financial advisors and accountants. If this investment class costs rather more to own than another, and the risk may be as great, then other forms of reward must be considered.

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Market Highlights of 2016-17 With all of the above in mind, I’ll close with a personal and certainly biased look at what I saw as some of the highlights of the auction season just ended. The list that follows is unabashedly one of my favorites and by no measure is intended to be either scientific or all-inclusive. There are also nine sales, as I have an odd aversion to ‘Top Ten’ lists. One notable point is the presence in this group of three pre-war automobiles. Coming back once again to the concept of ‘generational shift,’ I once again assert that movement in values and interest in the market cannot be simply tied to actuarial science and bell curves. If that were the case, there would be no market at all for cars of the 1930s. Yet, we can see that these on the list are masterpieces that not only meet the key attributes of value stated above but also exert powerful emotional pull thanks to their engineering, beauty and the thrill they give on the road.

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1930 Duesenberg Model J Dual Cowl Phaeton, RM Sotheby’s, Hershey, Pennsylvania, October 2016 — Sold at $2.09 million Proof positive that quality will always count, even when it may be widely perceived that the market for classics such as this is gone. What are its qualities? It’s one of three Murphy-bodied dual cowl phaetons built, sold out of a 54-year family ownership. It also boasts its original engine, chassis and body, the last showing a lovely patina on a high-quality older restoration. It is attractive, sleek and amazingly sporty for a full five-seater automobile. 1936 Mercedes-Benz 500 K Offener Tourenwagen, RM Sotheby’s, Monterey, California, August 2017 — Sold at $1.54 million Once again, the perfect confluence of attributes — one of four built, a provenance that includes a period of 63-year single-family ownership, a top-level, well-researched restoration resulting in a Pebble Beach Concours d’Elegance class win, and, most vitally, entertaining performance from its

supercharged engine. While the body style is rather old-fashioned for this late in the decade, it also gives it a lightness absent from the more ‘Wagnerian’ Special Roadsters and sedans. 1936 Lancia Astura Pinin Farina Cabriolet, RM Sotheby’s, Amelia Island , Florida, March 2017 — Sold at $2.145 million As late as the second decade of the 21st century, there still remains a pre-WWII car that has only now begun to receive its rightful recognition. The Lancia Astura was long overshadowed by its ancestor, the groundbreaking unit-bodied Lambda. That Lancia built a traditional chassis for coachbuilders for the luxurious Astura in the 1930s seemed to many a retrograde step, not in keeping with the marque’s reputation for advances. Nevertheless, the engineering beneath remained superb and the chassis inspired some of the most beautiful Italian coachwork ever seen. This car’s body comes from the pen of Mario Revelli di Beaumont, the world’s first freelance stylist and a brilliant inventor. Its sister

car won Best of Show at the 2016 Pebble Beach Concours d’Elegance, a first for a Lancia and hopefully not the last. Moving to the post-war period, here are three very different cars from the 1950s: 1953 Abarth 1100S Ghia coupe, RM Sotheby’s, Monterey, California, August 2017— Sold at $891 thousand This is one of my favorite cars on the planet and a real wake-up call to many in the collector car world. I am a big fan of 1940s and 1950s Italian ‘fuoriserie’ cars, many based on Fiat mechanicals. The coachbuilders of Italy thrived and flourished in the decade and a half following WWII with a stunning array of very fancy sports cars, touring cars and sedans for the upper middle class and wealthy who wanted something a bit special without being too showy. Carlo (Karl) Abarth started as a tuner of Fiats before his fortunate association with Piero Dusio and Cisitalia allowed him to start building his own cars. This one is an absolute gem — A purpose-built plat-

 The Porsche 917 wrote legendary pages of the 24h Le Mans race. Here in the classic light blue and orange Gulf mirage livery, also used in the Steve McQueen movie Le Mans, it reached $14 million at auction.

form, with a tuned Fiat 1100cc engine clothed in an up-to-the-moment Ghia body designed by Giovanni Michelotti. It was restored to an wonderful level by its consignor, who brought it to the Pebble Beach Concours d’Elegance in 2016 as his first entry. It not only won its class, but was a finalist for Best in Show. I proudly count myself among the very few who were not surprised by either its placement at the concours or the price it achieved at auction. Yes, under-2-liter cars can be as spectacular, important and valuable as their bigger brothers. 1956 Aston Martin DBR1, RM Sotheby’s, Monterey, California, August 2017 — $22.55 million Going back to our theme of experiential desirability, sports racing cars of the 1950s, ‘60s and ‘70s have been setting market records regularly for the past decade. They are most often Ferraris, but Maseratis and Porsches have also featured in this category. The powerful appeal of owning, and even better, driving a car that featured prominently in legendary races of the past, holding the wheel that Moss, Salvadori, Brabham or Shelby once held, is tremendous. This is arguably one of the most famous and successful Astons to hit a circuit, and no one was surprised that it performed as well on the auction block as it did at the Nürburgring. It’s one of the 10 most expensive cars ever sold at public auction. 1958 BMW 507, Gooding & Co, Pebble Beach, California — $2.7 million BMW’s flagship GT of the 1950s is for me a sterling example of how emotion can triumph over logic. This is a car whose market appeal rests almost completely on its looks, which are admittedly quite comely. But these vehicles represented a loss to BMW on every one sold despite the fact that the retail price was well above the original target. They have no meaningful competition history and were very much a cul-de-sac in the company’s history. But, their appeal surpasses historical importance to resonate with the hearts of buyers.

Lombardi Grand Prix’ in its first commercial offering. In this, its most potent and desirable Abarth form, it is a kind of Fiat Abarth 750GT Zagato for the 1970s. Penned by the brilliant Italian designer Pio Manzu shortly before his untimely death, it feels like a show car — a Lamborghini concept in miniature. Rare, immensely fun to drive and very much a car of the period. It almost doubled its high estimate. 1993 Porsche Carrera RSR 3.8, RM Sotheby’s, Villa Erba, Italy — $2.257 million This automobile appears on my highlights list through sheer disgust. I have never been a fan of the un-driven car and this one is, for me, one of the silliest examples of the breed. One of the most successful Porsche GT racing cars, it’s 1 of only 51 built and was specially ordered with interior enhancements to make it more comfortable and usable on the road. But, it’s never been driven. It shows 10km on the clock and is still smeared in what is now dirty, dust-filled Cosmoline paint shipping protection. The potent engine is covered in dust and the state of all the rubber seals inside can only be imagined. The 24-year old tires would not be trustworthy above 20 mph, and what of the fluids? This vehicle has now become a sculpture, and a not terribly attractive one. The choices for its future seem unclear. To keep it as bought would be securing its decline. To protect it would change what was purchased. A sad story for a car meant to thrill in motion.

And finally, let’s end with the 1970s almost up to today, from the interesting to the ridiculous to the sublime:

1995 McLaren F1, Bonhams, Quail Lodge, California, August 2017 — $17 million Any conversation about ‘Modern Classics,’ ‘Instant Collectibles’ and ‘Future Blue Chips’ always comes around to the McLaren F1. While the depreciation curve for many sports and GT cars built in the last 25 years may have been comparatively short, that of the McLaren F1 has been revelatory to many. While it is fairly well known that it was difficult for McLaren to sell the very last cars made, they only slipped slightly from their original list price of just under $1M. By the time they reached their 10th birthday, the best examples were already selling above original list and in the past 10 years have gone up thirteenfold. None of this is irrational exuberance.

1970 Abarth 1300 Scorpione SS, Bonhams, Scottsdale, Arizona — $116 thousand I have always been an immense fan of small-bore sports cars, especially of the Italian variety. This example was one of the many brand variations of a car born as a Fiat concept study, becoming the ‘Francis

The F1 meets all the calls of the most desirable attributes of value and adds the final emotional component as well. Rare, historically important and beautiful, its astonishing appreciation in the past few years is well supported by the fundamentals of collectability. This car shows our way forward. 

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The Queen, the Outsider, and the Unexpected

Auction expert Adolfo Orsi comes from the family that made Maserati great. He explains why it is essential to put driving passion at the top of the list before any financial evaluation when purchasing a classic car. â&#x20AC;&#x2030;by Adolfo Orsi

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The queen of 2017 was the Aston Martin DBR1, sold for $21 Million. It confirmed the extraordinary appeal of sports cars from the 1950s.

n recent years, I have been approached by “new collectors” who have asked me what will be the next best investment. Unquestionably, my answer has always been the car that embodies certain extraordinary values for the buyer, such as a special memory, desirability, or the pleasure of ownership. The truth is that prices went completely wild for the last few years, and the time has come to return to solid ground. I’ve almost always advised people to go for quality regardless of price. Years later, none of my clients who bought beautiful cars at prices that

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were rather high remembers that aspect of what they paid, whereas they still enjoy the objects they desired. Exactly the opposite has occurred with those who thought they got a bargain because many of them have discovered that their cars have lost market value. In these times when people are accustomed to attributing a value to just about everything, even classic cars reveal the same trend. The longer you collect cars (in my case, the past 32 years), the more clearly you realize that it makes no sense to talk about a collector car’s market value as if it was a market share

on the stock exchange, which has an established value when trading stops at the end of every day. Each car is unique; each has its own history, personality, and a variety of conditions that make it different from other cars, even the same model made the same day. Not considering the world of one-of-a-kind vehicles, prototypes, or race cars, it is possible that two similar automobiles may have very totally different prices, one costing up to twice as much as the other.

The queen of 2017 Restoration costs have doubled in the past four or five years. I’m not saying this is necessarily a good or a bad thing; it’s simply a fact, and it’s a side effect of increasing purchase prices. There is and should be a growing difference between the values of a well-preserved car (an item that is becoming increasingly rare), a meticulously restored vehicle and a car that has only had a “cosmetic refresh.” A right-hand-drive car is worth less in most markets, except where they are required on the roads or for registration. We should also remember that in many

1956 Aston Martin DBR1: The highest bid for the 2016/2017 season ($22.55 million) went for this iconic English sports car that brought Aston Martin into the top price league for the first time. This model netted the 1959 World Sports Title and victories at Le Mans and the 1000 kilometres at Nürburgring for the English manufacturer. Over and above this record, Aston Martin, along with Jaguar and Ferrari, became a symbol of endurance racing in the 1950s.

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The one-off Ferreri 212 Export was surely an outsider in 2017. It was designed by Franco Reggiani and manufactured with a full alluminium body by Fontana for Giannino Marzotto. Its originality, history, and mechanics deserved a higher quote compared to the prize it got.

countries collector cars are subject to import duties that can also double their price. So the collectors’ car market, if it can be described as such, is totally atypical. Moreover, 75-80% of all transactions take place in spheres other than the public market. Yet auctions are still our only reliable source of data, which explains why they are reference values. To get a better handle on these prices, in 1994 my partner Raffaele Gazzi and I decided to start monitoring all car auctions and feeding the most sig-

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nificant results of each transaction into our database, identifying each car with its chassis number. This allowed us to identify cars that had changed hands several times. After many years, our method of cataloguing auction transactions still provides the readers of our Classic Car Auction Yearbook (CCAY) with vital data and analysis. The CCAY documents some cars’ original features, the history and description of vehicles in auction catalogues, and prices obtained (including buyers’ commission) in three different currencies. All in all, this hardback book for collectors

could be compared to a window looking out onto the sea of prevailing market trends. And while we’re on the subject of currencies, they have influenced and continue to influence the movement of vehicles from one side of the Atlantic to the other; in coming years, they will probably have the same effect on the transferral of vehicles across the Pacific Ocean. But other factors also influence markets, such as how the American market, which accounts for approximately 65% of the total, react to the simultane-

The lost bargain of 2017 ous weakening of the dollar and the elimination of the International Revenue Code section 1031 exchange (that allowed those selling classic cars to defer the contingent taxation by investing the revenue in the purchase of another collectable car)? No one can answer this question right now. In terms of figures, an analysis of the data pertaining to the turnover from car auctions in the last 24 seasons (updated to 8/31/2017 [see graph]) reveals an astonishing 2,486% increase in US$, with average

1950 Ferrari 166MM/212 Export Coupé “Uovo”: This vehicle was conceived as a closed, aerodynamic sports model–in accordance with prevailing criteria–by one of the most brilliant figures in the Italian car business of the post-war period, Giannino Marzotto, who won the Mille Miglia in 1950 and 1953. Designed by designer/sculptor Franco Reggiani with aluminium coachwork by Fontana in Padua, it was light, extremely competitive, and unique. Quite unlike the Ferraris of the time, it was sold for only $4.5 million, which was a real bargain for a buyer looking for something special. The Queen, the Outsider, and the Unexpected // 105

Investments in modern supercars destined to be the focus of future car events is always becoming less unexpected. But these cars are surely a longterm bet that also provide the pleasure that comes with driving a magnificent car.

auction prices increasing by 747% in US-Dollar. In addition, the number of cars that have sold for over $1 million grew from only one to over 200 in recent years. For the past few years, sale prices were established by vendors, who could count on a multitude of potential purchasers attracted by returns on investment that could reach 50% per year. However, as we know from history, prices cannot always be on the rise. In fact, throughout the past three seasons, we have seen a change in the prevailing winds. Today, apart from the odd exception, prices are defined in

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an unrushed fashion by buyers, who may agree on a buying price if it’s a high-quality vehicle or who may prefer to wait for a future opportunity with a better car or a lower price. The various interpretations of the market depend on where they are viewed from and/or where the collector resides. Since the 2013/2014 season, the average value of a Mercedes-Benz 300SL “Gullwing” (see graph) fell by 13% in American dollars while increasing by about the same amount in English

pounds. Was this a good investment? For the English collector, it certainly was; for the American collector, perhaps less so. Following years of crazy prices, it is thus necessary to bring the core focus back to quality and passion. What is the only guaranteed return on an investment in this field? It’s the pleasure of contemplating and driving a car one owns. However, aesthetic pleasure and driving pleasure do not always coincide. Some lovely cars practically impossible to drive or difficult

Passion or calculation? Wait and see to maintain and servicing, while others are a little less pleasant from aesthetic point of view but a joy to drive and use. Before deciding on a purchase, dive deep into your own conscience. Is yours a static or a dynamic collection? Before buying a new car, always talk to someone who owns a similar model, and never forget that sometimes a phone call can save your life! 

2014 Ferrari Laferrari: In the last few years, what are now known as “hyper cars”, even those that were built recently, have shot to the tops of the rating charts. During the last season, there were 15 “instant classics” in the top 100, and several had zero or very low mileages on their gauges. So does this make them cars for collectors? Or should we consider whoever buys them collectors? What if the buyers’ sole aim is to double their investments? We will see if they are right.

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Art & Cars

Michael Ringier, car enthusiast and worldclass expert and collector of modern and contemporary art, has discovered the strong stimulus that comes from art, placing important paintings in the offices of his publishing company. â&#x20AC;&#x2030;by Antonio Ghini

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Michael Ringier sitting in front of a sculpture by Sylvie Fleury, a Swiss artist. The piece is a car part painted with nail polish and then walked over with high heels.

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“

The automobile has been around for just over 120 years, art for thousands of years. And yet with the invention of the camera there were people who claimed painting would die. The combustion engine came into being at around the same time as the camera, and during the years of the great art movements the automobile stood for progress, for developments in design that went beyond what met the eye. Take a look at the cars of the 1950s and 1960s and you appreciate that they were modern in a way that transcended the present.

eated in an armchair in the spacious sitting room of his vacation home, Michael Ringier mulls over the subject of the interview: the relationship between classic cars and art. Hanging on the wall behind him is a subtly elegant work by the Swiss artists Peter Fischi and David Weiss, for Ringier is not only a major player in the publishing and communications field and a connoisseur of classic cars, but also a famous art collector. “Art and design” – in this case automobile design – “have something in common: the ability to resist time. We don’t know whether what we like and meets with acclaim today will still be considered art in fifty years’ time. It may have sunk into oblivion. There aren’t many cars that can stand up to this challenge. If you look around the Geneva International Motor Show you get the impression that it’s all basically alike, and that what holds sway today is marketing.” But isn’t that much the same with the art world? Isn’t that the message in lots of contemporary art, from Warhol to Koons, including Damien Hirst’s incredible Treasures from the Wreck of the Unbelievable at Palazzo Grassi in Venice? “Today there’s too much money involved and artists

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”

can become rich. Koons is a marketing genius, and his art represents today’s life perfectly. The problem is to understand the real value of contemporary art. Investors ask: What will the piece that today costs two million or two hundred thousand euros be worth twenty years from now? The real collectors ask: Will it still be important in 20 years?”

Is this true for cars as well?

This is a question that also applies to car collecting, as Ringier is well aware. “Tastes change in time. In the past, the Japanese all focused on the Impressionists, and the market soared. Today a Renoir of average quality costs less than was imaginable at the time simply because tastes change.” This is a phenomenon that is also visible in the world of classic cars, where certain models or vintages become removed from real knowledge and understanding, so that their commercial value is reduced. Pre-war automobiles are a case in point.

But then there are cars that astound people just like important works by famous artists. So let’s try to engage Ringier in an almost impossible game: which artists or art movements might we associate with the great automobile brands?

“For me, collecting is like a disease, it’s the desire to have in my own home works that I like. I buy art because I like it — it’s a gut feeling, not just rationality. We can’t create a PowerPoint to establish what this or that work will be worth in twenty or thirty years. You have to feel inwardly the desire to decide.”

“I reckon it’s different. A car that’s worth collecting must be shown; you can’t just keep it in your home — you have to take part in events, show it off. If you have a Picasso or a Basquiat on your wall, people are astounded when they see it.”

“If we start with Ferrari, the artist that comes to mind for me is Picasso. I say this because Picasso always sought what was new, continuing to develop his art, preserving the past but also constantly looking forward toward the future. If PowerPoint had existed, Enzo Ferrari would never have used it to prove the value of his cars in the future. He always strove to be the leader in technology, using his determination and talent to accept the challenge and play the game, but without forgetting the recent past. In this sense I feel he resembles Picasso.”

1955, Picasso’s Les Femmes d’Alger The allure of the impossible parallels: the capacity to renovate itself constantly, through change, of Picasso and Ferrari. 1957 Ferrari 250 Testa Rossa

1909, Matisse’s La Danse Maserati and Matisse share a unique desire for harmony. 1957, Maserati 3500 GT

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2004, Anselm Kiefer’s The Seven Heavenly Palaces Anselm Kiefer’s austere and fascinating strength can be associated with the most iconic Mercedes Benz model. 1954 Mercedes 300SL Gullwing

Following this burst of enthusiasm for Ferrari and Ferraris, Ringier changes gears, explaining his views with all the rational aplomb you’d expect from a world-class manager. What he sees as essential is the perceived value of individual brands. He analyses the excellence attributed to German cars from different viewpoints. Mercedes is able to guarantee their cars’ performance for thirty years. A particularly fascinating model was the 300SL Gullwing. Which artist would he liken to vehicles such as these? Anselm Kiefer, perhaps? As for Porsche, it stands for “excellence at a reasonable price. I’d be more inclined to associate the concept of art multiple than artist tout court with Porsche, which has developed its sports models on the same basis over the years.” Ringier is also a great admirer of BMW: “They’re masters of engines; even my Rolls has a BMW engine, it’s perfect...” Here again, it’s not an individ-

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ual artist who springs to mind, but rather a series of paintings by today’s foremost masters that he likens to the magnificent collection of BMW models. American automobiles bring youthful memories to mind: his father’s Cadillac, for instance, and the Chevrolet Corvette: “In America, they make cars that work and also earn them money — that’s their mentality. In the 1950s and ‘60s, their automobiles were expressions of the American take on taste, which fits in with Pop Art perfectly.” There’s a 1961 Bentley S2 convertible in Ringier’s own collection, as well as a contemporary Rolls Royce. He feels that England is not really an Aston Martin, which he sees as “less highly strung than the Ferrari, because the British make cars to enjoy rather than to win”, but a Rolls. “The English system is traditionally divided into classes, and the Rolls Royce is for the elite, for the royal family. I don’t see it as relating to any modern or contemporary artist, but more to Rembrandt.”

