Strange/Rare car profiles-identifies threat

Discussion in 'Car Pictures' started by Vasileios Papaidis, Nov 1, 2013.

  1. #51 Vasileios Papaidis, Apr 7, 2014
    Last edited by a moderator: Apr 25, 2016
  2. 1959-61 Triumph Italia 2000

    The Triumph Italia 2000 Coupé was built between 1959 and 1962, during which time 329 cars were produced. Designed by Giovanni Michelotti, the TR3 chassis and mechanical components were supplied by the Triumph Motor Company in the United Kingdom, and built by Alfredo Vignale in Turin, Italy.

    By most accounts, only 329 of the hand-formed bodied TR3s were ever built – known as the Triumph Italia 2000 Coupé. Designed by Giovanni Michelotti and built by Alfredo Vignale in Turin, under contract to Ruffino S.p.A. Industria Construzione Automobile of Naples – it was thought that these cars would appeal to people willing to spend more for the dependability and ease of obtaining stock mechanical parts, but who wanted a better looking car than the standard Triumph - "Italian bodywork at its best, British tradition in sports car engineering at its finest.”
    At the time, Signore Salvatore Ruffino was the managing Director of CESAC, the Italian company that distributed Standard-Triumph in Italy. He approached Standard-Triumph to supply chassis and mechanical components to build 1,000 cars. The introduction of the closed-top, two seater was well received at the 1958 Turin Motor Show – “Italian artistry and British craftsmanship have come together and produced this new, superlative Italia 2000 Coupé.”
    Vignale began production in July 1959 with only a few changes to the original – rather than a slanting nose and covered glass headlights displayed on the prototype, a look similar to Michelotti’s Maserati 3500 design was produced. And although the two prototypes had some aluminum body panels, all Italias used steel. Cars came through with Ascari mufflers with a distinctive and melodious tone, and the original Triumph electric overdrive switch was moved from its left-hand dash-mounted position to an under-dash spot right above the gear shift, providing faster, more convenient downshifting out of overdrive in turns at high speeds.
    Ruffino envisioned building 1,000 cars, between 1960 and 1962, with worldwide distribution including the American marketplace. He had a verbal agreement to have every Triumph dealer (720) purchase an Italia. The Italia never became an official model of Standard-Triumph.
    However, Ruffino’s vision didn't come to pass for a number of reasons. Faced with ensuing financial and labor problems, Standard-Triumph was taken over by Leyland Motors in 1961. Shortly afterwards, Triumph withdrew their support for the Italia. Perhaps fearing increased competition, Triumph concentrated their efforts on the new TR4 to be released in 1962. The TR4, also designed by Michelotti, clearly borrowed many elements from the Italia - the distinctive bonnet bulge, kick-up door with wind-up windows, and roomier modern body design.
    Despite Triumph's pull out, Ruffino S.p.A. re-badged the car as the Italia 2000 and continued production. Over a three-year production period (mid-1959 to mid-1962) Vignale produced approximately 329 cars. Most were left-hand drive with the probable exception of six cars. The last run of roughly 35 cars were based on the modified TR3B chassis rather that the TR3A, and benefited from the improved gearbox that had been developed for the TR4.
    Most Italia sales in America were handled by Stutz Plaisted Imports (Salem, Massachusetts). Even though production at Vignale came to a close in 1962, some of the last cars remained unsold until 1965. Slow sales can be attributed to the expensive $5,000 price tag ($1,000 premium over the TR3) and since body parts were not stocked outside Italy, buyers were required to sign a release form of acknowledgment.
     

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  3. 1966 Maserati 3500GT Coupe coachwork by Moretti

    CHASSIS No AM101.1858

    220bhp 3,485cc. carbureted dual overhead camshaft inline six-cylinder engine, five-speed manual transmission, independent front suspension with coil springs, live axle rear suspension with semi-elliptical leaf springs, four-wheel hydraulically actuated disc brakes. Wheelbase 2,600mm (102.3").