He has no doubts concerning the 1930s Bugatti: “Italian Futurism unquestionably promoted the technology myth with such fervour that it actually became dangerous, because this perceived superiority was compatible with war. But the Futurists were also in line with the spartan sportiness of the Bugatti, especially Balla and Boccioni.” The subject returns to Italian cars, and it’s clear that Ringier has a soft spot for them. His father owned an Iso Grifo, his mother had a predilection for Lancias, and his own first car was an Alfa Romeo Giulia Super. “Italian cars have a charm of their own; they’re chic, which is not something you would say of English, French, or German cars. The Maserati is full of elegant magic, which I would liken to Matisse. Lamborghini is more future-orientated than Ferrari because

it has always felt the need to do something different, to be extreme, and this suggests Fontana’s slashed canvases.” In the end, our efforts to create parallels between cars and art reveal how the two worlds are certainly similar, but also very different. Important art collections are often named after the husband-and-wife team that put them together, whereas very few women’s names appear in relation to classic car collections. “The truth is that automobiles, especially those sought by collectors, were produced for men. This is not the case with art, and anyway art is not a manufactured product.” Ringier, who has hung works of art on the walls of his publishing house, is convinced that automobile

collections would profit from an injection of ideas and energy aimed at bringing to light the heritage that they embody. “I have embellished our offices with over 150 works of art because I believe it’s not right that you should have to go to a museum to enjoy art. Journalists and artists have a lot in common: they delve into things, ask questions, look for answers, they’re well-read and interesting. I know plenty of journalists well, and many artists, too, and I’ve come to appreciate that the presence of art in an office is a powerful stimulus for ideas, for providing a framework for debate. It’s wrong to keep art outside everyday life. And it’s also wrong that car collectors should keep their collections hidden and inaccessible. They should be able to change mentality, making cars that people love visible and telling the tale of what we have experienced and are still experiencing.

1965, Andy Warhol’s ‘Liz’ Playful American Pop Art well meets the fantasy of vintage US cars. 1963 Chevrolet Rondine

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1962, Lucio Fontana’s Le Jour The Fontana cuts associate well with Gandini’s design of the Lamborghini Miura, but especially with the stretched lines of the Espada and Countach. 1966 Lamborghini Miura SV

1632, Rembrandt’s The Abduction of Europa For Ringier, the majestic Rolls, with its royal origins, bring the classics such as Rembrandt back to memory. 1920 Rolls-Royce Silver Ghost

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I’m convinced that in the future there will be more automobile museums, and that the changes currently under way in the transport sector will make the great cars of yesterday and today even more valuable.” It’s time to say goodbye. On a table redolent of art, the tea has gone cold in the cups. But Ringier has a final consideration that collectors should bear in mind: “There’s public support for contemporary art, and this encourages encounter and exchange as an established collective phenomenon. With car collections, this is not the case; there is no public debate or sense of participation, or indeed preservation, in the classic car world. The collectors tend to compete with each other, instead of working toward the sort of constructive dialogue that is also a source of pleasure. After all, classic cars are part of a common heritage.”

1913, Umberto Boccioni’s Unique Forms of Continuity in Space Ettore Bugatti, an Italian in Alsace, was the perfect interpreter of the Futurist movement, which had speed among its myths. 1925 Bugatti Type 35 Grand Prix

This is certainly true. And The Classic Car Trust has been founded to help set things to rights. 

BMW does not  need any parallel: its magnificent collection of art cars transmit the message of the German brand, which surely knows the values of fantasy.

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The Times They Are A-Changin’

The story, of how some special automobiles became true Icons together with the most famous actors from the ‘50s & ‘60s. By Jurgen Lewandowski

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ou can probably tell from the title that the author of this article grew up in a time when music had the power to change the world. And when the car industry produced some of the most iconic vehicles ever built – though we didn’t know it at the time. Or maybe we had an inkling. But who would have bet that the Rolling Stones would still be on stage in 2017, or that a Ferrari 250 GTO would be offered for sale for $50 million? If you had predicted such things, people would have called you mad.

Why are we so entranced by these scenes and these cars? It probably has a lot to do with memories: the first time we heard Chuck Berry sing Roll Over Beethoven, the time we saw our first James Bond movie. The first Miura cooling down, quietly ticking in a parking lot; the first Grifo 7 Litri overtaking us on the autostrada near Brescia. The first time we hit 200 km per hour – in a 914/6. And what about that unforgettable moment when we bought our first car. Many of these memories have stayed with us for our whole lives.

Appreciate the past — Recognize the treasures We’re all much wiser now; isn’t hindsight a wonderful thing? In 1980 we wouldn’t even have paid $20,000 for a Ferrari 250 GT/L, or bought a Bizzarrini 5300 GT for $12,500. We’ve first had to learn how to understand the past, recognize its treasures and give in to our fascination for it. And to do this, we needed to experience those moments that suddenly opened our eyes and allowed us to see the possibility of new adventures.

And then at some point comes the moment when you realize with a rush that you can finally afford to make one of your youthful dreams come true. To park a piece of one of your dreams in the garage — or to buy the car that for whatever reason you would have bought when you were young, but then a minute after signing the purchase contract you know you’ve made a mistake and the price is crazy.

I experienced one of those moments in the summer of 1980, when I first came across the name Edward Quinn: he was the photographer who created a book with the enticing title Riviera Cocktail. Its “subtitle” was: The Golden Fifties on the Côte d’Azur. I was fascinated: The rich purple cover promised me characters like Gunter Sachs, Giovanni Agnelli, Jean Cocteau, Françoise Sagan, Peter Ustinov, Yul Brynner and — of course — Brigitte Bardot. And dozens more besides. Who with whom, when, where – in which car? As if these names alone were not enough, many of these stars were pictured with some extraordinary automobiles. Like the Ferrari California Spyder with the Monaco plates, that Alain Delon and Jane Fonda drove along the Côte d’Azur in 1964. Two true stars in a car that has been described as the most beautiful Spyder of all time.

Only a Ferrari, with a Montecarlo plate, could make the dream of this image fully complete.

The California Spyder: the one with chassis number 2175 GT was bought in 1961 by director Roger Vadim, who supposedly then gave it to Brigitte Bardot, although in Edward Quinn’s photographs, we see Vadim and the car with Catherine Deneuve. But that’s part of the appeal: Who could be seen when and with whom?

Conquering distances — between places and people Quite apart from reliving our youth, there are many other reasons to collect extraordinary vehicles. You can become intensely involved in the design, technology and history. You get to know other collectors that share their passion and knowledge. You get to know new worlds – after all, cars were created to overcome distances. Depending on your mood and preferences, a car can take you to racetracks like the Nürburgring or Le Mans, where you can drive it to the limit. Or it can accompany you to events like the Mille Miglia, which will take you on a sweet, crazy ride through Italy. If aesthetics and rarity excite you, you can now visit concours events all over the world. And if the passion really grips you, you might seek out the treasures that will open the door to Pebble Beach, to the Concorso d’Eleganza at Villa d’Este, or to the Château Bagatelle in Paris. “My cars are built to drive, not to brake” Humans have loved story-telling — by the campfire or in the cigar lounge — for millennia. The brands that are revered and prized today, and that sell for huge sums, can tell stories. And we love these stories, don’t we? Like when Ettore Bugatti replied to a customer who complained about the brakes: “My cars are built to drive, not to brake.” Or when Enzo Ferrari is supposed to have said to Ferruccio Lamborghini: “If you don’t like my cars, you can keep building tractors.” And, of course, the mistaken prediction of

The Times They Are A-Changin’ // 119

Kaiser Wilhelm II: “I don’t believe cars have a future – they’ll never replace the horse.” Every collector has their own story These are just some of the countless stories one could tell; nobody can, or would want to, collect everything. Even collectors who own hundreds or thousands of cars tend to focus on the brands and models that have conquered their hearts and minds. So you need to make an honest inventory of what you really want and need from your collection of automotive treasures; and you need an expert, loyal partner to help you find the right cars.

James Dean, the “little bastard” from the movie Rebel Without a Cause, in his Porsche 550 and in which he died in a crash in September 1955.

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Building up a collection is one thing, but then there are two further points that people often forget: a) How do I keep my collection in perfect condition, and b) How do I develop and optimize it? Cars are essentially assemblages of metal, rubber, leather, and wood. The surest way to do them lasting damage is to just let them sit idle. Owning a car places a duty on you to take it out into its natural environment: the road. Otherwise, all you are doing is keeping mechanics and repair shops in work. It’s a thrill to develop a collection, filling in the gaps and replacing weaker models with better ones. And

at some point you may well ask: should I also be keeping up with new models? Rare models – born of a spirit of sport and extravagance For many years, motorsports has produced rare models whose significance and value has often been underestimated. For example, every time Porsche came up with a new model in the 911 series, it had to build at least 1,000 cars of each that were lighter and stronger than the special edition, so that the model could be homologated for racing. This process resulted in the RS models, early

examples of which have become extremely valuable. Smart collectors are snapping them up as soon as they come on the market. In parallel with the limited special editions brought out by established manufacturers, we are currently also seeing small series based on luxury brands like Aston Martin, Bentley and Ferrari, but fitted with special bodywork by the likes of Carrozzeria Zagato or – as is currently being planned – ItalDesign. Zagato began this fashion in the early 1990s with the Alfa Romeo S.Z. and R.Z.

Today’s instant classics, which are already rising steeply in value, include the Aston Martin Vanquish Zagato, and the Bentley Continental Zagato, only nine of which were made.

 The Mercedes 300 SL its not the car you expect to be pushed, especially by the beautiful Sophia Loren.

Here, too, you need an experienced advisor who has the contacts to know early on which manufacturers are planning what small-series model, and who know how to find just the right models for your dream collection. 

The Times They Are A-Changin’ // 121

The value of time

Mechanical sophistication joins collectible cars and watches. Davide Parmegiani, renowned clockwork expert, outlines the relevance of quotations on rare automobiles and watches, mentioning Paul Newman’s Daytona. by Antonio Ghini

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The value of time // 123

here are subtle connections between an Alfa Romeo 1900 Zagato and a 1930s Omega one pusher chronograph wristwatch; likewise between a Jaguar C-Type and a 1940 Patek Philippe 1581 perpetual calendar. But to understand them, it helps to be in conversation with Davide Parmegiani, especially sitting comfortably in his lovely home overlooking Lake Lugano. Raise your eyes, and on the walls you see paintings by Savinio and Calder, while down in the garage below, there’s a collection of classic cars, and you know your host is also an expert in timepieces. Little wonder that everything here seems to be in perfect tick. “I chose to make a profession out of my passion for watches when I was still young,” he declares. “You need to know about watches in depth to appreci-

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ate and appraise their value. Like cars, they have an engine, chassis, and bodywork, which in this case is the face. Each of these three parts must be analyzed in detail to establish its current state and the degree of restoration it has undergone.” Parmegiani’s success and command in this field have earned him the patronage of the world’s most important collectors, who entrust their acquisitions to his expert care. Moreover, he has opened a shop in Lugano’s elegant via Nassa, a point of reference and encounter for the world’s most important watch collectors and aficionados. The recent sale of Paul Newman’s Rolex Daytona for around $17.8 million is an emblematic case in point. “I had imagined that it would go beyond $15 million, and I wasn’t surprised that the closing sum was

so high because there are people whose wealth is such that price limits simply don’t exist. What really counts for a purchaser is the inner pleasure that the object in question provides. If you like something that much, you’ll always be happy with it. Buying as a speculative investment doesn’t work the same way, and this is the case with cars and art as well as with watches. If you purchase an object knowing that you’ll be selling it before long, half the pleasure is lost.” Parmegiani’s passion for cars allows for some interesting comparisons between different types of collecting. As well as taking part in the Mille Miglia several times, he has also competed in other events, “though I’m not so keen on the Concours d’Elegance because it’s too static, it needs an

1 1955 Patek Philippe in rose gold, reference 2523, world time with blue enamel dial.

Left, Davide Parmegiani at his working desk checking a collectible watch. Right, some of his favourite pieces.

2 1950 Patek Philippe in steel chronograph with perpetual calendar and moon phase, made in 4 examples only. 3 1970 Rolex Paul Newman — the so-called “oyster sotto”. It is considered one of the rarest Paul Newman Daytonas ever made.

4 1950 Rolex oyster moonphase calendar, reference 6062, in pink gold with rare star index dial.

5 1940 Rolex steel chronograph, split seconds, oversized; only 12 pieces made. 6 1970 Rolex Daytona Cosmograph in white gold, reference 6265, made as unique piece.

3 injection of dynamism,” he admits. “I mainly deal in watches dating from the 1930s to the 1980s, timepieces that have become milestones in the history of the twentieth century on account of their mechanisms and design. There are close analogies with the evolution of the automobile. The car is a means of transport, and a watch keeps time, but both embody movement and are identified with speed. The Italian Futurists, especially Balla, managed to portray this symbolic value perfectly.” There are various model cars in Parmegiani’s sitting room, including a lovely Art Deco model that speaks chapters on how each period leaves its mark. “The cars I like best are the post-war models, the gently rounded, elegant shapes of the 1950s and ‘60s, for instance the 275 GTB or the Maserati A6G54 Zaga-

to. I can’t identify with the angular, sharp-cornered cars of today.” There are also interesting similarities between cars and watches that go beyond questions of design. Casio first came up with a digital watch in 1974, and since then, digital development has strode ahead to the point where self-driving cars are practically already with us. “The digital content and significance of watches and automobiles differ in several respects,” Parmegiani points out. “A digital watch simply keeps time, which is not always enough for modern man, who also needs to identify with something beautiful. The watch is one of the few jewels suitable for men today, and should be a gratification that goes beyond punctuality. That’s why traditional watches with their precious mechanisms have con-

tinued to play a role. The situation may be different with cars: if you don’t have to actually drive them, you’re saving yourself a degree of stress... But a 1974 Carrera RS is a pleasure that is here to stay... Classic cars are a source of deep gratification, and this is something essential!” The glorious vehicles in Parmegiani’s garage provide eloquent proof of their owner’s conviction. “I drive them a lot, in events but also to go and have an ice cream with my wife on a Sunday. It’s the same with watches, and I’m lucky in this because my job allows me to wear a different one every day if I feel like it.” On the table are a number of his watches, all of them elegant and relatively small compared with today’s timepieces, which seem swollen in size, like many cars. As with cars, he explains, the particular interest

The value of time // 125

of a watch also relates to the years in which it was produced. “Older people really appreciate the great developments that came about in watch technology between the thirties and the fifties. For them, a 1930s Omega chronograph is the equivalent of an Alfa 1750 Zagato, which is the car I drove for my first Mille Miglia. The younger generation, on the other hand, prefer the 1970s Rolex sports watches.” Nostalgia is always a form of yearning for what was once familiar! So supposing there was another Great Flood, which five cars would he preserve? Parmegiani, who spent three days at Rétromobile looking at the cars one by one, would clearly have been happier if they’d built a more capacious ark. “Five is too few,” he says with a worried look, “but without a doubt my own personal favorite is the Alfa 1900 Supersport Zagato. Then I’d make sure the Mercedes 300SL Gullwing was also on board — it’s one of the loveliest cars ever made — plus the Jaguar C-Type, the 250 SWB... But only five! Can’t I add the GTO as well?”

Aha, but this is only part of the game! Which watches would he want to be sure of saving? And once that’s established, which cars relate best to these hallowed timepieces? Here Parmegiani is on his own ground and gives no sign of faltering: “The steel Rolex Jean-Claude Killy, which goes perfectly with the Ferrari GTO, refined by sporty. Then the 1518 Patek gold chronograph with perpetual calendar of the 1940s, which I would pair with the Jaguar C-Type for harmony, elegance and style. My third would be the Rolex Paul Newman in steel, which goes perfectly with the Mercedes 300, which Paul Newman also happed to have, in blue.” And the two still to come? “The 1950s Vacheron Constantin Minute Repeater, a magnificent watch. I’d pair it with the 250 SWB. They’re two rarities. If I just had one car, this would be my choice; it’s wonderfully harmonious in shape and design. As for the watch, it has a very rare tourbillon mechanism that is complex and costly to build, with a chime that

sounds the time.” And this brings us to the Omega one pusher chronograph of the 1930s, “a gem of skilful craftsmanship, but also extremely advanced, like the Alfa Zagato.” The stillness of the lake reflects the evening light, and there’s no need to check our watches to realize that the moment has come to go down and admire the car collection. The sight of them as Parmegiani opens the doors is breathtaking, creating a sense of fellowship that transcends real acquaintance. He stops for a moment beside a green Lamborghini Miura, perfect in every detail, and adds, “The hands of watches turn just as car wheels turn. After all, time is an expression of speed.” Then he continues, apparently happy to show me the larger gems he has collected over the years. He was right when he said that “the art of living lies in doing what you do with real passion.” 

Parmegiani, with one of his many collectible watches on his wrist, and standing alongside some of his classic cars, which he frequently drives. He outlines the importance of auctions that might give value to special watches, like Paul Newman’s Daytona.

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Iconic collectibles Rolex Daytona — a good backstory is worth millions. by Tillmann Schaal

More than $17 million for a wristwatch! This record-breaking sum was reported by an excited media throughout the world following the sale of a Rolex Daytona once owned by double Oscar winner Paul Newman. As a classic car collector, you might prefer the mighty roar of a 1959 Ferrari 250 GT LWB to the tick of a wristwatch, but the sale is still worth examining if you want to understand how a good story can boost the value of a collectible. Joanne Woodward gave the watch to her husband, Paul Newman, at the end of the 1960s. It wasn’t the only Rolex Daytona owned by the famous Hollywood actor, but it became the one he was most closely associated with. He wore it when filming the car racing film “Winning.” He happened to be a keen racer away from the silver screen as well, which explains why Woodward had the words “DRIVE CAREFULLY ME” on the back of the watch. Newman wore the watch at the wheel of his racing cars, in photo-shoots for major lifestyle and fashion magazines, and in private settings. His activities

helped shape Paul Newman’s image — and that of the watch on his wrist. Close examination of the photos reveals the details of the watch: a Rolex Cosmograph Daytona 6239 with three-color dial and characteristic numbering in an Art Deco font. According to vintage watch specialist Davide Parmegiani, used models could be bought for between $1,200 and $1,300 in the US around 1988. Four years before this, Paul Newman gave his Daytona 6239 to a friend of the family. Unbeknown to the new owner, James Cox, something changed over the following years. Inspired by its striking appearance in photos of the famous actor, watch dealers all over the world started referring to the Daytona 6239 as the “Paul Newman Daytona.” And buyers seemed willing to pay a notable premium for precisely this model. Meanwhile, the general market for personal timepieces took off and exclusive vintage watches became a serious investment. Collectors suddenly became interested in the whereabouts of the now-iconic original Paul Newman Daytona. Seen as one of the most important lost watches, there was

even a Wikipedia page set up for it. For years, James Cox didn’t realize what was going on. But then he stumbled upon the Wikipedia entry and realized the iconic status of his possession. His decision to sell was years in the making, however. In June 2017, Cox went public and auction house Phillips promoted the sale of the “long-lost” Rolex, accompanied by a well-orchestrated PR campaign. In the end, the successful bid, by an unknown collector, was equivalent to around 100 times the value of a normal Rolex Cosmograph Daytona 6239. So what’s the lesson? The big auction houses already do a good job telling the story of classic cars with historic relevance. No car has ever achieved a premium comparable to the original Paul Newman Daytona, but might there be scope for unique cars to follow in its footsteps? Maybe, but money aside, classic car aficionados like all stories of automotive heritage, whether they’re in the market for the car in question or not. 

The value of time // 127

Secrets of Concours Judging What are judgesâ&#x20AC;&#x2122; secrets in evaluating classic cars at concours? Tillmann Schaal

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The judges Lorenzo Ramaciotti, Chris Kramer, Christian Philippsen and the moderator Fritz Kaiser (the second from the left) were the characters of the interesting panel hosted by TCCT at Schloss Dyck Concours 2017.

Secrets of Concours Judging // 129

oncours d’Elegances – at a first, superficial glance, it seems to be a glamorous catwalk for classic cars. But don’t get blinded by the shiny chrome-plated gems fighting for victory. Concours have become vital for the classic car scene, and in being so, the judging as the process of how the winners are elected has caused some lively debate. Obviously, even seasoned classic car collectors seem to be unsure about the process of judging. The panel discussion on “unveiling the secrets of judging” at last year’s Concours “Masterpieces” at Schloss Dyck, Germany, for example, was packed. The participating car collectors listened to the discussion on stage between seasoned judges hosted by Fritz Kaiser of The Classic Car Trust. All three judges on stage are highly respected members of the Concours community: Lorenzo Ramaciotti is a celebrated, prize-winning Italian car designer who has worked for Pininfarina and more recently for Fiat Chrysler Automobiles, where he was head of design. After retiring, however, he has perhaps become best known as president and chief judge of the Concorso d’Eleganza at Villa d’Este. Christian Philippsen is a classic car consultant and publisher (Automobile Year is one of his titles). He brought the Concours concept back from the United States to Europe when he organized the Bagatelle Concours d’Elegance in Paris in 1988. Today, Christian judges at concours all over the world. Christian H. Kramer has been a classic car consultant for many years, with a special expertise in the historic Mercedes-Benz 300 SL. He is active on the international level as a scrutineer for FIVA, as a regular judge at Concours events and was the chief judge at Masterpieces & Style.

Masterpieces judging: authenticity and originality are in the center Harking back to the early days of concours, Chris Kramer reminded the audience that the initial aim of these events was simply to judge the looks of new cars coming out of the factory. Today, concours events can have various goals. Being the Chief Judge of Masterpieces Concours 2017, Kramer defined authenticity as the top priority goal. For him, authentic doesn’t mean original but as an original. “An authentic car is not an original car. A car is only

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Concours Class Judging Form class: vehicle / year model: Chief Class Judge and team:

Evaluate each item for authenticity and condition. Mark category with a dash ( - ) if there is no deduction. Points shall be deducted from 1/2 to 2 points maximum is 5 !

starting number:

Criteria

COACHWORK

position 1

Body, Fenders and Adjacent Panel Fit

Door(s), Hood, Trunk Fit and Operation, Proper Soft Top

Paint Finish, Period Color, Stripng

Bumpers, Lights, Trim, Emblems, Plating, Rubber

Judges Remarks / Notes

points

INTERIOR 5

Glass, Side Curtains, Top Boot, Window Operation

Upholstery, Trim, Floor Covering, Headliner, Soft Top Well

Dash, Instruments, Steering Wheel, Pedals, Shifter, Manual(s)

Weather Stripping, Welting, Rubber, Running Board material

Engine Type, Overall Condition of Engine Bay

Oil, Fuel and Water Lines, Belt(s)

ENGINE

Carburetor(s), injector(s), Pumps(s), Linkage, Plating

Battery, Relays, Overall Condition of Electrical System

Radiator, Hoses, Pump, Fan

CHASSIS 14

Wheels, Rims, Tires, Spare Tire, Tools, Jack

Frame, Suspension, Brakes, Steering, Drivetrain

Manifold(s), Muffler(s), Pipe(s), Hanger(s), Exhaust Tip(s)

OPERATIONS

Smoothness of engine run, leaks

Instruments, Interior Lights, Horn, Radio, Wipers NOT Checked

Exterior Lights, Turn Signals, Brake and Backup Lights

General over Restoration and/or Applied Patina POINTS DEDUCTED ITEMS 1-20 Total Score (100 points Minus Deductions) Bonus points for elegance and presence add 1/2 to 3 points - do not add - Tie breaker only !

Total result

original when it leaves the factory. Once a car has been restored, it can only be like the original, and that is what I mean by authentic,” he clarified at the panel discussion later on. He then reminded us, however, that there is one class devoted to the original rather than the authentic: “We have a preservation class. Within this class, there are specific deductions for elements which are not original anymore. “In practice, the judges at Masterpieces use a clear set of criteria to help them identify the most authentic cars. Kramer’s vision for Masterpieces is to make the judging as objective and transparent as possible. The Concours’ dedication to authenticity is hardly a surprise. Both Christian Philippsen and Chris Kramer are active members of the International Chief Judge Advisory Group (ICJAG), an organization of concours judges that heavily promotes the idea of universal, transparent judging criteria for classic cars. This group of experienced chief judges supports serious class judging focused on originality and authenticity. During the panel discussion, Christian Philippsen further explained the basic evaluation process of Masterpieces Concours, based on the values of the ICJAG: “Every car starts with 100 points, from which

deductions are made; and all these deductions are codified.” Before the event at Schloss Dyck, Chris Kramer had provided a suggested deductions list. And he presented parts of it at the panel discussion. The judges of each class however had been free to agree on an amended list if they felt this would help to assess the classes’ cars most effectively. In all cases, every judge had to describe the flaw each time he deducted a point. At the panel discussion, Christian Philippsen went on to address a particular problem with judging classic cars: judges tend to give the most penalties to the cars they know best. “If you know that the Ferrari doesn’t have matching numbers, but you have seen the Lotus and there’s no way of knowing it has matching numbers or not, it’s unfair to penalize the Ferrari if you are not penalizing the Lotus as well.” Masterpieces chief judge Kramer concurred: “The judges are encouraged to apply the level of knowledge of the car they know least about.” And in this consequence both agreed that “over-penalizing” is a particular issue at events with lots of marques and very mixed classes. Talking about judging at Masterpieces, Chris Kramer emphasized that the judges spend 2 ½ days

 The judgment criteria change from one concours to another. Judges use forms that determine points. After, they discuss to determine the results of the concours. The analysis of vehicles and the discussion with the owners are fundamental moments.

with the cars and work hard to judge every class as well as possible. “You may not know this, but the scrutineers who check in the cars are also the judges. They already have their ideas about the cars. We have plenty of time to cross-judge and have deliberations between different judging teams,” Kramer addressed the classic car collectors in the audience.

The designer’s view: the democratic approach has its limits Lorenzo Ramaciotti, Italian designer and chief judge of the Concorso d’Eleganza at Villa d’Este, sees the benefit of judging cars like this: “This very objective approach is particularly useful in some specific cases.” As an example, he mentioned a Ferrari event with a class of the same models. “There is no difference on the emotional side, because all the cars are the same model. If you really want to find out which is the best, you have to apply your attention to the smallest details in the way the vehicles are presented.” He also mentioned another positive aspect: “A Ferrari 250 SWB can score 99 points, and so can an NSU

Prinz. Cars worth several million euros can line up against those worth only a few thousand. That’s very democratic.” At the same time, Ramaciotti doubted whether a strictly objective process works for classes that include various marques, because for him, the emotional side is very important. “When you come back home, you remember the cars that were at the event. For me, this is a very important part. When you engage in this kind of activity, you bring your background with you. Of course, my background as a designer has always been related to the emotional side of the automobiles.” Christian Philippsen thought that it was possible to marry the strict judging process and the emotional side. He reminded us that the Best-of-Show award is a choice fueled by emotions. “The class-winners have been judged for authenticity, giving us 14 contenders for Best of Show. Emotions and the wow-factor – subjective rather than objective elements – now come to the fore.” Given that the Best-of-Show at Masterpieces 2017 was a stellar 1930 Daimler-Benz 710 SS Rennsport in remarkable condition and with a fascinating history, it would seem that the compromise between authenticity and beauty worked out perfectly. 

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Cockpit

Classic car market insights with in-depth analysis of the top global collectors and their cars. In this Cockpit article, we offer a new dimension of insight into collecting classic cars at the very top end of that world. We wish to make a valuable contribution with this report for a market that is now coming to a crossroad and we hope to be able to support stakeholders and interested parties with such

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information to succesfully guide their beloved values into a sustainable future. To this end, our in-house research team, with the support of the professionals at Wealth-X â&#x20AC;&#x201D; one of the leading international research companies in the UHNW market â&#x20AC;&#x201D; has developed market intelligence on the global classic car

market with the most important collectors, cars, and caretakers. All data is collected from publicly available sources if not received directly from data owners with the permission to use it for this report.

Collectors: who they are and what they love.

The higher the ranking, the greater the age

We begin by analyzing the profiles of the top 100 collectors, also in comparison to the non-collectors UHNWI. The quantitative data is all publicly available, collected by The Classic Car Trust (TCCT) and Wealth-X, while the qualitative data is based on surveys completed by collectors and aficionados.

80 60 40 20

55% of the top 100 collectors are American

Top 20

Top 21-50

Top 51-100

The sample gets older the higher they are positioned in the TCCT Ranking of top 100 collectors. This is expected, as the best collectors in the world have spent many years developing their collections, taste and experience.

Top 100 collectors are, on average, richer than the other UHNWI 50 45 USA

Italy

Switzerland Hong Kong

Germany

Netherlands

Other

40 35 30

Most top 100 collectors are located on U.S. soil: 55% are American citizens. UK is second with 11%, while Italy is third with 10%. Switzerland comes after with 7%, then Germany with 5%.

25 20 15

Over 60% of the top 100 collectors are between 70-80 years old

UHNW car collectors $30m - $50m

15%

30%

48%

13%

15%

24%

16%

19%

General UHNW population $50m - $100m

$250m - $500m

$500m - $1B

$100m - $250m $1B+

26%

62%

70 - 80

60 - 70

50 - 60

40 - 50

The average UHNW car collector is significantly wealthier than the average UHNW individual. A typical UHNW car collector has, on average, about $800 million in wealth compared to only $120 million for the general UHNW individual. While almost half of the global UHNW population have wealth between $30 and $50 million, only 19% of UHNW car collectors are in that wealth bracket. Furthermore, about 41% of UHNW car collectors have wealth of $250 million or more (with 13% being billionaires) compared to only 7% of the global UHNW population.

The top 100 collectors are, on average, relatively old. More than 60% are above 70 years old. 26% are between 60-70, while 12% are below 60 (split in equal percentage between 50-60 and 40-50). This chart reflects the fact that classic car collecting is, as expected, a phenomenon related to older generations.

Cockpit // 133

A total passion

A man’s passion

Boating

UHNW car collectors

Vehicles Outdoors

Philanthropy Technology

General UHNW population

UHNW car collectors

Philanthropy Politics

Sports

90 100

Female

General UHNW pobulation

15% 7% 7%

7% 7%

Aviation

Compared to the general UHNW population, UHNW car collectors appear to be more adventurous and active. Naturally, all collectors are interested in vehicles or cars, but among the general population of UHNWs, interest in vehicles/cars is not even in the top ten. Second, while only 35% of the general UHNW population appear to be interested in some sports, 60% of UHNW car collectors show interest in at least one sport. When it comes to philanthropy, UHNW car collectors are not so different from the general UHNW population (32% vs. 36% respectively), but compared to the general UHNW public, UHNW car collectors appear to be more interested in vehicles, sports, aviation, travel, outdoors, technology, boating, music and real estate. On the other hand, UHNW car collectors appear to be less interested in education, arts, public speaking, politics and health and wellness.

13%

Music

Arts

13%

Collectors: a different professional profile

Education Outdoors

87%

Probably unsurprisingly, the average UHNW car collector is more likely to be a male than the average UHNW individual. While females represent 13% of the global UHNW population, they only make up 4% of UHNW car collectors.

Public speaking

Health and wellness

Male

General UHNW population

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96%

Real Estate

Sports

Music

Aviation

Travel

UHNW car collectors

61%

6% 5%

6% 60%

Finance / Banking / Investment

Automobiles

Manufacturing

Industrial Conglomerates

Technology

Real Estate

Non-Proﬁt & Social Organizatio…

Sports & Entertainment

Business Services

Other

Both UHNW car collectors and the general UHNW population share the same top industry — finance / banking / investment (13% vs. 15% respectively). However, the next four industries are all different for both groups. For the UHNW car collectors, the next four industries make up 25% of the population (automobile – 7%, industrial conglomerates – 7%, real estate – 6% and sports & entertainment – 5%). On the other hand, the next four industries for the general UHNW population are manufacturing, technology, non-profit & social organizations and business services, all of which make up 25% of this UHNW population.

Classic cars: passion & nostalgia

The brand’s seduction

Knowing what collectors and enthusiasts think about this world is fundamental to making it more efficient. We conducted a survey asking aficionados and collectors different questions related to the world of classic cars. 201 people replied. Among those people, 21 can be considered car collectors, while the other ones are aficionados.

A passion

148

Nostalgia - a way to keep 61 the past alive A way to prove that cars are 51 works of art A hobby - an opportunity to work on restoration and 50 maintenance An investment 40

An opportunity to 36 participate in events 0

100

120

140

160

The majority of collectors believe that collecting is mainly a passion for them (74%). The other main driver for them is nostalgia – a way to keep the past alive (31%). A relatively high percentage of respondents think of cars as works of art (26%) or consider them a hobby (25%).

Concourses and tours are the most preferred events

Concourse d'Elegance 107

Tour

Rallye (single day)

Rally (multiple days)

Track exhibitions

0 10

The chart above shows the favorite brands of top 100 collectors. The top three are Italian. Ferrari is the most powerful brand, followed by its “Mother” Alfa Romeo and then by Maserati. Porsche comes next. This is a qualitative chart, based on the preferences and love for brands of top 100 collectors.

90 100 110

This result is interesting because it shows that, also among non-collectors, Concours d’Elegance events, which are static events, are the most preferred ones. A love of beauty and design then, is the number one driver for enthusiasts, according to our survey. After that, tours are the most preferred option, followed by rallies.

Cockpit // 135

The Cars from the The Classic Car Trust Ranking

Highest values in USA, Switzerland and UK

The following results are based on TCCT Market Intelligence data on the top collectors’ collections. All data gathered is publicly available. For this analysis, we selected only the top 100 collectors and their cars.

5.335 M

USA

706 M

Switzerland

659.6 M

Almost a third of top 100 collections are over $100 million

> $250m

$200m - $250m

574.2 M

Italy Netherlands

278 M

Germany

255 M

Hong Kong

239 M

$150m - $200m

$100m - $150m

$50m - $100m

$20m - $50m 13

< $20m 0

The graph above shows the distribution of collection values around the world. Overall, the top 100 global collectors own a total of more than $8 billion in collectible classic cars. The “richest” country is, by far, the USA, with over $5 billion value. Switzerland comes next with more than $700 million. UK third with $659 million. In Europe, the second market overall, there is around $2.6 billion invested in classic cars. Hong Kong is the biggest Asian market with $239 million worth of classic cars.

Greatest number of cars in USA, Italy and Holland

Number of collectors

Most top 100 collectors have collection values between $20-100 million (63 %). Three people have values more than $250 million, while 29 people have less than $100 million. Eight collectors have collections worth less than $20 million. The collection with the highest value is estimated at $347 million. The one with the lowest value is $18 million. The average value is $82 million, and the median value is $56 million.

A high correlation between the value of collections and position in the ranking 200 150 100

United States

50 0

Italy

Europe United States Eastern Italy $188m

$88m

$36m

Top 20

Top 21-50

Top 51-100

The analysis presented above shows that the higher the rank, the more expensive the collections, on average. The mean value of a collection dramatically increases with the sample considered: $36 million for top 51-100, $88 million for top 21-50 and $188 million for top 20.

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Eastern Europe

Netherlands

Switzerland

United Kingdom Netherlands

Hong Kong

Germany Switzerland

United Kingdom

Germany

Hong Kong

The world map above shows the distribution of classic cars per country for the top 100 collectors. The total number of cars owned by the top 100 collectors is 3.652. Around 50% of all cars are in the United States, followed by 24% in Italy, 7% in the Netherlands, 7% in Switzerland, and 4% in Hong Kong. The rest are mainly in Eastern Europe, the UK, Germany, Austria, and France. Europe is the second biggest market, with a total of 1.769 cars. The average number of cars owned by the top 100 collectors is around 36, and the median is 12. The collector with the most cars owns 300 vehicles, while the one with the fewest has only three.

Ferrari, Alfa Romeo and Maserati are the most collected brands

Prewar and postwar distribution for the top collectors 27.27% 50%

26%

50% Top 20

Top 21 -50

Top 51 -100 74%

72.73%

Post-War

Lamborghini 5 4

5 Lancia 4

Ford 6 6

Quantity, quality and value Rolls Royce 7

140

120

100

The Top 20 own the greatest number of prewar cars

15%

1919 - 1945

35%

1946 - 1975

40%

64%

9% 40

Top 20

Top 21 - 50

100

120

140

160

Top 51 - 100

11.57%

56% 16%

42.07%

25%

31.02%

40 24%

50.46%

1976 - 2000s

$5m - $9m

$10m - $19m

$20m - $29m

Top 20

The bar charts above show that the top 20 collectors collect prewar and postwar cars in the same percentage. Among prewar cars, the ones from 19191945 are the most preferred (35%), while in the postwar section, cars from 1946-1975 are the favored (40%). The top 20-50 collect many more postwar cars (72%), though the percentage of prewar cars is not low (27%). The top 50-100 have the strongest preference for postwar cars: 64% for 1946-1975 cars and 9% for cars from 1976-2000s. As they are also the youngest sample, this was expected. Younger people tend to collect newer models. However, the top 50-100 people collect more 1919-1945 cars compared to top 20-50 people. The top 20 have a much higher preference for very old cars (15% before 1918 compared to 3% and 1%), while top 20-50 have a higher preference for newer cars (16% for 1976-2000s compared to 10% and 9%). In all groups cars, from 1946-1975 are the most preferred ones, with cars from 1919-1945 as the second most preferred option.

Top 21 - 50

11.72%

Before 1918

37.61%

The chart above shows how many times a brand is present in the top 100 ranking. Ferrari is owned by 82 collectors out of 100, followed by Alfa Romeo with 41 collectors and Maserati with 27.

48.72%

TOP 51-100

40.69%

Fiat 4 5 5

6 5

TOP 21-50

Aston Martin 7

Bentley 10

TOP 20

Mercedes-Benz 8

7 7 Jaguar 8

6 6

6 7

Bugatti 12

Porsche 10

Maserati 10

Alfa Romeo 14

Ferrari 19

6 11

Pre-War

> $30m

Top 51 - 100

Top 20 collectors have 50% of their cars in the $5-9 million portion. 31% are between $10 and 19 million, 11% between $20 and 29 million and 7% in the portion above $30 million. Surprisingly, the top 50 collectors have more >$30 million cars (11% compared to 7%). This confirms the fact that, in the ranking, value is not the only parameter that counts. They own fewer $20-29 million cars (6% compared to 12%). Finally, they collect more $10 to 19 million cars (42% compared to 31%). As expected, the top 50-100 collectors own fewer >$30 million cars compared to the other samples, but they own more $20-29 million cars compared to top 20-50 collectors. ď&#x201A;¨

Cockpit // 137

Seriousness and competence Manufacturers developed precious services for classic car collectors. Lamborghini, through its Polo Storico, is the perfect example of how brands can enhance their historical heritage. â&#x20AC;&#x2030;by Massimo Delbo

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n the interview given in this report, Jean Todt, president of FIA (Fédération Internationale de l’Automobile), has expressed very adamantly his view, that it is a duty and responsibility of car manufacturers to certify the originality of cars that were built by them many years earlier and now qualify as classics, because they are the only ones with the expertise and knowledge necessary for this task. This is, indeed, an important point that concerns the need for a specific approach. And it is, in fact, an approach that is increasingly being adopted, as we show in the following pages, in which we introduce the classic car programs and services now offered by 16 of the world’s most important car manufacturers. One of the most recent “new entries” in this setting is the Lamborghini Polo Storico, a service that was established about two years ago on the strength of the company’s own expertise, but also draws lessons from the experiences of other manufacturers. We met Federico Foschini, 45, Lamborghini chief commercial officer, who joined Lamborghini while preparing his degree thesis and has remained with the Sant’Agata Bolognese-based firm ever since. Today he is in charge of the Polo Storico department. We asked Foschini what services, in his view, manufacturers should offer enthusiasts who collect their classics. “We became legendary thanks to the road cars that Lamborghini steadily produced from the time it first opened in 1963,” says Foschini. “Founder Ferruccio Lamborghini had a very strict ‘no racing’ policy and, unlike other manufacturers, Lamborghini did not engage in intense racing activity, instead establishing its name by innovating and revolutionizing with its sports cars, like the Miura, the Countach, and the Espada, which, incidentally, since we are talking about classic cars, is 50 years old this year. We have always been innovative and revolutionary, and today, as a company whose latest model — the Urus (the super SUV) — looks set to take our total output to over 7000 cars per year by 2019, we still are.” During its recent years of rapid growth, Lamborghini was aware of the potential of the company’s heritage and, at least twice, the idea of developing a department devoted to managing this aspect came up, and was discussed at board level. However, the time was not yet ripe for it. “We all loved the idea and could all see its potential, and this was precisely why we knew we had to make sure we did it properly, with the right budget and involving the right

people, but at that time there were other, more urgent priorities. Nevertheless, although we saw that collectors, left to their own devices, would help each other with restorations, remanufacturing missing parts, and managing to survive without us, we also realized that, with our help, life for Lamborghini collectors, and for classic Lamborghini cars, could be a lot easier. Finally, in 2015, we got the green light and the Polo Storico department became a reality.” These remarks show just how challenging and important it is for a manufacturer to open up to the past, in order to guarantee continuity between its history and its present.