    The Maserati 3500 GT provided the basis for many coachbuilders, both small and large, to demonstrate their skills and their inspiration. Maserati’s twin main tube chassis, which contained all the 3500 GT’s functional mechanical systems, was ideal for coachbuilders. Simple and well built, with a strong and powerful engine and excellent handling, the 3500 GT had many positive attributes that commended it to coachbuilders, their clients and potential clients.

    Lancia had long employed unit body construction and Fiat and Alfa Romeo were rapidly introducing new cars with unit bodies which made traditional custom coachbuilding impossible without major investments in tools, dies, jigs and fixtures. In effect it was necessary for a coachbuilder to tool up and build nearly a complete automobile capable of absorbing the loads and stresses which unit body construction imposed on the structure. This was effectively commercially impractical, and the early 1960s were a time of great change among the small specialist builders which had proliferated in postwar Italy.

    The change was hardest to accept at firms like Moretti which had started in 1925 building motorcycles, later expanding to microcar production. Moretti enjoyed success and prosperity following World War II, like many others, modifying Fiats and building its own complete cars using Fiat mechanical components. The Moretti 750 was remarkably successful in racing and Moretti’s cars, many designed by Vignale and Michelotti, were exceptionally pretty. The 1960s were a time of transition at Moretti but eventually it became an important supplement to Fiat production, building low and intermediate volume variations of Fiat’s production cars before closing down in the 1980’s.

    Signifying Moretti’s fundamental change, in 1966, the firm displayed at the important Geneva motor show one of its few automobiles to be based on other than small and medium displacement production cars, this exceptionally pretty 2+2 coupé based on Maserati’s 3500 GT. Its fastback style with sloping tail, influenced by the aerodynamic work of Dr. Kamm, was handsome and sleek. The wide grille with quad headlights was imposing, an effect which was emphasized by the wide, flat air intake scoop on the hood. Its length was emphasized by ribbed sill moldings. In all, the effect was remarkably like that of the Iso Grifo which had made its appearance in 1965.

    The subsequent history of Moretti’s 1966 Geneva show car is unknown until, it was found in Germany and acquired for Mr. Alfredo Brener’s collection of singular Maseratis three years ago. Finished in red (its original color), the original interior has at some point been redone. This unique, mysterious and very attractive Maserati 3500 GT has not been restored. The engine is reported to be strong and the transmission and brakes are described as "okay." Opportunities to acquire one-off examples of attractive and sporting Italian coachwork on superb gran turismo chassis, like the Maserati 3500 GT, come along only rarely and offer collectors a fleeting opportunity to acquire an automobile that will be welcomed and the centre of attention at the most enjoyable shows, tours and concours. A challenging bit of sleuthing to further develop this car’s history will be both rewarding in itself and add immeasurably to this Maserati’s enjoyment.
     

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  4. 1966 Intermeccanica Mustang Station Wagon prototype

    And where else would a Mustang station wagon (had it actually reached production) have been more appropriate than in the ‘burbs?
    Reader John Murphy of Oakland, Maine, recently sent us some photos of a Mustang station wagon he spotted back in 1966 in New Jersey, and it turns out it was no backyard job.
    I was on a road call in River Edge, NJ, and saw the green wagon parked. On returning to the shop I said, ‘Hey, you wouldn’t believe what I just saw.’ We jumped in Lester’s Barracuda – the white one in one of the pictures – and went back. He was snapping pictures when a white wood-trimmed one pulled up. One guy started yelling that we weren’t allowed to take pictures, and they both took off. I always wondered what happened to those cars and never heard, even after working exclusively for a Ford dealer for over 40 years.
    Now look closely at the license plate – New York 4N-5600, of the orange-on-blue style that New York used from 1966-1973. While looking back through one of our previous posts on the Mustang station wagon phenomenon, it appears the Intermeccanica-built Mustang station wagon that got so much exposure in the period buff books had the same plate. The 1965 build date (and late 1966 magazine coverage) fits with both the license plate and the date John Murphy spotted the wagon. The leaves are still on the trees, so he may have even spotted it before the magazines hit the racks, causing such consternation by the guy who told him to stop taking photos, who could have been either Barney Clark or Bob Cumberford, both of whom were instrumental in having the wagon built.