The archive as fundamental Lamborghini entered the classic car world step by step, first of all reorganizing its archive, for years rumored to be lost, but it was just little known, then gradually introducing a further three (for now) pillars. “Knowledge is everything,” says Foschini, “and our archive certainly needed to be organized, so that all the information contained could be accessed easily. Today we know that more than 90% of the cars manufactured in the course of our history are covered by our archive, and the information therein is available to our customers.” “Soon after completing the archive project, we developed the second pillar of the Polo Storico: this is devoted to our certification activity and is thus related to the archive. We believe there is nobody better qualified than the original manufacturer to verify the current condition of a car and to compare it with its original specifications. Looking ahead to the future, we anticipate that we will see previously inspected cars occasionally coming back to us, to be reinspected, prior to changing hands. But, given that we frequently encounter cars full of history, but also full of wrong parts, we knew, too, there were two other key services needed to be provided, and this brings me to the third and fourth pillars of the Polo Storico: the restoration department and the division devoted to manufacturing and supplying spare parts.” “Restorations require dedicated resources and skills, because our aim is to restore as much of the original material as we possibly can, even when it might be cheaper or easier to use new replacements. Our aim, in working on a car, is to get it to the highest level we can; in other words, to get it looking as perfect (i.e, as close to the original) as possible, and to make

Seriousness and competence // 139

Federico Foschini, Lamborghini Commercial Director, whose team runs the Polo Storico.

it reliable, so that it can be driven and enjoyed by our customers.” The growth has been fast and Polo Storico has already established itself as one of the most active and competent heritage centers in the business. “It hasn’t been easy,” Foschini says, “and at the beginning it was quite scary. We are Lamborghini, and attention to quality is part of our creed. In looking for spare parts, we saw that the market only offered ones that were, on average, of rather poor quality. Therefore, we approached our current and past suppliers, hoping to get them involved in making new spare parts. We want classic parts that are just as good as the new ones installed on our modern cars, albeit taking into account the limits dictated by the original designs to which, of course, we adhere.” “It can be a very time-consuming and costly business at times: suspensions and shock absorbers need to pass the same fatigue test as today’s components, and some will be highly specific to a certain model, originally built in very small quantities. Nevertheless, we all agree that this is the way we want to proceed. Obviously, we can’t restore the customers’ cars without the original parts, and the ones we need are, in the main, the same ones collectors are after. As a result, the restoration shop has become the first test bench for our parts department.” “In remanufacturing the parts we need, we are filling a gap in the market, making our classic cars more original and also making them better looking and better running. It is an approach that has brought us some important successes, as shown by the many trophies awarded, at classic car shows, to cars restored by the Polo Storico. By doing these restorations in house and manufacturing the necessary spare parts, we make it possible to actually use the cars, while

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The precious archive and an Islero and an Espada on display.

also protecting their financial value, given that subsequent purchasers of them can be sure of the quality and integrity of what they are buying.” Lamborghini is a modern company for which, of course, there can be no underestimating the importance of financial considerations. In today’s manufacturing world, “standardization” is the key word, but it is a concept far removed from any classic Lamborghini. “We have a budget,” admits Foschini, “and we have parameters to respect, but the company well understands the special needs of the Polo Storico. In evaluating the economic performance of the classic department, we need to adopt different parameters compared to the ones applied to the departments manufacturing the modern models.”

It takes a broader perspective “Working with classics is a completely different ball game, and this is why we have no objection to Paolo Gabrielli (the Lamborghini front man for spare parts, both modern and classic) opening a code for a classic part that has a very limited potential turnover and whose levels of profitability simply wouldn’t be acceptable for current production models. The results of the Polo Storico, or indeed of any classic department, need to be appraised from a broader perspective. Having said that, I’m proud of the results the Polo Storico has achieved: it is a young department that has proved capable of standing on its own two feet; what is more, after asking the company for investments, it has returned these within the correct time frame, while also considerably enhancing the value of our brand.”

The growth of the Polo Storico and the services it provides, together with the success of the company museum, which attracted a record number of visitors in 2017, have allowed it to take a further step: 2017 saw the first-ever Lamborghini classic car meeting held for its own sake; in other words, without having specific significance (as was the case of the 2016 meeting that celebrated the 50th anniversary of the Miura). “Neuchatel 2017, or Lamborghini & Design: a Tribute to Le Corbusier event, was a huge success, as friends, clients and collectors alike all wanted to join in ‘the party’ which was open to all classic Lamborghinis and also to a very small selection of modern one-offs.” “We discovered that they had all been waiting years for an event like this, and it turned out to be a very special weekend that will long remain in the hearts and minds of the many who attended it. The link with Le Corbusier added further elegance and prestige to the event, which was a real challenge for us because it was the first concours of elegance of such a dimension that we have organized, and also the first event we have created abroad. Our aim was to uphold the Lamborghini rule — namely, attention to detail at all times — and we are more than happy with the results. Neuchatel was an amazing moment, where we all felt the love and passion of our collectors, who all deserve a heartfelt thank you for bringing along their wonderful, beloved, cars. It also allowed us to appreciate, more than ever, the importance of our classic cars in enhancing the power of our brand.”

exactly what we envisaged,” says Foschini, “because we still have to digitalize part of it and we are also trying to complete it with the currently missing parts, a challenge that is getting harder and harder the closer we get to the magical 100 percent target. The spare parts department, too, will shortly be facing a new challenge, as cars like the Murcielago, with its many versions, will soon be joining the classic ‘family’. “Indeed, in 2021, it will be 20 years since these cars have entered production, and so they will be entering the field of interest of the Polo Storico. This means we will need to be manufacturing and stocking a greater range of spare parts, and adding codes to our catalog. As regards our external relations, we are looking to establish closer links with clubs and car dealers, so as to make it easier to interact with us.” It is said that passion is contagious, and looking at the expressions in the eyes of the Polo Storico men, it is easy to believe that this is true. This encounter has provided confirmation of an emerging and very positive state of affairs: manufacturers are well aware of their responsibilities and even realize — hats off to Lamborghini for this — that sometimes it is okay if the figures do not add up given that, in some circumstances, a happy customer more than justifies a hefty investment. Ferruccio Lamborghini was a visionary entrepreneur, the epitome of a man in love with life and with the pleasure it can bring, a sort of Elon Musk of his time, and he would be proud of this team. Now let’s just hope nobody thinks of sending a Miura into orbit... 

The challenges facing the Polo Storico are growing every day, with more and more requests coming in from all over the world, and more and more models soon to assume classic status. “The archive is not yet

Seriousness and competence // 141

Brand Warranties & Certifications

Brand by brand, all services offered to collectors and classic car specialists. by Massimo Delbo

Most leading car manufacturers now have a classics department to manage their heritage and help collectors around the world by providing archive information, and technical sheets and spare parts, and sometimes offering restoration work and trading of old models. Unfortunately, this was not always the case. As recently as 10–15 years ago, few official classics departments existed, and those that did were often managed by internal volunteers with a passion for classics rather than in an organized and strategic way. The growth of this direct approach by car manufacturers is undoubtedly a positive development in the classic car world, because the easy access to spare parts and specialized maintenance and restoration facilities relieves owners of some of the more difficult aspects of collecting old cars. Accordingly, it is now possible to achieve far better results in terms of originality, as well as normal maintenance and restoration work: what would have been considered a high-quality professional restoration in the early 1990s would nowadays be judged a poor job, even lacking in respect for the car. However, the benefit of being able to source spare parts directly from the manufacturer comes at a cost: higher prices and also a tendency to elbow out the small, specialist firms that, until a few years ago, were the market’s main suppliers. Also important is the change in mind-set we have seen within the manufacturers’ organizations. Indeed, classic or heritage departments are no longer just beautiful

142 // TOP OF THE CLASSIC CAR WORLD

cameos, serving simply to illustrate the history of the firm and possibly to enhance its corporate image, and only needing to break even at the end of the year; now they are business units in their own right, managed to generate the due profit margins. This is exemplified by the cost of a manufacturer-issued technical sheet, now mandatory in order to register a car that is being imported or to re-register one after a major restoration. A few years ago this would have cost around €100, but now we are talking about ten times that figure. The manufacturers are in a strong position to establish relations with sub-contractors too, and, to illustrate this, some have already found tire manufacturers willing to re-create the original tires of the past, in terms of sizes and tread designs. The growing availability of “in house” restorations is another benefit, because of the attention to detail and respect for originality shown by manufacturers working on their own old creations. As a secondary effect, this trend helps the supply chain, too, indicating what spare parts the market lacks. The important thing today is to buy services and parts only after a careful evaluation of your own personal needs and preferences: it is these that should determine whether you buy from an official spare parts shop or go digging under a pile of scrap metal in a junk yard looking for the missing parts you need. The first way may be more efficient, but the second gives you the added pleasure of the discovery.

Early this year it was decided that the classics departments coming under the FCA umbrella would each be known by the name of the respective brand (Abarth, Alfa Romeo, Fiat and Lancia) plus the specification Classiche. However, in this note we still prefer to consider Alfa Romeo Classiche as a department “in a class of its own,” as Alfa Romeo is, in the FCA family, the brand with the longest experience in the classics area and also the only one with a dedicated museum. Gradually, things have got moving once again, and Alfa Romeo Classiche can now offer its collectors the services they need, such as information from the archive, building sheets and certification.

Even though this company’s dedicated heritage department is only just over ten years old — it officially opened in 2007 —, Aston Martin Works has been taking care of its “old cars” since practically forever, always offering customers great support, whether they are after spare parts or archive information. Alongside the traditional classics services, Aston Martin also offers something very unusual: it will transform existing cars, giving them new (usually Vantage version) engines, transmissions, and so on.

Aston Martin — Aston Martin Heritage Alfa Romeo — FCA Heritage

Spare parts, services, restoration, trade, production sheet

Spare parts, archive information, certification, buy / restore / sell services

heritage@astonmartin.com Tickford Street, Newport Pagnell, Buckinghamshire

heritage@fcagroup.com Corso Giovanni Agnelli 200, Torino he Alfa Romeo Museum in Arese was founded in 1976. T Alfa Romeo is one of the oldest and most prestigious brands in the world. After many years of support from RIAR (Registro Italiano Alfa Romeo), recently Alfa Romeo established its official Heritage program (in 2017 as a separate entity from the FCA’s own category).

The dedicated Heritage department opened in 2007

They also offer the option to modify new Aston Martin models, by adding Vantage specification, X-Packs, etc.

Participation at classics events and international exhibitions.

Brand Warranties & Certifications // 143

Managing the Audi Tradition classics department in Ingolstadt is no easy task, given that it deals with four important brands (Horch, Auto Union, DKW, NSU), all equally important in terms of their history but all very different, ranging from small motorcycles to luxury cars. The Tradition department covers all the old brands and all Audis from 1949 to 1998, including the mythical “UR” Quattro and the early RSs, today both considered among the best “youngtimers” to own.

BMW built its museum in 1973, at a time when classic car collecting was still a hobby reserved for the very few, and when most of the BMWs we collect today were yet to be invented. Today BMW’s Classic program, launched in 2016 to merge the different departments that had previously looked after this area, is one of the most complete and active in the world, able to provide any information and support that might be required, as well as a complete range of spare parts. They also offer services for Rolls Royce and Mini.

Audi — Audi Tradition BMW — BMW Group Classic Spare parts, technical sheet, production sheet Audi.tradition@audi.de

Spare parts, services, restoration, certification, trade, production sheet

Lilienthalstrasse 41, Biberach

classic@bmwgroup.com

The department covers Audi, Auto Unions and the brands that then formed Audi.

Moosacher Str. 66, Munich

Official participation at classics events. NSU, DKW, Auto Union, Audi from 1949 to 1998.

he museum opened in 1973, and the Classic department T was launched in 2016.

Official participation at classics events.

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As mentioned previously, early this year it was decided that the classic departments coming under the FCA umbrella would each be known by the name of the respective brand (Abarth, Alfa Romeo, Fiat and Lancia) plus the specification Classiche. Having already described Alfa Romeo Classiche, we now focus on the Abarth, Fiat and Lancia brands, which moreover previously had no museum and until recent times no specially designated in-house department, easily accessible to collectors. However, things are now moving once again, and Abarth, Fiat and Lancia Classiche can finally offer collectors the necessary services, such as information from the archive, building sheets and certification. These brands are now part of the “Reloaded” program which promotes the purchase, restoration and sale of old cars originally built by these firms. Note that Autobianchi is not part of this program.

The Classiche department of the Maranello firm is surely of great significance in terms of what Ferrari represents in the classic car market. Founded in 2006 and managing the world’s most collected brand, it represents a fundamental benchmark for collectors. Its level of competence and organization is such that anything is possible. Its certification process taught the classic car world how to assess a car in order to decide whether or not it can be certified as original. Its work has had a very clear, and significant, impact on the market. Indeed, the Ferrari “certificazione” is an important tool when selling a classic Ferrari.

Ferrari S.p.a. — Ferrari Classiche Spare parts, services, restoration, certification

FCA (Abarth, Fiat, Lancia) — FCA Heritage

ferrariclassiche@ferrari.com

Restoration, trade, production sheet, certifications

Via Abetone Inferiore 4, Maranello (MO)

heritage@fcagroup.com Corso Giovanni Agnelli 200, Torino

Founded in 2006.

Support to customers at classics races or events.

oday, the program was established in early 2018. PreviT ously, where it did exist, it was split among the brands, and offered fewer services.

Official participation at classics events.

Brand Warranties & Certifications // 145

Jaguar Land Rover Heritage was founded in 2014, several years after the purchase of Jaguar and Land Rover by Tata Motors Ltd in 2008. Ever since, the department has been kept busy and has been developed with passion. The Jaguar side, strengthened by the recent purchase of a vast collection of classics, offers a wonderful rental service of its old models. In addition, Jaguar recently started a new program devoted to the recreation, to the exact specifications, of the most sought-after models, such as D-Types and C-Types, and it also offers a complete restoration service for E-Types and XK-models. It is also manufacturing an increasing

Among the last of the “important” manufacturers to enter the classic car world, Lamborghini is certainly making up for lost time: its Polo Storico (founded in 2017) and in-house museum (opened in 2001) are both growing rapidly. The Polo Storico is able to offer an increasing number of original spare parts, even the rarest ones, and it is fast gaining a reputation as a center of reference and expertise for the brand. It has already restored and researched the history of some of the most important Lamborghinis in the world. With a number of projects already in its order book, its future looks rosy.

number of spare parts for Jaguars, and constantly expanding the services it provides. All this contributes to one of the best heritage departments currently in existence.

Lamborghini S.p.a. — Lamborghini Polo Storico Spare parts, services, restoration, certification

Jaguar Land Rover — Jaguar Land Rover Heritage

polostorico@lamborghini.com Spare parts, services, restoration, certification

Via Modena 12, Sant’Agata Bolognese (BO) film@jaguarheritage.com, +44 (0) 2476564420 British Motor Museum, Banbury Road, Gaydon The department was founded in 2014, and also includes the Land Rover brand. Official participation to classics events.

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he museum opened in 2001, and the Classic department T was launched in 2017.

Official participation to classics events. One of the first restored cars was the Miura owned by its engineer, Gianpaolo Dallara.

Formally created in 2012, the Maserati Classiche department may be regarded as a testament to all the work done over many years by Ermanno Cozza, legendary Maserati mechanic of the 1950s, who, driven by his passion for the firm, became its official historian and documentarist. Even today, Mr. Cozza can still be found spending time in the archive.

Maserati — Maserati Classiche Technical sheet, production sheet

Mercedes-Benz boasts “the mother of all the Classics programs.” The company’s first museum opened in 1936. This was followed, a quarter of a century later, by a second one, occupying dedicated premises. Finally, in 2006, Mercedes-Benz opened its current museum, which may be considered a work of art in itself. Given this background, it is actually difficult to say when the activity of the MB Classic department first started. The MB Classic Center in Fellbach was founded to take care of the cars in the museum, but as a result of pressure from “influential collectors” it was forced to go public in 1993. Since 2006, it has had an American subsidiary. Parts, trading, certifications and restorations are among its well-established services.

Maserati.classiche@maserati.com Viale Ciro Menotti 322, Modena

Created in 2012.

Mercedes-Benz — Mercedes-Benz Classic Spare parts, services, restoration, certification, trade, production sheet

Official participation to classics events. classic@daimler.com Stuttgarter Strasse 90, Fellbach

he Mercedes-Benz Classic department is the oldest and T most organized in the automotive world.

Organization of dedicated events; official participation at classics events.

Brand Warranties & Certifications // 147

Pagani Rinascimento: a perfect choice of name for a company whose owner, Horacio Pagani, draws inspiration from the great Leonardi da Vinci. Founded in 2017, Pagani Rinascimento takes excellent care of the few hundred Paganis built since the firm opened in 1999. It also allows cars to be “updated” to more recent specifications.

Pagani – Pagani Rinascimento Spare Parts; Services; Restoration; Production Sheet info@pagani.com, +39 059 4739201 Via dell’Artigianato 5, San Cesario sul Panaro (MO)

Founded in 2014, included the brand Land Rover too.

Founded in 2017. It takes care of all the Paganis built since the opening of the firm (1999).

L’Aventure Peugeot Citroën DS is the organisation that sees the Aventure Peugeot initiative extended to the PSA Group’s other brands, and it is the final step in a very long story. Indeed, Aventure Peugeot was begun several decades ago to celebrate the remarkably long history of a company so old that it predates first “automobile” by a good century. The PSA Group now offers a complete program, certainly for Peugeots, although the Citroën one, too, is expanding all the time, with richly stocked museums. In addition, it also offers the possibility to rent Peugeot classics.

Peugeot, Citroën, DS – L’Aventure Peugeot, Citroën, DS Spare Parts, Certifications Pr.classic@mpsa.com Carrefour de l’Europe, Sochaux Boulevard André

he program was established in 2017. Before each firm had T it’s own program. Still today Peugeot program, definitely existing since longer, is more complete.

Participation to International Auto shows. Possibility to rent classic Peugeot.

148 // TOP OF THE CLASSIC CAR WORLD

This company, located in the Zuffenhausen district of Stuttgart, has made the protection and celebration of its heritage the most important assets. It has always taken great care of its production cars, especially those sporting a rear engine, and it is seemingly able to provide an endless supply of spare parts. Today, as well as an amazing museum and exemplary archive, and its own certification program, Porsche Classic boasts a warehouse containing as many as 52,000 spare parts.

The Wolfburg-based firm has been less active in the classics field than its subsidiary Audi. Founded in 1997, its dedicated department, VW Parts, has evolved rather tentatively over the past 20 years, providing archive information and spare parts. The legendary history of the Beetle and its derived models, such as the Karmann Ghia, the military models, the 181, the Schwimmwagen or the iconic VW Vans represent an important market for official spare parts.