    Many of the details are the same as well – same wheels, same location for the fuel filler door, same GT grille treatment. Though it’s obviously seen some road use by the time these photos were taken.
     

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  5. These are all excellent reads and nice to watch <A BORDER="0" HREF="http://www.supercars.net/PitLane?displayFAQ=y"><IMG BORDER="0" SRC="pitlane/emoticons/smile.gif"></A>
     
  6. Yeah really liking these
     
  7. #57 dahldrin, Apr 14, 2014
    Last edited by a moderator: Apr 25, 2016
    There's a local guy with a Mustang wagon, but it's not a factory job and I don't think it looks as good as the one you posted does.

    http://desert-motors.com/cpg/displayimage.php?pid=11652
     
  8. Thanks guys,very soon more!
     
  9. 1945 FIAT 1500/6C Sport Corsa

    Below I point to a review published in “Ruote Classiche” (the most important magazine in Italy for historic cars)":
    “FIAT 1500/6C SPORT CORSA, 1945, chassis nr. 15026, original registration VR 172981, Registro FIAT Italiano Id. Card 5359.
    After a long and pedantic restoration which this "one-off" example has been involved in the last four years, our marvelous italian two-seater based on a 1937 Fiat 1500/6C chassis is on the road again, as it was raced by the Bevilacqua brothers in 1945. Recently entered in the Mille Miglia 2010, this unique "barchetta" is in excellent condition and very well documented, having been homologated by the Registro Fiat Italiano and recently featured on the Italian magazine Ruoteclassiche. Fantastic design, rare steel body construction by Reda, matching numbers and proper history make this car a very important car for the real Italian Sportscars connoisseurs!”
    Below I point to a review published in an Italian newspaper during the last Mille Miglia:
    With the number 123 will run xxxxxxxxx and xxxxxx, aboard of Fiat 6C 1500 Sport '37. To remember Uncle Giannino, winner of two Mille Miglia in 1950 and in 1953, Matteo Marzotto, entrepreneur, president of the fashion house Vionnet, until 2008 president of Valentino SpA and, until 2012, president of ENIT (National Agency of Tourism) driving this car with his friend Silvestro Specchia. Marzotto, who took part in the Paris-Dakar in 2002 teamed with Paolo Barilla, will be navigated by Silvestro Specchia, Vice President of the Mille Miglia Club Franco Mazzotti, twice third in the Mille Miglia. Even this two-seater has already participated in the '27-'57 editions, reaching 135 km / h with its 6-cylinder in-line for a total displacement of 1,493 cc and an output of 55 hp.
     

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  10. I keep forgetting how much I like Intermeccanica designed cars.
     
  11. 1959 Citroen DS Barquette by Andre Ricou

    This racing barchetta is a custom build Citroen based on one of the very first DS chassis (000081) by Andre Ricou. After an accident with a DS 19 Andre desided to build a racing car wich based on his damaged DS and this is the result of his work.

    Lot of dramatic aerodynamic body modifications from aluminium in barchetta style lost a lot of weight 750kg from 1236kg(Normal) ,the webber 45 carburators tunned the power to 125hp from the normal DS power (75hp) and the top speed reaches 200kph.
    With these numbers the car easy won a lot of hill climbs and rallys in snow and ice in 1960.

    Today the car owned by the Ricou family and rarely exposed in Museums, no other copy is in existance.
     

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  12. i doubt it, but did they keep the suspension from the standard DS?
     
  13. Yes the car have the same hydropneumatic suspension with the standard DS
     
  14. 1963 Lancia Flaminia 3C 2.8 Speciale one-off

    Spectacular Pininfarina-Bodied One-Off 3C 2.8, 1963 Turin and 1964 Brussels Show Car.
    Famous for their incredible craftsmanship, brilliant engineering solutions, and complete disregard for cost accounting with respect to those engineering solutions, pre-Fiat Lancias are, in many ways, in a class of their own. Few cars are as thoughtfully engineered or built, which helps to explain why Lancia encountered a great deal of financial trouble. The Flaminia was the flagship during these years, with elegant styling and sophisticated engineering features. Disc brakes, inboard at the rear, were standard, as was an all aluminum V6, descendant of one of the first V6 engines built, Lancia’s Aurelia engine. Rear suspension was of the de Dion type and a fully synchronized rear-mounted transaxle was also part of the specification. The car is full of fascinating engineering details showing that at Lancia during this period, it was engineers, not accountants who made decisions. A quick look in the engine compartment reveals an external oil cooler, as well as a neat set of thermostatically actuated mechanical blinds over the radiator.

    At the 1963 Turin Motorshow, Pininfarina displayed a beautifully proportioned and supremely elegant one-off Lancia coupe. Employing the most desirable configuration of Lancia’s flagship Flaminia model, the short chassis 2.8 liter triple carbureted variant, the car was extremely elegant and beautifully detailed. Bearing serial number 1167, this car was the second to last serial number produced (the last one was 1168), and was unveiled at the Turin show in October of 1963. Finished in pearl white with black upholstery and teal carpeting, the car appeared at a few other shows before being repainted in a metallic champagne color for shows the subsequent year. At this time, the hood scoop was removed as well. In addition to Turin in 1963, the car was also exhibited at the 1964 Brussels Motor Show, and 1965 Elegance Shows in Alassio and Cortina d’Ampezzo.

    The car was styled by Tom Tjaarda, who worked at Pininfarina at the time. The February 1964 issue of Road & Track (a copy is included with this car) marveled at how “…the Lancia’s contours flowed into each other so seductively that it was a pleasure just to stand and look at it. One charming line led unerringly to another.” Indeed, the car is extraordinarily beautiful in an elegant and restrained manner. The slightly convex line of the extremely thin C-pillar is indescribably elegant and presaged the 2+2 Ferrari 330 that would be unveiled the following year. The rear fender kicks up with a subtle but undeniable coke bottle effect that is a modernized take on a classic and evocative touch, while the detailing such as the unusual but elegant door handles spoke to the quality that defined the Lancias of the period.

    After the shows in 1965, the car became the personal transport of Battista Pininfarina. Functional rear lights from a Lancia Flavia were added, and the color changed to silver. Pininfarina SpA retained the car until 1972, when an American anesthesiologist succeeded in negotiating the purchase of the car for $4200, a process which required six months of correspondence (included with the car in an archival binder) between Dr. Buckingham and Pininfarina’s commercial director. Dr. Richard Buckingham was the 63rd member of the American Lancia Club, having joined in 1968, and served as its president for 15 years. The car had covered just 9100km (5,642 miles) when he acquired it, and he lovingly cared for the car, exhibiting it regularly at shows and concours, including Pebble Beach Concours d’Elegance in 1989 where the car achieved 3rd place in the Italian Coachbuilt 1955-63 class.

    Shortly thereafter, the car was sold into the Matsuda Collection in Japan, and while in Japan, the car was returned to its original color of pearl white. In 2003, it was sold on to an owner in British Columbia, Canada, and then to its fourth owner in 2008. The car remains substantially original with just 19,000 km (11,780 miles) from new. The car has been sympathetically maintained, with new chrome to the wheel covers and front bumper, as well as regular servicing to keep the car running well. Included in this was resealing the water pump and new Pirelli Cinturato tires and tubes.

    The car is very well preserved and in excellent substantially original condition. The body is extremely solid and displays good panel fit. The paint is very good overall, though close inspection reveals the occasional stress crack, touched up chip, or stain. The chrome is very good on the whole, and having been redone as necessary. There is some light pitting and scratching, but overall, the chrome is very nice considering most of it is nearly 50 years old. The lights and glass are very nice as well. All lighting (other than the decorative lenses on the top of the rear fenders) are shared with contemporary Lancia standard production models, but are in excellent shape and do not need replacement. They are all of the original and type, including the Carello headlamps. The car has lovely details, such as the subtle character lines on the roof (which are echoed on the trunk lid and on the front fenders), brushed rocker panels, and pillarless construction (though the rear windows are fixed).