Porsche â&#x20AC;&#x201C; Porsche Classic

Volkswagen â&#x20AC;&#x201C; Volkswagen Classic Parts

Spare Parts; Services; Restoration; Production Sheet

Spare Parts

contact@porsche.de

kundensupport@vw-classicparts.de, +49 (0) 53613085 7729

Porscheplatz 1, Stuttgart

Theodor-Heuss Strasse 28 B, Wolfburg

ne of the most complete and reverred program in the O business, with 52.000 SKU of spare parts.

Official participation to classic events. One of the few time where the Company Museum (2009) opened after the Classic department (1990).

Founded in 1997.

Stock around 60,000 spare parts, for classic cars as well as for daily drivers.

Brand Warranties & Certifications // 149

A Tale An engaging tale about the passion for classic cars. A narrative set against a backdrop both real and imaginary. A story about people you can identify with. A ďŹ ctional account of the tangible world of collecting automobiles. An enjoyable yarn that reveals how a great heritage can gain value and stability from the concerted contributions of those who believe in it. by Antonio Ghini

150 // TOP OF THE CLASSIC CAR WORLD

EVENT

COLLECTION S T R EE T

BEST IN CLASS

DATA CUBE

WINNING

RETROMOBILE

1 9 6 0 ABOUT

BEST

RM CAR

D A TA

60 ABOUT RM

CULTURE

MILLE M I G L I A

PASSION

UNESCO SERVICE

EVENT HISTORY TOP 50 COLLECTORS

CLASSIC

RETROMOBILE

HERITAGE PASSION

RESTORATION

BEST

AUCTION

CLASS

WINNING

CAR

PENINSULA BEST O F THE AUCTION B E S T AWARD

2018

FIVA

PEBBLE BEACH

TOP

WORLD

STATE OF THE CLASSIC CAR MARKET WEALTH X

CURTAINS

MARKET STORY

THE QUEST FOR BEATY

INFORMATION

BEST

2018 TOP

VALUE DRIVERS

ART

JUDGING

NEXT G E N E R A T I O N

TOP

CONCOURSE Dâ&#x20AC;&#x2122;ELEGANCE INSIGHTS BEHIND T H E

JURGEN LEWANDOWSKI

SANDRA BUTT O N

ALBERT SPIESS

DINO COGNOLATO CORRADO LOPRESTO

DONALD O S B O R N E

LORENZO RAMACIOTTI

MILES COLLIER

JEAN TODT

PRESERVES COLLECTION

BEAUTY ARTISANS

BEST

BEST IN

ABOUT RANKING

WORLD

CLASSIC C A R

RANKING

TOP OF THE

CULTURE

CAR

COLLECTOR

FIVA

100

THE K E Y

C AR

THE CLASSIC C A R TRUST

SERVICE

A 1950 VALUE

CLASS

PASSION

BEST

RACE

SERVICE

WINNING

FIA STORY

Passion and Pleasure TOP R A L L Y

TOP

Antonio Ghini

A Tale of the Heart and Mind

A TALE // 151

Chapter 1 The Meeting

He never rolled up the main door to get into the garage. He preferred the inside door at the bottom of the stairs, and when he opened it he never turned on the light because he wanted to take in the mixture of smells only given off by cars made before the days of automatic assembly lines. The wedge of light that illuminated parts of the chrome work to reveal the deeply familiar and endlessly surprising forms of his automobiles intensified the impact on the nostrils: that odor of tires, castor oil, and pure petrol surrounding the slumbering magical objects that he thought of as industrial sculptures, toys, or wise investments for some of his money – he could never decide exactly what they were to him. In the dark he moved toward the car he’d been thinking about most before going down to the garage. He’d driven it a couple of weeks earlier, and out of laziness had not disconnected the battery or covered the body despite the cold weather. He wondered if it was all going to work out as he’d imagined, if he was really going to feel surprise and admiration at that encounter. That slight squeak of the door as he opens it is the real thing, like a tone of voice, and the aroma of leather that fills the nose once he’s inside is better than any pill for reducing blood pressure. He slips into the driver’s seat, pausing a moment to breathe in deeply, then turns the ignition. The dashboard lights up. That’s good. Now he flips up the electric fuel pump... tac, tac, tac, it goes, gradually slowing down to a halt. This is the moment to start

152 // TOP OF THE CLASSIC CAR WORLD

the engine. He punches down on the accelerator with his foot to awaken the drowsy carburettors. Now it’s time to turn the key! The battery seems to be fully charged, but the engine doesn’t respond. He stops for a moment. Although he knows it will get going, a slight feeling of anxiety remains. He tries again... vroom, vroom, vroom – that’s it, come on! – vrooom. There it goes, that wonderful engine. He’s pressed the remote to open the garage doors, and suddenly he’s bathed in light ... to do this in advance would be tempting fate ... and now he happily warms up the engine before getting into gear. The car itself is perfectly aware of this love of his, and is slightly jealous of the other vehicles in the garage. It knows he drives well, can double declutch, and likes to calibrate the tire pressure based on how he’s going to use the vehicle. It also appreciates the way he always warms up the engine before setting off, and that from time to time a strange little man armed with a couple of screwdrivers will come over to regulate the carburetors. Ah, yes, theirs is a happy cohabitation. Or at least it seemed to be until that strange heap of metal was brought into the garage with such care. They placed it over in the corner, covered with a blue tarp. Why should iron junk call for such attention? Not worth worrying about, not now that he was confidently driving his belle dame along a wide, smooth road winding its way toward the hill. The air is fresh and the tires are on the hard side so that they skate a little as they tackle the narrow bends. He can handle all this effortlessly, and she responds, happy to follow him in a game for two that works only for the most sensitive, harmonious couples.

Top of the Classic Car World

Editorial by Fritz Kaiser, Founder of The Classic Car Trust.

from a teenager, an admiring gaze from a beautiful woman, or an excited look of recognition from a

Our research team recognized that the digital footprint we leave when we buy, sell, and enjoy our

fellow aficionado. It’s amazing to see how many people of all ages and backgrounds are fascinated by the design, the technology, or just the sound

cars is stored somewhere in the vast data cloud out there. They have spent hundreds of hours over the

of these vehicles, and how classic cars still trigger dreams of a golden age. There are still more than six million classic cars on

past year using every technical means to systematically search for, collect, and analyze all the available information about the most important classic cars and their collectors and caretakers. We also have data on dealers and carmakers’ museums, though

the road, in garages, in museums, and in major collections around the world. They offer enjoyment

this information is not included in our list.

to millions of people and stand at the heart of a billion-dollar business. Many of these cars are also loved by investors, and the most valuable change

We now know that the top 100 classic car collectors own historic automotive gems worth a combined total

hands for tens of millions of dollars before becoming the centerpieces of important collections.

of 8 billion US dollars. Half of these cars are in the United States of America. The average age of collectors is 72; the oldest individual is 96, and the youngest

This first edition of what will be an annual publication

43. The top three brands are all Italian. Ferrari is in the lead, followed by Alfa Romeo and Maserati. Most

focuses on the top end of the market. Once a year, we will take a bird’s-eye view of the world of classic cars and bring you insights and opinions from the

services, or the automotive industry.

leading lights of the community, together with exciting stories of successful personalities who all have one thing in common — remarkable visions and a great passion for classic automobiles.

of the front-runners in our list are businessmen who made their money in fashion, real estate, financial

To produce our list of collectors, we developed a sophisticated scoring system that takes into account value, historic importance, awards won, reputation, and their contribution to the classic car society. This produces a total score of up to 100 points. The list is

dynamic and will change as the market changes and our knowledge grows. We very much welcome any kind of help that might improve our database. And while our endeavors might reveal some surprises, we hope that they will also create valuable reference points for collectors, and help nurture the passion of aficionados around the world.

increasingly transparent society, the collector community has, for various reasons, kept off the radar. Well, some people love the limelight and others don’t. We respect them all and want to become their trusted friend and tell some of their more intriguing stories. When we decided to make the list of the 100 most important collectors — a bit like the Forbes lists — we knew that we needed to develop a well-grounded database. Fortunately, some 25 years ago, just about when Ferrari launched the F50, when McLaren unveiled their F1 road car,

8 // TOP OF THE CLASSIC CAR WORLD

ing a careful eye on the road. The collection may have begun as At the wheel he’s thinking about the appointment while keepa hobby, but it’s grown in the course of time and has become a ing a careful eye on the road. The collection may have begun as major asset. An asset he has no intention of divesting himself of, a hobby, but it’s grown in the course of time and has become a but one that calls for strategy and management. Right now, for major asset. An asset he has no intention of divesting himself of, sure, but even more so in the near future. He has two daughters but one that calls for strategy and management. Right now, for who certainly enjoy accompanying him at events and on rallies. sure, but even more so in the near future. He has two daughters But deep down they’re happier doing their own thing and have who certainly enjoy accompanying him at events and on rallies. no particular affection for his jewels. What will happen to his But deep down they’re happier doing their own thing and have cars when ... “Whatever am I thinking of? This is crazy, there’s no particular affection for his jewels. What will happen to his still time...” he thinks, shooing away the little demons that none cars when ... “Whatever am I thinking of? This is crazy, there’s of us like to entertain. still time...” he thinks, shooing away the little demons that none of us like to entertain. The road snakes downward, he brakes confidently, shifting down a couple of gears... Vroom, vroom and on towards his The road snakes downward and he brakes confidently, shifting appointment. “I love it when I hear them say that a car like me down a couple of gears... Vroom, vroom and on toward his is supposed to have fun” says the car as he urges her on at the appointment. “I love it when I hear them say that a car like me two bends just before their meeting place. “He’s right, cars like is supposed to have fun,” says the car as he urges her on at the us aren’t classic or vintage, we’re aristocratic, young as opposed two bends just before their meeting place. “He’s right, cars like to old! We want to be used, put to the test, even mistreated just us aren’t classic or vintage, we’re aristocratic, young as opposed a bit. That’s the best way to keep us in form”. to old! We want to be used, put to the test, even mistreated just a bit. That’s the best way to keep us in form.” Fritz Kaiser is leaning against the railings of the garden steps as he waits at the hotel where they’ve planned to meet. He Fritz Kaiser is leaning against the railings of the garden steps as watched his guest arrive and was impressed by the car and they he waits at the hotel where they’ve planned to meet. He watches way he drove it. The clear lenses of his glasses cannot hide the his guest arrive and is impressed by the car and the way he smile that wrinkles his eyes. Little wonder: the idea he wants drives it. The clear lenses of his glasses cannot hide the smile that to discuss makes him much more amenable than when he’s at wrinkles his eyes. Little wonder: the idea he wants to discuss his desk dealing with finance and investments. The Classic Car makes him much more amenable than when he’s at his desk Trust he has founded is an exciting venture. He’s sure he can dealing with finance and investments. The Classic Car Trust he count on the expertise of his staff, and he also nurtures a has founded is an exciting venture. He’s sure he can count on the

TOP OF THE CLASSIC CAR WORLD // 9

expertise of his staff, and he also nurtures a passion for collecting. He knows all about the thrill of going down to the garage and takes part in the Mille Miglia and the Concours d’Elegance. And that’s precisely why he had come to the conclusion that collecting is a passion that should be underpinned by sound reasoning. You need to be enthusiastic, but you also have to look beyond the next event or a forthcoming auction. He believes it’s high time the great collectors got together for a real meeting, an encounter that is also an exchange of ideas, a bit like the World Economic Forum in Davos that he has always attended. Classic cars are an important phenomenon, and so far there’s been no one in the driver’s seat. This has to change. “Nice to meet you, that was quite an entry, magnificent... do have a seat. I admire you as a publisher, I know your books and your work. I’d like to tell you about an idea I have in mind.”

They sit down on comfortable wicker chairs lined with cushions, under a portico with a view out toward where that lovely vehicle is parked. A gas fire mitigates the slight chill in the air, and after a moment’s silence he looks up and says: “Please do...” Fritz Kaiser clarifies the project with the precision of someone who has thought through all aspects of something he really believes in. “That sounds interesting, very interesting. A famous Italian restorer you probably know, Dino Cognolato, put it all in a nutshell: collecting classic cars provides you with aspirins and champagne, the aspirins for all the headaches involved in buying them, certifying them, restoring them, and so on, and the

A TALE // 153

n the interview given in this report, Jean Todt, president of FIA (Fédération Internationale de

most important car historians in the world. Because of my father’s job, we moved around northern Italy

meantime, I had my first contact with a coachbuilding firm: in 1967, together with my friend Guido Spinelli,

1973, just after graduating as a mechanical engineer from Politecnico di Torino, he joined Pin-

a lot, although I didn’t really enjoy car rides that much as I used to get slightly car sick. My uncle,

later a very successful businessman in the truck spare part business, I took part in the annual Grifo

infarina, back then the leading brand in car design. He had a wonderful career with Pininfarina: in 1988,

who worked for the Driver and Vehicle Licensing Agency in Modena, was the one who introduced

d’Oro student challenge, a competition organized by Bertone. Spinelli and I designed and built a model

classic Lamborghini cars, could be a lot easier. Finally, in 2015, we got the green light and the Polo Storico department became a reality.” These remarks show

he was made general manager and also given overall responsibility for design within the firm, positions he held until 2002, when he was appointed CEO.

me to the wonderful world of cars. Because of his work, he had good links with car dealers and could get his hands on second-hand Lancia Aurelia B20s

of a sports car for this event, which was an important opportunity as all the best drawings would be exhibited at the entrance to the Turin Motor Show, to

This is, indeed, an important point that concerns the need for a specific approach. And it is, in fact, an

just how challenging and important it is for a manufacturer to open up to the past, in order to guarantee

In 2005, by which time he was widely acclaimed as the father of some of the most beautiful cars

and Flavias, and even Alfa Romeo 1900 Supers. To run these cars cheaply, he was always trans-

be seen by everybody in the business. Even though we had no idea how to build a model car, we ended

approach that is increasingly being adopted, as we show in the following pages, in which we introduce

continuity between its history and its present.

of the last 30 years, including Ferrari models such as the 456, the Enzo, the 550 Maranello, and the

forming them so that they could be powered by methane, as many others in the Emilia region did

up with something that, even today, doesn’t look so bad. However, Bertone obviously did not agree! To

the classic car programs and services now offered by 16 of the world’s most important car manufacturers.

The archive as fundamental

Mythos dream car, he decided to retire. However, this new life only lasted until June 1, 2007, when,

in the 1960s, since this gas was cheap and readily available there. From a young age, I was fascinated

tell the truth, they decided that the overall quality of the projects presented was so low that none of the

Lamborghini entered the classic car world step by step, first of all reorganizing its archive, for years

after “pressure” from Fiat Group CEO Sergio Marchionne, he returned to active work as general manager of Fiat Centro Stile for Fiat, Fiat Profes-

by racing cars — my “hero” was Colin Chapman — and I also loved drawing cars. I still have my old schoolbooks, in which every blank space is filled

entrants deserved to win the Grifo d’Oro trophy.

One of the most recent “new entries” in this setting is the Lamborghini Polo Storico, a service that was established about two years ago on the strength of the company’s own expertise, but also draws lessons

rumored to be lost, but it was just little known, then gradually introducing a further three (for now) pillars.

sional, Abarth, Alfa Romeo, Lancia, and Maserati. A few years later, he took on the role of chief design

with my early sketches. Back then, “car styling” was not a clearly defined profession, and there

you ended up staying for 32 years — practically your entire working life — before your first “retirement”?

from the experiences of other manufacturers.

“Knowledge is everything,” says Foschini, “and our archive certainly needed to be organized, so that all

officer at the newly founded FCA (Fiat Chrysler Automobiles), where he was alo responsible for Jeep,

was no school where it could be learned, so when I realized that I wanted to design cars profession-

After graduating, I sent my resume to all the coachbuilders in the Turin area except for Bertone; given

We met Federico Foschini, 45, Lamborghini chief commercial officer, who joined Lamborghini while preparing his degree thesis and has remained with

the information contained could be accessed easily. Today we know that more than 90% of the cars manufactured in the course of our history are covered

Dodge, Chrysler, Ram, and SRT. In this position, he coordinated and supervised the style of the whole group and chose to retain, more for personal

ally, I decided to study mechanical engineering at the Polytechnic University of Turin, on account of its close proximity to the car world. My idea was

the outcome of the Grifo d’Oro competition I had made up my mind that I would never work for them! Pininfarina called me and I had an interview with

the Sant’Agata Bolognese-based firm ever since. Today he is in charge of the Polo Storico department.

by our archive, and the information therein is available to our customers.”

pleasure than anything else, direct responsibility for the style of the Maserati and Alfa Romeo brands. In

that once I had graduated, I could go and work at Maserati. In the end, this idea came to

Leonardo Fioravanti. I showed him my sketches and told him that my dream was to

“Soon after completing the archive project, we

Lorenzo Ramaciotti: Celebrating the best in beauty and style at Villa d’Este

2016, he once again decided to retire and devote himself to enjoying his private life with his wife,

nothing because in 1967 the Orsi family sold Mase-

Ilaria, children, and grandchildren, although he continues to serve as a judge at the most important classic car shows around the world.

rati to Citröen. In the

by Massimo Delbo

with Adolfo Orsi, today considered one of the

We asked Foschini what services, in his view, manufacturers should offer enthusiasts who collect their classics. “We became legendary thanks to the road cars that Lamborghini steadily produced from the time it first opened in 1963,” says Foschini. “Founder

developed the second pillar of the Polo Storico: this is devoted to our certification activity and is thus

Ferruccio Lamborghini had a very strict ‘no racing’ policy and, unlike other manufacturers, Lamborghini

related to the archive. We believe there is nobody better qualified than the original manufacturer to verify the current condition of a car and to compare

did not engage in intense racing activity, instead establishing its name by innovating and revolutioniz-

it with its original specifications. Looking ahead to the future, we anticipate that we will see previously

ing with its sports cars, like the Miura, the Countach, and the Espada, which, incidentally, since we are

inspected cars occasionally coming back to us, to be reinspected, prior to changing hands. But, given

talking about classic cars, is 50 years old this year. We have always been innovative and revolutionary, and today, as a company whose latest model — the

that we frequently encounter cars full of history, but also full of wrong parts, we knew, too, there were two other key services needed to be provided, and

Urus (the super SUV) — looks set to take our total output to over 7000 cars per year by 2019, we still

this brings me to the third and fourth pillars of the Polo Storico: the restoration department and the

are.” During its recent years of rapid growth, Lamborghini was aware of the potential of the company’s

division devoted to manufacturing and supplying spare parts.” “Restorations require dedicated resources and skills,

However, the time was not yet ripe for it. “We all loved

because our aim is to restore as much of the original material as we possibly can, even when it might be cheaper or easier to use new replacements. Our aim,

the idea and could all see its potential, and this was precisely why we knew we had to make sure we did it

in working on a car, is to get it to the highest level we can; in other words, to get it looking as perfect

properly, with the right budget and involving the right

(i.e, as close to the original) as possible, and to make

up, and was discussed at board level.

SERIOUSNESS AND COMPETENCE // 139

ing a careful eye on the road. The collection may have begun as champagne for when you win a concours or really enjoy a rally. a hobby, but it’s grown in the course of time and has become a It’s true, but I also agree with you that there’s always more to major asset. An asset he has no intention of divesting himself of, it than initially meets the eye, and that you can get a headache but one that calls for strategy and management. Right now, for from all sorts of other things, so I reckon your idea for a Trust sure, but even more so in the near future. He has two daughters is excellent. If I can be of any help in the future regarding the who certainly enjoy accompanying him at events and on rallies. publication, don’t hesitate to get in touch...” But deep down they’re happier doing their own thing and have no particular affection for his jewels. What will happen to his cars when ... “Whatever am I thinking of? This is crazy, there’s still time...” he thinks, shooing away the little demons that none of us like to entertain.