    The interior also has a number of interesting touches. For example, the driver and passenger door panels are different, as Pininfarina was experimenting with different designs. Additionally, the passenger’s door panel still has a section with plastic on it! Another interesting touch is that the driver’s and passenger’s seats are different, with slightly different detailing and a thicker backrest on the driver’s seat. The interior is in excellent original condition. The upholstery is excellent throughout, including on top of the dash, seats, and door panels. The gauges are wonderfully detailed items common to all Flaminias and are in excellent condition, as are the various switches and controls. The carpets are teal, as are the headliner and visors, and are also in excellent condition. Although the combination of teal and black sounds garish, the overall look is far more attractive in person than the verbal description suggests. The door panels and dashboard have wood paneling, which is in very nice condition, though there are a few small cracks and chips to the finish. The steering wheel is a beautiful wood rimmed three-spoke affair and is excellent.

    The engine is quite original and is extremely clean and correct. The components, fittings, and markings are all correct and unmolested, and the engine bay is extremely nice considering that the car has not been restored. trunk is nicely carpeted and in good shape, with jack and tools.

    The car is an absolute joy to drive, and reminds why Lancia has such a devoted following. Every aspect of the car’s performance embodies the quality feel that is lacking even from more exotic Italian machines from the same period. By comparison, most any other car feels crude. The engine makes great power and noise, and runs very smoothly. The chassis is quiet and composed, and the steering is light and precise. The transaxle shifts beautifully, and the brakes have tremendous bite and are extremely confidence inspiring. The overall feel is of a wonderfully coherent low mileage car that exudes quality.
     

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  15. that makes me want it even more than I already did!
     
  16. 1953 Connaught AL10 Historic Grand Prix Race Car

    Driven in period by such legends as Roy Salvadori, John Coombs, Kenneth McAlpine, Ron Flockhart and Bill Whitehouse, the latter achieving more success with the car than when in ‘works’ hands.

    This car was featured on the front cover of Motorsport and in an article by Martin Brundle, who borrowed the car for their ‘Millennium Edition’ when they tested a Grand Prix car from each of the decades from 1950 up to 2000.

    In 1954 the car was sold into private hands and has only had a total of 6 owners in its 58 years.
    In 1953, Rodney Clarke and Mike Oliver adopted the American Hilborn-Travers fuel injection system and used nitro-based fuel to boost the performance of the Connaughts and it seemed to work, particularly in the shorter non-Championship F2 races in England. On April 6th 1953, for the Easter Monday Goodwood races, in the 7 lap Levant Cup, Roy Salvadori qualified A7 on pole amongst the Cooper-Altas and Cooper-Bristols and a Maserati and Salvadori was leading until his throttle linkage failed at the close of the race, barely permitting him to finish second behind Swiss Baron Emmanuel de Graffenried's winning 1952 Maserati A6GCM (Chassis No. 2038). By now, the ex-Downing A3 had been acquired by Rob Walker and was being campaigned by Major Tony Rolt who finished third in this race behind Salvadori's A7; McAlpine in the vintage A1 was fourth behind Tony Rolt, overall a stout showing for Connaught - second, third and fourth place.

    At the Ulster Trophy race at Dundrod, Northern Ireland, Stirling Moss was leading until gearbox problems meant taking second to Duncan Hamilton's HWM-Alta. Throughout 1953, a multiplicity of Connaughts ran well in these lesser UK-oriented events - at the Levant Cup no less than 7 A-Types, virtually the entire Connaught line was in the race - and by the end of 1953, the omnipresent Connaughts had turned in a solid report card: 21 firsts, 12 seconds and 10 thirds.

    Tony Rolt and A3, sporting what would later become famous in the Sixties in Formula One as the Rob Walker midnight blue and white paint scheme, were the standouts in 1953 non-Championship racing and had 10 wins. Most notably at the newly- opened Crystal Palace in A3 for the Coronation Trophy on May 5th 1953 amongst the best and the brightest - Stirling Moss, Peter Collins, Lance Macklin, Peter and Graham Whitehead - and again at Crystal Palace later on in the season on November 7th 1953. Rolt also won at Snetterton twice in 1953 and at Thruxton and Oulton Park; showing his and Connaught A3's consistency and reliability at all the great old English tracks. Connaught Patron Ken McAlpine in A1 also won a race in the 1953 season at the West Essex CC F2 race on June 27th 1953 amongst some significant competition from John Combs in the newer A8 and Roy Salvadori in A7.

    On September 9th 1953, Tony Rolt finally lost a race in the Crystal Palace to Stirling Moss, who was driving the Cooper-Alta T24. Rolt did finish second in A3. Another notable driver finished in fifth place overall in the original works Cooper-Bristol T20 prototype previously raced by Reg Parnell (CB/1/52): Bernie Ecclestone, making a comeback as a driver after a shunt in 1951 at Brands Hatch in an F3 500cc Cooper.

    On the Championship Grand Prix level, Connaughts 1953 season was less stunning but it was not for lack of trying as a Connaught of some kind or other competed in six of the seven European races that counted for the Championship. But the Ferrari 500 and its crew of drivers that year - Alberto Ascari, Giuseppe Farina, Mike Hawthorn and Luigi Villoresi - dominated the 1953 season, with Ascari taking the World Championship and Juan Manuel Fangio finishing second in a Maserati A6GCM.

    With the Italian cars so preeminent, the Connaughts simply filled out the field for the most part, but they were driven by a Who's Who of racing drivers. Stirling Moss finished 9th in a Connaught at the Dutch Grand Prix at Zandvoort in his one Championship race in the Connaught that year. Prince Bira finished 7th in the British Grand Prix at Silverstone (eight laps down to winner Ascari!), Connaughts highest finish in the 1953 Grand Prix season. Johnny Claes in his Belgian Yellow Connaught A4 campaigned tirelessly in four Grands Prix but never once finished anywhere near the points; Ken McAlpine also raced in four Grands Prix and was similarly unsuccessful in A1. Claes did have one good showing that year in his home Grand Prix at Spa, where, in a shared drive with Fangio in a Maserati A6GCM, he finished third. In all then, 1953 was a busy season for Connaught with virtually all of its cars in action at all levels but unable to turn in points-paying performances in the Grands Prix, while being credible players in the non-Championship races.

    For Ken McAlpine, 1953 was notable because it was his first encounter with the Nurburgring, "the best course in the world . . . it was fabulous," which he drove to for the 1953 German Grand Prix. In what sounds like every race fan's idyllic weekend, McAlpine made his way to the circuit from England in his Aston-Martin DB2. When he arrived, McAlpine and fellow Connaught driver Roy Salvadori drove around the track in the DB2 to learn the circuit. "It took a bit of learning . . . 167 corners and they were all different and there were no markings there, nothing. You went over the brow of the hill in come cases you went straight on, in some cases you turned sharp right and in others you turned left and you had to know which brow of the hill it was you were going over as there were absolutely no safety precautions at all."

    Indeed, at one point McAlpine did have an off at Nurburgring in his Connaught but managed narrowly to avoid tipping the car over. A year later at the 1954 German Grand Prix, Argentinian Onofre Marimon, a friend, protege and countryman of Juan Manuel Fangio, was not as lucky. McAlpine explains what happened: "Marimon was killed at Nurburgring [during practice in his Maserati 250F]. It was a long sweeping lefthand downhill corner with a hedge on the outside and he overdid it and went through the hedge. What no one was aware of was that there was a 100 foot drop on the other side of the hedge. He just went through the hedge and that was that."

    Notwithstanding his near crash out on the circuit, McAlpine ended up being the only Connaught to finish the race, finishing 13th after nursing his Connaught around the tortuous 14-mile circuit with a loose rear radius arm which meant he had to crab along at a reduced speed on a track in which a lap takes 10 minutes with a car that was trying to steer itself at the front and the rear. He finished this arduous race two laps down to the winner, Giuseppe Farina in the Ferrari 500. Salvadori, Bira and Claes in the other Connaughts failed to finish the race.