Chapter 2 The Importance of Creation

The road snakes downward, he brakes confidently, shifting down a couple of gears... Vroom, vroom and on towards his The history of mankind was first passed on orally from one appointment. “I love it when I hear them say that a car like me generation to the next, and later in writing. In all areas of is supposed to have fun” says the car as he urges her on at the learning and progress, certain names have come to the fore in two bends just before their meeting place. “He’s right, cars like this on-going process. The world of the automobile has added us aren’t classic or vintage, we’re aristocratic, young as opposed several chapters of its own, introducing personalities whose to old! We want to be used, put to the test, even mistreated just stories bear witness to the special appeal of cars, a form of a bit. That’s the best way to keep us in form”. magnetism that is almost totally lacking in other industrial products. There’s a reason for this: in all ages the creative proFritz Kaiser is leaning against the railings of the garden steps cess intrinsic to the automobile embodies a perfect synthesis as he waits at the hotel where they’ve planned to meet. He of technical solutions and aesthetic gratification, investing all watched his guest arrive and was impressed by the car and they aspects of the vehicle, including its fittings and furnishings. way he drove it. The clear lenses of his glasses cannot hide the Moreover, this has taken place in ways that vary from one smile that wrinkles his eyes. Little wonder: the idea he wants marque to another, with each mapping out its own recognizable to discuss makes him much more amenable than when he’s at look, some in a linear, homogeneous fashion, and others in fits his desk dealing with finance and investments. The Classic Car and starts that account for moments of sheer brilliance and Trust he has founded is an exciting venture. He’s sure he can others of relative opacity. Even the great automobile names that count on the expertise of his staff, and he also nurtures a succumbed to a rapacious market have their connoisseurs, keen

154 // TOP OF THE CLASSIC CAR WORLD

ver since he was a boy, Lorenzo Ramaciotti had dreamed of designing cars, and in

tors, left to their own devices, would help each other with restorations, remanufacturing missing parts, and managing to survive without us, we also realized that, with our help, life for Lamborghini collectors, and for

as classics, because they are the only ones with the expertise and knowledge necessary for this task.

heritage and, at least twice, the idea of developing a department devoted to managing this aspect came

138 // TOP OF THE CLASSIC CAR WORLD

people, but at that time there were other, more urgent priorities. Nevertheless, although we saw that collec-

l’Automobile), has expressed very adamantly his view, that it is a duty and responsibility of car manufacturers to certify the originality of cars that were built by them many years earlier and now qualify

The chief judge at Concorso d’Eleganza Villa d’Este explains why car design deserves to be treated as an art form. 54 // TOP OF THE CLASSIC CAR WORLD

How did you come to join Pininfarina, the firm where

design cars, nothing

LORENZO RAMACIOTTI: CELEBRATING THE BEST IN BEAUTY AND STYLE AT VILLA D’ESTE // 55

to breathe new life into the glories of the past. And UNESCO has acknowledged the value of certain precious recoveries. On his way back to Vaduz, Fritz mulled over this tapestry of stories and decided to call the team into his office. “I’ve just had a very useful meeting that confirmed we’re on the right path, the only one: our exclusive goal must be excellence. The story we’re telling should attract people of this sort, so have a think about who could relate what it really means to drive classic cars of this sort.” The briefing was short and sharp. The team got straight onto it, coming up with ideas and outlining dreams. Time for a strong, dark coffee... an espresso...Italian? That’s the answer! Villa d’Este, the concours d’elegance on Lake Como with the yesteryear atmosphere that envelops everything to perfection — competitors, cars, and judges. Judges? Exactly! Who could be better than the head of the Villa d’Este jury?

“Hey, slow down there. Like that it’s not going to work, it’s too simple. We need to say our choice would be the man who directed the style section at Pininfarina at the time they were making some of most beautiful cars they ever produced, starting with the 456GT and including the Enzo. This is someone who was also head of style at FCA and had a real grasp of the difference between the production of exclusive automobiles and assembly-line cars. What’s more, an Italian. Who can beat an Italian when it comes to talking about style and elegance?” Perfect, that’s it then — Lorenzo Ramaciotti. Let’s ask him if he’s willing to recount what it means to appraise precious gems that cover almost a century of history:

Cognolato in his magic Bottega, together with his sons and some of his excellent technicians.

68 // TOP OF THE CLASSIC CAR WORLD

ing a careful eye on the road. The collection may have begun as a hobby, but it’s grown in the course of time and has become a major asset. An asset he has no intention of divesting himself of, but one that calls for strategy and management. Right now, for sure, but even more so in the near future. He has two daughters who certainly enjoy accompanying him at events and on rallies. Once he’s carefully returned his precious automobile to its But deep down they’re happier doing their own thing and have place among the other classic cars in the huge garage and no particular affection for his jewels. What will happen to his disconnected the battery — you can’t always count on good cars when ... “Whatever am I thinking of? This is crazy, there’s luck — the Collector goes over to the blue tarp in the corner. He still time...” he thinks, shooing away the little demons that none lifts it slightly to get a quiet, personal view of his new acquisiof us like to entertain. tion. Placed in the only free corner, the car is parked facing the wall, so the first thing that comes into sight is the lovely long fin The road snakes downward, he brakes confidently, shifting stretching down from the roof. The view is so riveting that he down a couple of gears... Vroom, vroom and on towards his forgets the lack of bumpers, wheels, and trunk. He shivers. At appointment. “I love it when I hear them say that a car like me the auction, he’d kept a low profile. But when he placed his bid is supposed to have fun” says the car as he urges her on at the and the auctioneer went higher he thought he’d lost it. Then, two bends just before their meeting place. “He’s right, cars like one more bid and it was his. Fantastic! us aren’t classic or vintage, we’re aristocratic, young as opposed to old! We want to be used, put to the test, even mistreated just What would it cost him to restore it completely? And what a bit. That’s the best way to keep us in form”. would it be worth, especially once he’d won awards at the most important competitions? Fritz Kaiser is leaning against the railings of the garden steps as he waits at the hotel where they’ve planned to meet. He He needed some reliable guidelines to get an idea of what was watched his guest arrive and was impressed by the car and they really ahead. He thinks about the meeting earlier in the day, and way he drove it. The clear lenses of his glasses cannot hide the what the opportunities that could come in the wake of the Classmile that wrinkles his eyes. Little wonder: the idea he wants sic Car Trust. And he knows that he’ll find all the answers he’s to discuss makes him much more amenable than when he’s at after. What he doesn’t know is that the cars he loves so dearly his desk dealing with finance and investments. The Classic Car in his garage are in a state of agitation. They’re aware that the Trust he has founded is an exciting venture. He’s sure he can newcomer is going to be a formidable rival. count on the expertise of his staff, and he also nurtures a

Chapter 3 Remember: They Love Us

The art and craftsmanship of Dino Cognolato

Following the tradition of sixteenth-century Italian artisans, the great restorer from Padua created a Bottega, where knowledge is at the core of every last detail. by Antonio Ghini

THE ART AND CRAFTSMANSHIP OF DINO COGNOLATO // 69

Chapter 4 What’s a Memory Worth?

The idea of giving him an album full of photos might have seemed a bit old-fashioned, but she knew he’d like it. They’d driven the Mille Miglia together, and what an exhausting performance it was, especially for her with her eye constantly on the road book and dials. But it was also a fascinating event that was worth recording in a special way. He was away for the day, his favorite team was playing, so this was just the right moment to pull out all the photos, go through them, and fix the chosen ones into position in the album with those little triangles that are sticky on one side and transparent on the other so they don’t cover the corners they held in place. Each page would have an inscription, a heading, a title, or a memory. It was her way of telling him that when she grumbled each time he signed up for a new rally it was all really worth it in the end. It was a fantastic adventure they shared, along with lots of other people — not only the participants, but also the public. She closed the album. It was perfect, everything was there, from the departure in Brescia to the thrill of crossing Rome, their faces smiling or tired, driving as the sun shined, but also under a deluge.

“What’s that enormous book?” he would ask as he came back in. “It’s for you,” she’d say. And that’s when he let her know that he’d already registered for the next edition!

A TALE // 155

Miles Collier, number one in t he 2018 ra nk ings, inherit ed from his fa t her, C. Miles, a grea t pa ssion for c a rs. In t his ima ge, C. Miles poses wit h his MG PA /PB a t t he 1939 Le Ma ns ra c e.

Top 100 Collectors 2018

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TOP 100 COLLECTORS 2018 // 25

ing a careful eye on the road. The collection may have begun as a hobby, but it’s grown in the course of time and has become a major asset. An asset he has no intention of divesting himself of, but one that calls for strategy and management. Right now, for sure, but even more so in the near future. He has two daughters who certainly enjoy accompanying him at events and on rallies. But deep down they’re happier doing their own thing and have Establishing rank and placement is no problem when it’s a no particular affection for his jewels. What will happen to his question of Olympic athletes using time or other objective cars when ... “Whatever am I thinking of? This is crazy, there’s metrics, or the Fortune lists that compare using financial pastill time...” he thinks, shooing away the little demons that none rameters alone. But working out who the world’s foremost ten, of us like to entertain. twenty, fifty, or 100 collectors are is a different matter. Someone once said, “It’s a bit like trying to establish who wins the beauThe road snakes downward, he brakes confidently, shifting tiful baby prize: most of the parents will never be satisfied.” down a couple of gears... Vroom, vroom and on towards his What’s more, in the case of classic cars, with so many facets to appointment. “I love it when I hear them say that a car like me take into account, any decision is likely to be controversial. is supposed to have fun” says the car as he urges her on at the two bends just before their meeting place. “He’s right, cars like Yet, within the perspective of transparent society, the phenomus aren’t classic or vintage, we’re aristocratic, young as opposed enon has become so important that an effort at promoting and to old! We want to be used, put to the test, even mistreated just rating great collections can no longer be postponed. It’s not a a bit. That’s the best way to keep us in form”. question of declaring this collector to be better than that one, but of establishing serious guidelines regarding content. EnthuFritz Kaiser is leaning against the railings of the garden steps siasm alone is no longer enough. as he waits at the hotel where they’ve planned to meet. He watched his guest arrive and was impressed by the car and they Fritz Kaiser’s vision for this task is clear and his mission way he drove it. The clear lenses of his glasses cannot hide the exciting: “We want to offer collectors a podium for their overall smile that wrinkles his eyes. Little wonder: the idea he wants achievement and give them a point of reference on where they to discuss makes him much more amenable than when he’s at stand globally with what they are doing so passionately. In this his desk dealing with finance and investments. The Classic Car case, value is not only about dollars because we need to factor Trust he has founded is an exciting venture. He’s sure he can in the pedigrees, history, and awards of the most important cars count on the expertise of his staff, and he also nurtures a in a collection. And those collectors who shoulder this responsi-

Chapter 5 Not Easy, but Necessary and Exciting

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A look behind the curtains of the Spiess Collection

Albert and Rita Spiess sitting in one of the most extraordinary cars in their collection, the Lamborghini Marzal.

For the first time ever, the famous Swiss collector unveils the story of his passion and research and offers The Classic Car Trust a look at his magnificent collection. by Massimo Delbo

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A LOOK BEHIND THE CURTAINS OF THE SPIESS COLLECTION // 77

bility and act in favor of the prosperity and sustainability of the community should receive extra points.” He also thinks that “no one intending to hide his collection should be included in the classification and that only data from publicly available sources and information offered from the owners directly should be used.” It’s a good thing smoking is forbidden in the Vaduz offices of The Classic Car Trust team; otherwise, the ashtrays would be overflowing when working on such thorny questions: What are the most appropriate parameters? How should we register the rally and race placements of cars and awards at important concours events? How should we take into account the value of the historically most important cars? Or recognize collectors’ visions, strategies, and their engagement with and service for the public good of the classic car society?

Extremely helpful in making all this happen is the fact that as an entrepreneur Fritz is also well connected in the media and digital industry internationally. Moreover, his diversified group of companies includes not only his international advisory and financial services business, but also a digital company. Thus, the team at The Classic Car Trust can work closely with their colleagues at 21ilab, using the support of the WealthX research experts to develop global classic car market intelligence and build a unique collector database for this task. In this way, it has been possible to apply a sophisticated formula for the collector rating. Now, out of a total of 100 points the ranking parameters include the collection value, its history, and its reputation, together with the vision and community contributions of the collector. The most important factor, with the most weight in the formula, remains the overall value of the collection.

Art & Cars

The Value Drivers of Car Collecting

Donald Osborne’s sympathy and eclecticism make him one of the most famous characters in the classic car world. Among other things, he is also a respected opera singer.

The world of classic cars is now a mature market in which we can clearly understand the reasons of many sale successes, not only of the most expensive cars.

by Donald Osborne

by Antonio Ghini

Michael Ringier sitting in front of a sculpture by Sylvie Fleury, a Swiss artist. The piece is a car part painted with nail polish and then walked over with high heels.

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ART & CARS // 109

ing a careful eye on the road. The collection may have begun as We all know that there are fantastic collections hidden away a hobby, but it’s grown in the course of time and has become a that no one is allowed to see. Too bad, we’ll do without them! major asset. An asset he has no intention of divesting himself of, When their owners do decide to come out, as it were, everybut one that calls for strategy and management. Right now, for one will be delighted, regardless of whether this is a personal sure, but even more so in the near future. He has two daughters decision, or because the collection is now in the hands of who certainly enjoy accompanying him at events and on rallies. the collector’s heirs. Inheritance of this sort often leads to But deep down they’re happier doing their own thing and have disagreement, followed by disbandment. There’s a famous no particular affection for his jewels. What will happen to his case concerning two well-educated and esteemed brothers cars when ... “Whatever am I thinking of? This is crazy, there’s who decided to divide their father’s collection, but couldn’t still time...” he thinks, shooing away the little demons that none come to an agreement and ended up selling them at auction. of us like to entertain. There’s nothing special about that, you might say, but in fact there was another variable involved. One brother hoped The road snakes downward, he brakes confidently, shifting to buy out the other, and was willing to pay market prices. down a couple of gears... Vroom, vroom and on towards his Unfortunately, his brother was convinced that his half of the appointment. “I love it when I hear them say that a car like me collection was worth much more, so in the end the vehicles is supposed to have fun” says the car as he urges her on at the were sold at auction, but too quickly and in a haphazard fashtwo bends just before their meeting place. “He’s right, cars like ion. The result was that both relinquished the cars, and for us aren’t classic or vintage, we’re aristocratic, young as opposed much less money that the one brother had originally offered to old! We want to be used, put to the test, even mistreated just the other! Stories of this sort simply prove that a market a bit. That’s the best way to keep us in form”. involving passionate purchase and restoration should not be left in the hands of fate. Fritz Kaiser is leaning against the railings of the garden steps as he waits at the hotel where they’ve planned to meet. He Michael Ringier points out that in the ARTnews list of the watched his guest arrive and was impressed by the car and they world’s top art collectors, what really counts over a 25-year way he drove it. The clear lenses of his glasses cannot hide the period is more the type of art collected than the number of smile that wrinkles his eyes. Little wonder: the idea he wants items owned. For example, Rodney Miller, one of the leading to discuss makes him much more amenable than when he’s at art collectors, focuses on African art, while others collect new his desk dealing with finance and investments. The Classic Car art forms. This is far removed from owning a Leonardo da Vinci Trust he has founded is an exciting venture. He’s sure he can worth half a billion dollars. count on the expertise of his staff, and he also nurtures a

THE VALUE DRIVERS OF CAR COLLECTING // 93

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Fritz has been listening carefully over the past several years to many different stakeholders in the classic car community, and today he is convinced that they will welcome new professional proposals: “I think classic car collecting has become such an important phenomenon that it must now involve some kind of dynamic recognition for people who devote so much energy and money to the cause. Today’s auction prices and the prizes awarded by highly respected judges at the Concours d’Elegance speak chapters for the situation. There are certain cars that can completely change the rank and perception of a given collection. It’s high time we drafted a classification, even if we’re aware that it can never be perfect or definitive. It’s a start, a point of reference for the classic car world. I don’t think people who would rather keep a low profile or see things differently are going to be upset. We’re only at the outset. It’s like an endurance test — whoever’s in the lead after the first circuit can’t be sure of keeping up the position through the end. So our list of appreciation will change every year as the market changes and our knowledge grows.”

Chapter 6 Love at First Sight

There it was at last! Those wonderful original colors, old English white, with lobelia blue sides. Granted, one or two things needed attention, like the straps on the bonnet that weren’t original, the excessive smoke in the exhaust, and far too many

A TALE // 157

The value of time

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ing a careful eye on the road. The collection may have begun as stickers on the windscreen and bodywork. But it was still the a hobby, but it’s grown in the course of time and has become a automobile he’d always wanted. And it was also his first classic major asset. An asset he has no intention of divesting himself of, car. In the past he’d owned an Alpine Renault, a 1600S in Bleu but one that calls for strategy and management. Right now, for de France that was great fun, though at the time it was still a sure, but even more so in the near future. He has two daughters model considered only half way to being classic. Then he sold who certainly enjoy accompanying him at events and on rallies. it, and regretted doing so immediately. But who doesn’t get it But deep down they’re happier doing their own thing and have wrong sometimes with cars? no particular affection for his jewels. What will happen to his cars when ... “Whatever am I thinking of? This is crazy, there’s His passion for automobiles dates back to when he used to race still time...” he thinks, shooing away the little demons that none with coupés. He’d been quite successful, and had continued to of us like to entertain. race occasionally. Though classic cars were still worlds away, somewhere in his memory was a vision he had absorbed when The road snakes downward, he brakes confidently, shifting he was still in his teens: that of a beautiful fair-haired girl, down a couple of gears... Vroom, vroom and on towards his dressed in white with a large hat to match, at the wheel of an appointment. “I love it when I hear them say that a car like me unmistakably British white Austin Healey. She drove down is supposed to have fun” says the car as he urges her on at the the main street of the city where he lived, a sight that left him two bends just before their meeting place. “He’s right, cars like and his friends practically speechless. In those days similar us aren’t classic or vintage, we’re aristocratic, young as opposed apparitions were unheard of in the provinces! She disappeared to old! We want to be used, put to the test, even mistreated just at the end of the road, then turned round and headed down the a bit. That’s the best way to keep us in form”. road on the left toward the most luxurious hotel in the area. Their silence gradually gave way to a crescendo of comments: Fritz Kaiser is leaning against the railings of the garden steps “Who was that? Was she a film star?” She certainly looked like as he waits at the hotel where they’ve planned to meet. He someone who might have had a role in a film by Fellini. La watched his guest arrive and was impressed by the car and they Dolce Vita, for instance. But his mind wasn’t on films, or even way he drove it. The clear lenses of his glasses cannot hide the on the Woman in White, because what had made the most smile that wrinkles his eyes. Little wonder: the idea he wants lasting impression on him was that lovely car. He found out all to discuss makes him much more amenable than when he’s at he could about it, discovering it to be a three-gear 100 Six with his desk dealing with finance and investments. The Classic Car overdrive. With today’s acquisition, however, he has more than Trust he has founded is an exciting venture. He’s sure he can mere beauty in mind. He wants to race the car; that’s it, race his count on the expertise of his staff, and he also nurtures a Austin Healey. With due care, of course.

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THE VALUE OF TIME // 123

All sorts of vehicles take part in the vintage car races, and many of them now go much faster than ever they did when they first appeared on the market. No point in asking too many questions about this, or about the authenticity of the vehicles. Let’s call it vehicular plastic surgery. Racing is one thing, and going like a bat out of hell is another. Not his cup of tea.

What he has in mind is different, imbued with the refinement of Monterey Car Week, where you race for the pleasure of racing along a route renowned the world over for its screwdriver bends. He’s set his sights on the Rolex Monterey Motorsports Reunion that takes place in August at Laguna Seca. The idea of the expedition is also to offer a familiar breath of air to his 100S. The Healy that he had so hotly pursued and dearly paid for was originally registered in the United States, where it had once been in high demand on account of its third-place finish at Sebring. He didn’t quite know how it made its way back to Europe. It has some unusual features, because it’s one of only 50 built with an aluminum body. A relatively spartan model, it came without bumpers or unessential things that would have made it heavier. It originally weighed in at 900 kilos, though his had gained a few extra over time. Restoration would bring it back to pristine form. He loves the rounded front of the vehicle, quite different from the triangular nose of the first edition with its half-smiling, slightly worried look, as though it were racing with clenched teeth despite its 130 horsepower and four real gears. There’s a page among the onboard documents that reads: “Made for racing by racing specialists.”