    McAlpine also competed at Monza, but does not rate that circuit as highly as The Ring: "There was no banking then. It was alright but it was dull. Essentially, the faster the track, the higher the average speed the duller the circuit. You could have four or five cars behind the Ferrari heading down the straight . . . Because we [in the Connaught] could corner faster than anybody else we could keep up with the faster cars through the corners and then get a tow down the straight, running faster than the power of the car would indicate."

    But for all of the furious slipstreaming, the four Connaughts entered for the 1953 Italian Grand Prix (McAlpine, Salvadori, Jack Fairman and Johnny Claes), the last Grand Prix to be held under the Formula Two rules, did not have a good race. McAlpine was driving AL10, the long-wheelbased car that was the last of the A-Type line and it had fitted to it a lever on the dashboard that would permit the driver to control the roll stiffness of the rear suspension. But the cars were forced to make frequent pit stops - sometimes simultaneously - in the 313 mile 80 lap race and were never in a position to challenge during the race.

    During practice, however, Roy Salvadori came within six seconds of Ascari's qualifying time in the Ferrari 500, which was considered reasonably close considering the disparities between the Ferrari and the Connaught. In the end, Claes was out after 7 laps with fuel line problems, Salvadori retired on lap 34 with throttle problems and although Fairman and McAlpine were still running at the finish they had not accumulated enough laps to be classified, a quiet end to the Grand Prix portion of the 1953 season.

    Notwithstanding the disappointing race results, the quality of the engineering and road holding of the Connaughts did not go unrecognized by the Italians, according to Connaught Scholar Anthony Pritchard, who reports in his profile entitled "The A-Series & L-Series Connaughts", on the following interesting bit of cross-fertilization between the Connaught A-Type and the soon-to-be-famous Maserati 250F:

    "While in Italy [for the 1953 Italian Grand Prix], the team took part in the Modena Grand Prix, where they finished 7th and 8th. The most gratifying aspect of this meeting for Connaughts was the attention paid to the very advanced A-series chassis and suspension design by the Maserati design team. One evening after practice they visited the Connaught team who were working on their cars at Stanguellini's Fiat garage in Modena and went away very impressed after a study of the Connaughts. At the time, the current Maserati Grand Prix car, the A6SSG, was still using a rigid rear axle suspended on quarter-elliptic springs, but they too adopted a de Dion rear end for 1954."
    But of all the races in the 1953 season where Connaughts could be found racing, there was one non-championship race involving the Connaught and drivers Tony Rolt and Stirling Moss that typified this bygone era. On October 3rd 1953, the Joe Fry Memorial Trophy race - a 20 lap race - was run at Castle Combe. Moss led in his Cooper-JAP twin until Salvadori in a Connaught took away the lead and Moss fell back into the clutches of Tony Rolt in Connaught A3. Rolt nudged Moss into a corner a little too vigorously which rolled the little Cooper and threw Moss out of the car. Moss broke his shoulder in the accident. Major Tony Rolt, a man of honor and duty who had served in World War II with distinction, stopped A3 immediately to help Moss; one wonders what would happen amongst today's Grand Prix drivers in a similar situation.

    One further significant race for Connaught was the Curtis Trophy held at Snetterton on October 17th 1953. It was wet and Salvadori retired his Connaught on the first lap and Ken McAlpine, who was driving his trusty A1 slid off the course on lap 8 and overturned A1 into an earthen bank, no doubt adding to the Patron's growing disenchantment with Team Connaught as the 1953 season came to an end.
     

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  17. 1956 Pontiac Club de Mer Concept Car

    One of the concept cars displayed at the 1956 General Motors Motorama show was the Pontiac Club de Mer, a futuristic roadster that was designed by Paul Gillian under the supervision of famed GM designer and engineer Harley Earl. This particular study and other GM “Futuristic Dream Cars” of the time, pointed the way to cars of the future - or at least they tried to.
    GM built only one Pontiac Club de Mer (albeit a non-running mockup), but unfortunately it had it destroyed in late 1958. There was also a 1/4 scale model which survives to this day. However, there is another life-sized Pontiac Club de Mer in mint shape and fully functional.