Jean Todt

Jean Todt on the terrace of the building that hosts the FIA HQ in Paris.

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ing a careful eye on the road. The collection may have begun as Perfect. But at this point Laguna looms near and there’s much a hobby, but it’s grown in the course of time and has become a to be done. Not only servicing the engine and mechanics, major asset. An asset he has no intention of divesting himself of, but also sprucing up the look of the car, renovating its rather but one that calls for strategy and management. Right now, for worn original interiors (definitely not to be replaced!), finding sure, but even more so in the near future. He has two daughters the right tires and then enrolling the vehicle. Fortunately, it’s who certainly enjoy accompanying him at events and on rallies. already registered with FIVA, but he still needs to know what But deep down they’re happier doing their own thing and have kind of license is necessary, buy the appropriate insurance, and no particular affection for his jewels. What will happen to his organize the trip there. As a journalist, he’s naturally an enthucars when ... “Whatever am I thinking of? This is crazy, there’s siast, but not one with a particular gift for orderly method. He still time...” he thinks, shooing away the little demons that none could really do with an assistant, someone who can work out of us like to entertain. an estimate of how much all this will cost. The road snakes downward, he brakes confidently, shifting He’s mulling over all this when he notices that the small racing down a couple of gears... Vroom, vroom and on towards his bumper isn’t angled like it is on the other models. This doesn’t appointment. “I love it when I hear them say that a car like me stop him from driving home full of joy, the wind blowing in his is supposed to have fun” says the car as he urges her on at the face. He’s wearing goggles and an orange-and-green cap for two bends just before their meeting place. “He’s right, cars like the occasion, a gift from his publisher whose own passion for us aren’t classic or vintage, we’re aristocratic, young as opposed classic cars was what got him started in the first place, pointing to old! We want to be used, put to the test, even mistreated just him in the right direction for the magical purchase. He wants a bit. That’s the best way to keep us in form”. to feel at one with all of this. When at last he’s sitting there in front of the steering wheel, he suddenly knows how to resolve Fritz Kaiser is leaning against the railings of the garden steps his problems. Tomorrow he has an appointment with people as he waits at the hotel where they’ve planned to meet. He who really know about classic cars — they want him to write a watched his guest arrive and was impressed by the car and they piece about them. He’ll ask for their advice. way he drove it. The clear lenses of his glasses cannot hide the smile that wrinkles his eyes. Little wonder: the idea he wants The clutch is a bit hard and makes the car jolt slightly, and the to discuss makes him much more amenable than when he’s at steering is also quite demanding. But what a gorgeous ride – his desk dealing with finance and investments. The Classic Car the horsepower is still all there despite the venerable age of the Trust he has founded is an exciting venture. He’s sure he can car. The fresh March breeze blows against his cheeks and the count on the expertise of his staff, and he also nurtures a sound of the six-cylinder carburettor engine is pure music...

JEAN TODT // 13

Chapter 7 Two Distractions and a Letter That’s Late

Fritz’s assistant, Bianca, announces that the journalist he’s expecting has arrived. They’re working on the Classic Car Report and they need original stories. He seems like the right guy because he has plenty of experience with cars and races, and he writes with real verve. When Fritz discovers he’s just bought an aluminum Austin Healey, he knows they’re on target.

On the table of the spacious meeting room are photos of famous cars, including the Aston Martin DBR1 sold by Sotheby’s at Monterey for $22.55 million. Conversation soon moves to the magic of the ’fifties Astons, so distinctive in style. Aston and Jaguar on the one side, Ferrari and Maserati on the other, and then Mercedes with the 300SLR. What a line-up at the 24 Hours of Le Mans race. And what risks they ran, without belts, roll bars, or escape routes... As they carry on chatting, Fritz tries to form an idea of the man, who understands what’s going on and uses the 24 Hours event as a cue for talking about Paul Frère, the Belgian journalist and racing driver who teamed up with Olivier Gendebien with the Ferrari 250 TR and won at Le Mans in 1960. It had proved to be one of the rainiest days in the history of the race. Frère had given him an account of what it was like to race cars in those days. That year the International Federation had raised the

A TALE // 159

Brand Warranties & Certifications Brand by brand, all services offered to collectors and classic car specialists. by Massimo Delbo

Most leading car manufacturers now have a classics department to manage their heritage and help

cameos, serving simply to illustrate the history of the firm and possibly to enhance its corporate image,

Early this year it was decided that the classics departments coming under the FCA umbrella would each be known by the

Even though this company’s dedicated heritage department is only just over ten years old — it officially opened in 2007 —,

name of the respective brand (Abarth, Alfa Romeo, Fiat and Lancia) plus the specification Classiche. However, in this note we

Aston Martin Works has been taking care of its “old cars” since practically forever, always offering customers great support,

still prefer to consider Alfa Romeo Classiche as a department “in a class of its own,” as Alfa Romeo is, in the FCA family, the brand

whether they are after spare parts or archive information. Alongside the traditional classics services, Aston Martin also

with the longest experience in the classics area and also the only one with a dedicated museum. Gradually, things have got moving once again, and Alfa Romeo Classiche can now offer its collec-

offers something very unusual: it will transform existing cars, giving them new (usually Vantage version) engines, transmissions, and so on.

tors the services they need, such as information from the archive, building sheets and certification.

Spare parts, services, restoration, trade, production sheet heritage@astonmartin.com

collectors around the world by providing archive information, and technical sheets and spare parts,

and only needing to break even at the end of the year; now they are business units in their own right, managed to generate the due profit margins. This is exemplified by the cost of a manufacturer-issued

heritage@fcagroup.com

the case. As recently as 10–15 years ago, few official classics departments existed, and those that did were often managed by internal volunteers with a

technical sheet, now mandatory in order to register a car that is being imported or to re-register one after a major restoration. A few years ago this would

Corso Giovanni Agnelli 200, Torino

passion for classics rather than in an organized and strategic way. The growth of this direct approach by

have cost around €100, but now we are talking about ten times that figure. The manufacturers

car manufacturers is undoubtedly a positive development in the classic car world, because the easy

are in a strong position to establish relations with sub-contractors too, and, to illustrate this, some

access to spare parts and specialized maintenance and restoration facilities relieves owners of some

have already found tire manufacturers willing to re-create the original tires of the past, in terms of

of the more difficult aspects of collecting old cars. Accordingly, it is now possible to achieve far better results in terms of originality, as well as normal

sizes and tread designs. The growing availability of “in house” restorations is another benefit, because of the attention to detail and respect for originality

maintenance and restoration work: what would have been considered a high-quality professional

shown by manufacturers working on their own old creations. As a secondary effect, this trend helps

restoration in the early 1990s would nowadays be judged a poor job, even lacking in respect for the

the supply chain, too, indicating what spare parts the market lacks. The important thing today is to buy services and parts only after a careful evaluation of your own personal needs and preferences: it is these that should determine whether you buy from

out the small, specialist firms that, until a few years ago, were the market’s main suppliers. Also import-

an official spare parts shop or go digging under a pile of scrap metal in a junk yard looking for the

ant is the change in mind-set we have seen within the manufacturers’ organizations. Indeed, classic

missing parts you need. The first way may be more efficient, but the second gives you the added plea-

or heritage departments are no longer just beautiful

sure of the discovery.

Aston Martin — Aston Martin Heritage Alfa Romeo — FCA Heritage Spare parts, archive information, certification, buy / restore / sell services

and sometimes offering restoration work and trading of old models. Unfortunately, this was not always

car. However, the benefit of being able to source spare parts directly from the manufacturer comes at a cost: higher prices and also a tendency to elbow

The Queen, the Outsider, and the Unexpected

Tickford Street, Newport Pagnell, Buckinghamshire The dedicated Heritage department opened in 2007

The Alfa Romeo Museum in Arese was founded in 1976. Alfa Romeo is one of the oldest and most prestigious brands

They also offer the option to modify new Aston Martin models, by adding Vantage specification, X-Packs, etc.

by Adolfo Orsi

in the world. After many years of support from RIAR (Registro Italiano Alfa Romeo), recently Alfa Romeo established its official Heritage program (in 2017 as a separate entity from the FCA’s own category). Participation at classics events and international exhibitions.

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ing a careful eye on the road. The collection may have begun as minimum height for open sports car windscreens considera hobby, but it’s grown in the course of time and has become a ably, along the lines of the GT vehicles. At the time, windscreen major asset. An asset he has no intention of divesting himself of, wipers didn’t work too well, especially at high speeds, when but one that calls for strategy and management. Right now, for they lost adherence to the glass. The drivers could hardly see sure, but even more so in the near future. He has two daughters anything under the deluge that lasted throughout the night. So who certainly enjoy accompanying him at events and on rallies. Frère and Gendebien decided to place a second cushion on the But deep down they’re happier doing their own thing and have pilot’s seat that whoever was at the wheel could look out above no particular affection for his jewels. What will happen to his the windscreen. And that’s how they won! His listeners are cars when ... “Whatever am I thinking of? This is crazy, there’s duly amazed, especially bearing in mind that they managed an still time...” he thinks, shooing away the little demons that none average of 177 kph during the 24 hours. Little wonder today’s of us like to entertain. races come across as less exciting! The road snakes downward, he brakes confidently, shifting The conversation continues. Many collectors have racing cars, down a couple of gears... Vroom, vroom and on towards his mostly grand tourers and sport models as well as the special appointment. “I love it when I hear them say that a car like me niche of the single-seaters beloved by those who take part in is supposed to have fun” says the car as he urges her on at the events such as the Grand Prix de Monaco Historique. Moreover, two bends just before their meeting place. “He’s right, cars like a similar thrill is to be had with sports cars at the Le Mans us aren’t classic or vintage, we’re aristocratic, young as opposed Classic. “I would like you to tell a few unusual stories for our to old! We want to be used, put to the test, even mistreated just yearbook. We’ve decided to call the publication The Key, with a bit. That’s the best way to keep us in form”. the aim of offering access to useful information from the top of the classic car world, and at the same time providing readers Fritz Kaiser is leaning against the railings of the garden steps with interesting, original stories.” as he waits at the hotel where they’ve planned to meet. He watched his guest arrive and was impressed by the car and they It’s time for a coffee, and as the spoons stir in the cups memoway he drove it. The clear lenses of his glasses cannot hide the ries of the 24 Hours race lead to a subject that no one will ever smile that wrinkles his eyes. Little wonder: the idea he wants forget: the major crash involving Pierre Levegh and his Merto discuss makes him much more amenable than when he’s at cedes, which flew into the grandstand near the pits. “Talking his desk dealing with finance and investments. The Classic Car of Aston Martin and Le Mans,” says the journalist, “it was also Trust he has founded is an exciting venture. He’s sure he can Paul Frere who told me his version of the facts, confirming his count on the expertise of his staff, and he also nurtures a conviction that sometimes we’re simply in the hands of fate.”

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THE QUEEN, THE OUTSIDER, AND THE UNEXPECTED // 101

BRAND WARRANTIES & CERTIFICATIONS // 143

Everyone listens in silence, and there’s clearly no need to encourage him to continue. “It’s rather a long story, and it doesn’t concern the Aston Martin DBR1 that raced the following year, but the DBS3 that came second, behind Hawthorn and Bueb’s D Type Jaguar driven by Peter Collins and Paul Frere himself. Frere told me that Mercedes had contacted him to drive the SLR that in the end was driven by Levegh. Of course the consequences were terrible, but telling the story now brings a smile to my lips,” the journalist adds. “At the time, with no Internet and email, the contracts were sent by post. Paul Frere was expecting his from Soccarda, but it wasn’t delivered in time, and by then he’d been contacted by Aston Martin to team up with Peter Collins. The delay in the arrival of the contract meant that he was free, so he accepted and let Mercedes know. At that point the Germans decided to look for another French-speaking driver – Frere was Belgian – and turned to Pierre Levegh. It was a bit of a risk: Levegh’s record wasn’t up to that of the other team members who happened to be Fangio, Moss, and other great champions. This was clear from the trials, to add to which Alfred Neubauer, the corpulent racing manager at Mercedes, had promised the steering wheel to Levegh when the latter, who had driven his Talbot Lago for almost the whole 1952 edition, had a breakdown just over an hour before the end, letting Mercedes win. The 300SLR had even adopted what we now call DRS, that is, manual controlled rear-mounted wind brakes, and it was a very fast car that was also highly demanding.” The journalist told the assembled company that Frere had given him a firsthand account of the accident, and his own take on what caused it. He was standing on the wall of the pit, gloves and

Best of the Best The almost impossible-to-rank queens of the year. by Tillmann Schaal

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ing a careful eye on the road. The collection may have begun as helmet in place, ready to take over from Peter Collins in the Asa hobby, but it’s grown in the course of time and has become a ton Martin. “At that point Mike Hawthorn’s Jaguar D, which was major asset. An asset he has no intention of divesting himself of, in the lead, began a move that started a terrible chain of events,” but one that calls for strategy and management. Right now, for he continued, taking a sip from a glass of water. “Frere insisted sure, but even more so in the near future. He has two daughters on Hawthorn’s total innocence. He told me – and I actually rewho certainly enjoy accompanying him at events and on rallies. corded our conversation – that at the end of the first turn at the But deep down they’re happier doing their own thing and have wheel Fangio, who was driving the same model Mercedes SLR as no particular affection for his jewels. What will happen to his Levegh, was running second behind Hawthorn’s Jaguar. But Mike cars when ... “Whatever am I thinking of? This is crazy, there’s was a whole circuit ahead of Levegh, who realized he was about still time...” he thinks, shooing away the little demons that none to find himself a circuit behind his own teammate in a car that of us like to entertain. was identical to his. All this was in France, with his countrymen looking on, so it must have been a very frustrating experience. The road snakes downward, he brakes confidently, shifting Fangio was close, and Frere reckoned that for a split-second Ledown a couple of gears... Vroom, vroom and on towards his vegh must have lost sight of the track as he glanced in the mirror appointment. “I love it when I hear them say that a car like me to see exactly where his teammate’s Mercedes was, and if he is supposed to have fun” says the car as he urges her on at the was planning to overtake. In that very instant the Austin Healey two bends just before their meeting place. “He’s right, cars like driver, who had just been by passed Hawthorn’s Jaguar, was also us aren’t classic or vintage, we’re aristocratic, young as opposed trying to work out what was happening behind him, since he was to old! We want to be used, put to the test, even mistreated just being approached by cars that were racing almost 100 kilometer a bit. That’s the best way to keep us in form”. an hour faster. And it was the combination of these two brief but simultaneous distractions that detonated the accident. Lance Fritz Kaiser is leaning against the railings of the garden steps Macklin driving the Healey raised his eyes to see the Jaguar as he waits at the hotel where they’ve planned to meet. He just ahead making for the pits. He was going much faster, but watched his guest arrive and was impressed by the car and they with the brake stops on, and he instinctively swerved to the left, way he drove it. The clear lenses of his glasses cannot hide the occupying the track where Levegh was about to pass. As for the smile that wrinkles his eyes. Little wonder: the idea he wants wretched French pilot, when he returned his eyes to the track he to discuss makes him much more amenable than when he’s at thought was free he found it occupied by the little Healey, with his desk dealing with finance and investments. The Classic Car the sloping back that was to act as a launch pad for his Mercedes. Trust he has founded is an exciting venture. He’s sure he can These were Frere’s words, and because he witnessed the whole count on the expertise of his staff, and he also nurtures a thing I reckon it makes sense: Sometimes fate is very cruel.”

BEST OF THE BEST // 17

Everyone had listened to this account in silence, with a mixture of admiration and respect. “Very exciting and interesting,” says Fritz, “so let’s get started.” A smile and a handshake, and the team knows they have a competent, well-informed editor for their publications. No one dares ask him what it feels like to be the new owner of an Austin Healey built that very year. But it’s their new colleague who breaks the ice: “I’d like to include a footnote in the contract whereby The Classic Car Trust declares it will help me make it to Laguna in August. It would make a fantastic story!”

Chapter 8 Status Symbols Change

She had been in Paris for three months as part of her degree course in languages. Tall and attractive, she wore the retro-style white uniform with nonchalance: trousers, a jacket buttoned up to the neck, and a strange hat, also white, but more reminiscent of a whipped cream tart than headgear. But that was what the Hotel Peninsula wanted for the girls entrusted with welcoming their select clientele. It was part of the house style. She realized that there must be something special in store for the evening from the enormous care and secrecy that surrounded the introduction of a strange vehicle into the hall beneath the foyer. She wasn’t actually sure it was a car, because it was covered. In fact, in shape it resembled some kind of a prehistoric animal. But the wheels were a giveaway...

A TALE // 161

The Times They Are A-Changin’

The story, of how some special automobiles became true Icons together with the most famous actors from the ‘50s & ‘60s. By Jurgen Lewandowski

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THE TIMES THEY ARE A-CHANGIN’ // 117

ing a careful eye on the road. The collection may have begun as These important events often meant she had to deal with peoa hobby, but it’s grown in the course of time and has become a ple who were a bit ostentatious, over the top in their jewelry major asset. An asset he has no intention of divesting himself of, and desire to be seen. Not exactly the clientele you’d expect at but one that calls for strategy and management. Right now, for a luxury hotel in the center of Paris. She smiled all the same, sure, but even more so in the near future. He has two daughters but deep down she believed that real class was something who certainly enjoy accompanying him at events and on rallies. different. So this evening she is pleasantly surprised by the But deep down they’re happier doing their own thing and have quiet elegance of the people who arrive, including the ladies. no particular affection for his jewels. What will happen to his Well-dressed and bejeweled they certainly are, but not in a cars when ... “Whatever am I thinking of? This is crazy, there’s flashy way. She thinks of her father, who was often scolded for still time...” he thinks, shooing away the little demons that none smoking too much, but handled his habit with such elegance of us like to entertain. that those with him were hardly aware of it! The road snakes downward, he brakes confidently, shifting Another thing she notices is that the guests include very few down a couple of gears... Vroom, vroom and on towards his young people. They are unquestionably all important and appointment. “I love it when I hear them say that a car like me wealthy, probably very wealthy, given that even Sir Michael is supposed to have fun” says the car as he urges her on at the Kandoorie, owner of the Peninsula Hotel Group, is there to weltwo bends just before their meeting place. “He’s right, cars like come them. What’s more, he seems to know them all personus aren’t classic or vintage, we’re aristocratic, young as opposed ally: Piero, the son of Enzo Ferrari; Nick Mason, the Pink Floyd to old! We want to be used, put to the test, even mistreated just drummer; and many others she doesn’t recognize. But she a bit. That’s the best way to keep us in form”. can’t help wondering about the dearth of young people... Fritz Kaiser is leaning against the railings of the garden steps Dinner is followed by a couple of speeches that clarify the as he waits at the hotel where they’ve planned to meet. He reason for the gathering: which car will be most admired in the watched his guest arrive and was impressed by the car and they grand Concours d’Elegance of 2017, which will carry off the Best way he drove it. The clear lenses of his glasses cannot hide the of the Best award? Standing discreetly in her place, she manages smile that wrinkles his eyes. Little wonder: the idea he wants to watch a film featuring the cars that hope to win. She knows to discuss makes him much more amenable than when he’s at that her country has no entry: Denmark has never produced his desk dealing with finance and investments. The Classic Car cars, as far as she knows. Instead she notes that the majority of Trust he has founded is an exciting venture. He’s sure he can the candidates are Italian – seven out of a total of eight. Even the count on the expertise of his staff, and he also nurtures a Bugatti, she imagines, comes from the country renowned for its

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beauty. Ettore was certainly Italian, even though he emigrated to Alsace. The others, two Alfa Romeos, two Ferraris, one Lancia, and even the unknown ATS bear witness to a great promise that has faded in the course of time. Suddenly the pieces begin to fall into place and she contemplates an idea that has probably escaped many of the people present. She’s highly intelligent, and also in an ideal position every evening for observing the foibles and habits of the very wealthy. For instance, for special gala events, many guests show off contemporary luxury cars — wonderful, noisy super sport vehicle, or voracious luxury saloon models. Although she admires them as exclusive status symbols, as a bright young millennial she also wonders how in line these automobiles are with current cultural trends.

Suddenly they’ve stopped talking and it’s time for her and a colleague to remove the covers from the strange vehicle brought in earlier that morning. What they unveil is certainly unexpected, a sort of industrial sculpture, an object whose colors and shapes convey the power of the engine hidden by the long bonnet, a message of bold imagination from a bygone era. It’s the 1936 Bugatti, one of the two extant Atlantics. Two? Suppose they discovered a third? In any event, it’s a work of art, a creation of such farsighted elegance and skill that the term “industrial design” almost seems degrading. That completes the picture. These distinguished, soft-spoken gentlemen and their elegant wives are well aware that there’s a huge difference between ostentation and culture today, even in the field of classic cars. They appreciate the sense of

The Quest for Beauty

Original beauty has no equal. A UNESCO recognition for Corrado Lopresto’s Giulietta Coda Tronca Prototipo. by Duccio Lopresto

1000 Miglia Just one great round of applause. It’s called the most beautiful race and maybe it really is. The experience helps us understand why. by Antonio Ghini

The authentic enthusiasm of 1000 Miglia attendees is thrilling. As in the past, race participants are always surrounded by spectators.

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THE QUEST FOR BEAUTY // 63

wonder, ing a careful history, eye on andthe nostalgia road. The that collection lovinglymay preserved have begun cars as a hobby, can communicate. but it’s grown A carefully in the course maintained of timeclassic and has carbecome is like a amajor highly asset. prestigious An assetvisiting he has no card, intention an object of divesting that expresses himself of, but one thatand refinement callsdistinction for strategy like and nothing management. else. Right now, for sure, but even more so in the near future. He has two daughters who certainly They call her over enjoyfor accompanying the photo and him sheatabandons events and her on rallies. But deep down thoughts to do what they’re is happier expecteddoing of her. their Butown she thing still can’t and get have no particular over the fact that affection therefor arehis sojewels. few young Whatpeople will happen around. to “The his cars when next time I...have “Whatever a studyam abroad I thinking opportunity, of? ThisI’d is crazy, like tothere’s delve still time...” into this world he thinks, of educated shooing collecting.” away the little She sees demons that that the major none of us likefor market tosales, entertain. restoration, and event organization could and should attract young people more than it does at present. The road What’s needed snakesisdownward, a trust thathe can brakes uniteconfidently, the leadersshifting in this field down in a group a couple motivated of gears... by shared Vroom, interests: vroom andnot ononly towards the preserhis appointment. vation of an important “I love it when heritage, I hear which themissay what thathas a car happened like me is supposed so far, but also to have to promote fun” says education the car as among he urges young herpeople, on at the two bends them informing just before of thetheir values meeting involved, place. and“He’s encouraging right, carsthem like us engage to aren’t classic professionally, or vintage,with we’re jobs aristocratic, that wouldyoung be exciting, as opposed to old! We want formative, and useful. to be used, put to the test, even mistreated just a bit. That’s the best way to keep us in form”.

Fritz Kaiser is leaning against the railings of the garden steps as he waits at the hotel where they’ve planned to meet. He watched his guest arrive and was impressed by the car and they way he drove it. The clear lenses of his glasses cannot hide the smile that wrinkles his eyes. Little wonder: the idea he wants to discuss makes him much more amenable than when he’s at There’s a certain thrill in the air in Brescia on May 18. All the his desk dealing with finance and investments. The Classic Car technical controls are over, and the competitors are lining up Trust he has founded is an exciting venture. He’s sure he can to take place in a reenactment of what is considered the most count on the expertise of his staff, and he also nurtures a wonderful race in the world. They head toward Piazza della

Chapter 9 Brescia Piazza della Vittoria

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1000 MIGLIA // 85

Vittoria, as always packed with people anxious to see the real cars that took place in the race from 1927 through 1957. For until that year it was a question of speed. Seated in a 250 Ferrari coupé, poring over the roadbook, there’s a woman whose chestnut-colored hair half covers her face. She’s dressed in red, in keeping with the car. Standing beside the vehicle is a man dressed in the same color, a happy smile on his face. It’s her husband, and he’s asking her to look up for a photo. “It’s for the next album, come on, show me that you’re happy, too!”

Right behind them there’s a silver Porsche, a 550 with its small but sophisticated four-cylinder double ignition and double camshaft, its rear derived from the Volkswagen Beetle. Weighing in at just 550 kilos, it was the bugbear of the Italian OSCA models in the 1500 cc category, and what’s more, this one was the best 550 Porsche in the 1956 race. Busying around the vehicle is Fritz Kaiser. There’s not much room on board and his son Benedikt is accompanying him instead of his wife, Birgit, who couldn’t make it this year. So space needs to be found for everything at the last minute. Apart from taking part in the race, Kaiser is also in Brescia to promote an idea he’s been working on: The Classic Car Trust, aimed at providing the collecting sector with guidelines and parameters for appraisal that should help it develop in the future. Here in Brescia he will be meeting a number of young people, some of whom are taking part in the race, while others hope to find jobs in the fields of classic car events, trade, and restoration. “Almost a million people around the world are professionally involved in classic cars,” he has just declared in

A TALE // 163

Elvis’ 507 Before & After Found in the US abandoned, repainted in red and without an engine, the BMW 507 bought by Elvis Presley during the military service in Europe was brought back to its magnificent original beauty by BMW Classic. by Massimo Delbo

Elvis, already a Rock Star as shown by the number of fans in this picture, receives the keys of his freshly bought 507.

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ELVIS’ 507 BEFORE & AFTER // 39

ing a careful eye on the road. The collection may have begun as a Sky Sport interview during a report covering the race, “and a hobby, but it’s grown in the course of time and has become a this event is important because it shows that young people also major asset. An asset he has no intention of divesting himself of, have a great passion for classic cars. The Classic Car Trust also but one that calls for strategy and management. Right now, for has in mind professional training programs for young people sure, but even more so in the near future. He has two daughters interested in the sector. Not only for mechanics and panel who certainly enjoy accompanying him at events and on rallies. beaters, who of course are essential for builders specialized in But deep down they’re happier doing their own thing and have classic vehicles, but also courses concerning the design, history, no particular affection for his jewels. What will happen to his and culture of classic cars, as well as the relevant marketing cars when ... “Whatever am I thinking of? This is crazy, there’s and tourism. As Brescia goes to prove, there is a whole, serious still time...” he thinks, shooing away the little demons that none business spectrum that involves a range of activities relating to of us like to entertain. the work of auction houses and specialized dealers.” The road snakes downward, he brakes confidently, shifting Now that the various waterproof jackets, goggles, and changes down a couple of gears... Vroom, vroom and on towards his of shoes necessary for the adverse weather conditions have all appointment. “I love it when I hear them say that a car like me been stored away, the Porsche is almost ready. The journalist is supposed to have fun” says the car as he urges her on at the has just collected his press pass and cannot help commenting: two bends just before their meeting place. “He’s right, cars like “That is wonderful. Next year I’d like to sign up with my Austin us aren’t classic or vintage, we’re aristocratic, young as opposed Healey. The great thing about this race is the fact that it’s a to old! We want to be used, put to the test, even mistreated just real challenge, one that never ends. It’s no longer the original a bit. That’s the best way to keep us in form”. Mille Miglia, of course, but it’s still a very exciting event.” Fritz is about to experience the exhilaration again, but he doesn’t Fritz Kaiser is leaning against the railings of the garden steps want it to look as though he’s as excited as he was the first as he waits at the hotel where they’ve planned to meet. He time he took part. He glances at the weather forecast on his watched his guest arrive and was impressed by the car and they smartphone. “Unfortunately, the route toward Rome will be way he drove it. The clear lenses of his glasses cannot hide the wet, but then it should get better,” he says, breaking off at the smile that wrinkles his eyes. Little wonder: the idea he wants sight of a beautiful girl approaching. “I’m sorry, I don’t want to to discuss makes him much more amenable than when he’s at seem inopportune, but may I ask you if you were at the Best of his desk dealing with finance and investments. The Classic Car the Best at the Peninsula in Paris last February?” she asks in Trust he has founded is an exciting venture. He’s sure he can perfect English. “I felt sure I’d seen you there.” She’s so stunning count on the expertise of his staff, and he also nurtures a that he would have said yes even if he hadn’t been! But he’d

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certainly been there, although he doesn’t remember having seen her. “Yes, I was there, but unfortunately none of my cars was competing. And you?”

“Nor mine, I was one of the girls who unveiled the winning Bugatti. I remember you were in the front row filming it all with your cell phone.” Fritz tries to make up for not remembering her, and risks worsening the situation: “Now I know why I didn’t recognize you – they’d fitted you out with some rather curious creations, especially the headgear...” She laughs in agreement, and all is well. “I heard your interview a short while ago, and believe it or not the very thing that seemed strange to me that evening was the fact that there were so few young people there. But right now I’m working for the Automobile Club Brescia, and I realize that there are young people involved, and some of them are important players. I’d like to further my experience. I find the cars and the whole environment fantastic, and your project aimed at helping young people get involved is right up my street.” The red Ferrari has started up behind a BMW 507 and other legendary cars. Fritz must get the Porsche moving, too, so the best he can do right now is hand her the Trust business card. “Give me a call or send me an email, there are opportunities out there, and we intend to create others.” In the meantime, the journalist has pushed the Porsche a meter or two further along to free up the passage, and Fritz climbs in while she returns to her information point. Each to his or her own role. And everyone for the moment is content.

Sandra Button: Pebble Beach Today & Tomorrow The woman who could transform Pebble Beach from a traditional event to a world class celebration. By John Lamm

Secrets of Concours Judging What are judges’ secrets in evaluating classic cars at concours? Tillmann Schaal

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SANDRA BUTTON: PEBBLE BEACH TODAY & TOMORROW // 47

ing a careful eye on the road. The collection may have begun as a hobby, but it’s grown in the course of time and has become a major asset. An asset he has no intention of divesting himself of, but one that calls for strategy and management. Right now, for sure, but even more so in the near future. He has two daughters The 18th green at Pebble Beach Golf Links is ready for the who certainly enjoy accompanying him at events and on rallies. awards ceremony. The judges still haven’t finished and the But deep down they’re happier doing their own thing and have selections for each class in the event have not yet been released. no particular affection for his jewels. What will happen to his Rumors are circulating about which car could be the Best of cars when ... “Whatever am I thinking of? This is crazy, there’s Show, but there’s no truth in them. There never is. still time...” he thinks, shooing away the little demons that none of us like to entertain. Sitting in the shade, where the air is free of the tension that’s tangible among the competitors, are the Collector (not much The road snakes downward, he brakes confidently, shifting point in calling him the Publisher here) and Fritz Kaiser. They down a couple of gears... Vroom, vroom and on towards his look relaxed. The former still hasn’t finished restoring what appointment. “I love it when I hear them say that a car like me seems to be the third Bugatti Atlantic still in existence. It’s a very is supposed to have fun” says the car as he urges her on at the drawn-out process, and several people have expressed serious two bends just before their meeting place. “He’s right, cars like doubts, but in general it’s coming together like a true winner. us aren’t classic or vintage, we’re aristocratic, young as opposed The car was literally unearthed in Alsace, near where Ettore to old! We want to be used, put to the test, even mistreated just Bugatti had his workshop. The Italian automobile designer and a bit. That’s the best way to keep us in form”. manufacturer had emigrated to France, and as awareness grew of the inexorable German advance he apparently gave orders to Fritz Kaiser is leaning against the railings of the garden steps bury the car so that it did not fall into German hands. Thanks as he waits at the hotel where they’ve planned to meet. He to aerial photographs taken with a technique used in archaewatched his guest arrive and was impressed by the car and they ology for land surveys, the owner of the surrounding property way he drove it. The clear lenses of his glasses cannot hide the was able to see that there was a certain shape hidden beneath smile that wrinkles his eyes. Little wonder: the idea he wants the surface. The wreck they uncovered was very damaged and to discuss makes him much more amenable than when he’s at missing a number of parts, which fomented doubts about its his desk dealing with finance and investments. The Classic Car authenticity. But, as the Collector related to Kaiser, “analysis of Trust he has founded is an exciting venture. He’s sure he can the metals, and in particular of the aluminium and magnesium count on the expertise of his staff, and he also nurtures a alloys used for that model, plus the construction technique,

Chapter 10 August, California

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SECRETS OF CONCOURS JUDGING // 129

proved that they were the real thing. I have to be patient, but I think I’ve made a discovery that will enhance the history of the model.” Fritz listens with interest. He’s also engaged in restoring a car that marked the passage between the legendary prewar Alfa Romeos and the formidable automobiles by the same manufacturer that contributed to the rebirth of the Italian car industry: a beautifully styled six-cylinder 1000 Miglia with a fabulously fiery engine. And the process is not without problems: one-of-a-kind automobiles tend to be insufficiently documented, and their historical importance is often underestimated. But deep down he knows that sooner or later his Alfa, like the Atlantic, will be at Pebble Beach. “The same year?,” asks the Collector with a laugh. “No, better to go for two different years,” replies Fritz. “I wouldn’t like our friendship to...” and he laughs too, oblivious to the rising tension just a few feet away, where the competitors are waiting to hear if they’ve been selected. “No worry on that front,” he adds seriously. “In fact, I’d like to confirm what I hinted at the other day on the phone. I’d like you to publish my report. I appreciate you have real clout in the publishing scene, but I also have a feeling that you find my project interesting, and not only because you share the same passion.” “To reciprocate the sincerity, I was hoping you’d ask me to. As we both see here, this world of ours is something we feel very strongly about, so a job of the sort you’ve explained stands for much more than a publishing assignment. I believe it could help formulate some kind of a set of rules that we all agree to abide by. So thank you, and for once let’s leave the lawyers out of it and shake hands on a shared project. We can work out the details of the agreement later.”

A TALE // 165

Collectors: who they are and what they love.

The higher the ranking, the greater the age

80 60 40 20

55% of the top 100 collectors are American

Classic car market insights with in-depth analysis of the top global collectors and their cars.

50 45 USA

Italy

Switzerland Hong Kong

Germany

Netherlands

Other

40 35 30

Most top 100 collectors are located on U.S. soil: 55% are American citizens. UK is second with 11%, while Italy is third with 10%. Switzerland comes after with 7%, then Germany with 5%.

25 20 15

Over 60% of the top 100 collectors are between 70-80 years old

UHNW car collectors $30m - $50m

15%

30%

48%

sources if not received directly from data owners with the permission to use it for this report.

research companies in the UHNW market — has developed market intelligence on the global classic car

69 Top 51-100

Top 100 collectors are, on average, richer than the other UHNWI

13%

research team, with the support of the professionals at Wealth-X — one of the leading international

to a crossroad and we hope to be able to support stakeholders and interested parties with such

73 Top 21-50

many years developing their collections, taste and experience.

13%

of that world. We wish to make a valuable contribution with this report for a market that is now coming

The sample gets older the higher they are positioned in the TCCT Ranking of top 100 collectors. This is expected, as the best collectors in the world have spent

15%

market with the most important collectors, cars, and caretakers. All data is collected from publicly available

24%

information to succesfully guide their beloved values into a sustainable future. To this end, our in-house

16%

In this Cockpit article, we offer a new dimension of insight into collecting classic cars at the very top end

Top 20

19%

Cockpit

General UHNW population $50m - $100m

$250m - $500m

$500m - $1B

$100m - $250m $1B+

26%

62%

70 - 80

60 - 70

50 - 60

40 - 50

about 41% of UHNW car collectors have wealth of $250 million or more (with 13% being billionaires) compared to only 7% of the global UHNW population.

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Theastewards ing careful eye areon putting the road. the The rosettes collection on themay automobiles have begun se-as a hobby, lected forbut theit’s awards, grownand in the onecourse of these of cars timewill andbe hasnamed become Best a major of Show. asset. A few Anpeople asset he arehas wondering no intention whyofthose divesting two gentlemen himself of, but one have stood thatup calls with fora strategy smile andand shaken management. hands. They Right look now, very for sure, but even satisfied. Perhaps more they’re so in the in the near know... future. He has two daughters who certainly enjoy accompanying him at events and on rallies. But they’ve No, deep down received they’re nohappier tips. It’sdoing simply their that own they thing realize andhow have no event an particular of this affection sort is for more histhan jewels. theWhat rosette willorhappen a prizeto long his cars when desired. There’s ... “Whatever also theam concrete, I thinking everyday of? Thisreality is crazy, of there’s ownstill time...” ership, of maintenance, he thinks, shooing preservation, away thevision little demons for the future. that none of us like That’s it, the to entertain. future of assets that require constant, meticulous attention, because not everyone is able to grasp the value and The road of meaning snakes classic downward, cars. “Fritz, he Ibrakes have something confidently, toshifting say, too,” down a couple declares the Publisher, of gears...orVroom, rathervroom the Collector. and on towards “I’d like to hiscome appointment. and see you in“IVaduz. love it Iwhen can’t Ibear hearthe them thought say that that a car onelike dayme my is supposed cars could become to havethe fun”object says the of wrangling car as he urges or litigation. her on atNor the two bends would I want justthem before to their end up meeting somewhere place. they’re “He’s right, not cars apprelike us aren’t ciated. I’dclassic like you or vintage, to tell me we’re howaristocratic, to protect them young through as opposed the to old! Weofwant creation a Trust to be while used, continuing put to theto test, manage even mistreated them myself just as Ia see bit. fit. That’s I also thewant best to way beto able keep to us decide in form”. who will do this when it gets too much for me.” Fritz Kaiser is leaning against the railings of the garden steps as he waits “With pleasure, at the whenever hotel where it suits they’ve you. planned I’ll explain to meet. all theHe watched his solutions open guest to you arrive andand youwas canimpressed opt for theby one thethat carworks and they way he best fordrove you. You’ll it. The continue clear lenses to getofall histhe glasses enjoyment cannotpossible hide the smileyour from that wrinkles cars, and his I’meyes. sure you’ll Little wonder: want to be thepart ideaofhe what wants I’ve to discuss called the Circle makes— him a community much moreleaders’ amenable club than inviting whenthe he’s100 at his desk top people dealing in thewith classic finance car world. and investments. A platform where The Classic importCar Trust ant collectors he has founded and business is an exciting and governance venture. He’s leaders sure can hemeet can count and discuss on thethe expertise most pressing of his staff, questions and heregarding also nurtures the future a

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COCKPIT // 133

of classic cars. It will be an experience a bit like the World Economic Forum, which I have attended for over a decade. There is so much change in all aspects of our life and things are moving fast. Soon people will use self-driving cars powered by plug-in energy and get accustomed to new eco-friendly mobility service concepts. What will these developments mean for the use of our classic cars? Will we still get road registration, spareparts, and gasoline on the road to enjoy them? What can we do today to ensure that we can still enjoy these wonderful cars from a bygone era tomorrow? With the Circle, we will organize moderated gatherings to help connect the dots for the ecosystem. What we experience today as a sort of magical game requires another degree of structure and project for the future. This initiative will contribute to the economy, help sustain the business, and get the next generation involved with exciting new jobs. Such a fantastic heritage of culture and history should be promoted and enhanced. It speaks for over a hundred years of modernity, and it also generates value.” At this point the Publisher returns to his original role, embracing the significance and benefits of the concept. “It’s a really interesting idea, consider me on board.” As they walk away Fritz turns to him and adds: “But there’s just one thing you should bear in mind: please don’t enter your Bugatti at Pebble Beach the same year I’m there with my Alfa!”

A TALE // 167

THE K E Y T O THE

TOP OF THE C L A S S I C CAR WORLD

2018 www.classiccartrust.com/thekey2018

ISBN 978-3-033-06693-9

9 783033 066939