    Built by custom car expert Marty Martino, who specializes in concept car recreations, the Pontiac Club de Mer was brought back to life as a replica using the chassis and powertrain of a 1959 Pontiac. The recreation is powered by the 1959 Strato Streak engine mated to the Jetaway Hydro-Matic 4-speed transmission.

    The body’s inner structure is all steel and uses the 1959 Pontiac’s inner doors, jambs, cowl sections, hinges and latches, augmented with square tubing. The OEM-style chassis is built using mid-sized Pontiac suspension clips with custom boxed rails.

    On top of the steel structure, Martino added an authentically sculpted fiberglass outer body that replicates the original design by Pontiac’s Paul Gillian. The car features many unique details specifically crafted for it, including bumpers, lights and interior components.

    It is painted in the concept’s original and unique Cerulean Blue paint, while the interior features custom-built leather-covered bucket seats and chrome finish on the one-off trim parts.
     

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  18. I heart the fifities concept cars
     
  19. Definitely. American designs were so outrageous back then and had heaps of character. I also loved that they changed up production cars basically every single year back then, too.
     
  20. 1957 Scaglietti Alfa Romeo Giulietta Sprint Veloce chassis #01819

    This car was made as a one-off for Dominico Rabino, based on a 1956 SVA (Alleggerita) and was rebodied in 1957 by Scaglietti for its owner. Rabino raced it until 1958.

    It is known Scaglietti often 'simply' started to design and build the new bodies directly onto the chassis, without making any drawings or models in advance. Scaglietti's workers created a steel wire frame over the rolling chassis to outline the eventual body shape and from there on the body panels were shaped and fitted onto the various frame sections. This is how many timeless and iconic designs came to life, like for instance the legendary Ferrari 250 GTO Series I and the 250 GT California. The same goes for this tiny Alfa,it has become a stunning looking race car.
     

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  21. This is one of the best threads on this forum.
     
  22. No doubt.
     
  23. 1967 Abarth T140 6Litri Prototipi

    The 1967 Turin Motorshow saw Abarth displaying their new engine designed for motorsport, a 6 litre V12 unit. Unfortunately due to changing regulations it was never used.

    It was a 120deg V12 with a single camshaft in each bank. The total capacity was 5983cc (92x75mm). Four triple carburettors (Weber 40 IDA 3C) were fitted, the compression ratio was 12:1 and the lubrication system used a dry sump. Total power was 610bhp @ 6,7000rpm.

    Abarth engine responded to Luciano Fochi. car was designed to compete in the Ford GT40 and 330 P3 and P4 Ferraris, but the project went through the ice when the FIA dropped the prototypes to 3 liters of cubic capacity. It's a shame, because that Mario Colucci, drawn and designed the T140 is simply exquisite. Abarth became the technical director Colucci
     

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  24. 1935 Austin 7 supercharged record car

    This is very similar to the 1931 Streamlined Racer built by Longbridge. The car reached nearly 110 mph. average at Montlhery near Paris, driven by Mrs. Gwenda Stewart to 4 speed records.Based in a regular Austin 7 (1935) chassis with engine and aerodynamic modificartions.
     

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  25. 1954 Woodill Wildfire Roadster

    Sports car enthusiasm and the wonders of fiberglass combined in the Fifties to produce an explosion of attractive, streamlined, sporty cars. Based on production chassis and drivetrains, they offered the home builder the chance to create a unique, low cost, attractive and fast automobile. Woodill was one of the most prolific, building some 300 with various powerplants and suspensions from 1952-1956. A Dodge/Willys dealer, Robert Woodill created the first Wildfire as a personal car with Willys power and suspension. The body, with its wide hood scoop, cutdown sides, double-hump cowl and delicately finned rear fenders, was built by Glasspar. Kaiser's acquisition of Willys killed off the prospects of series production and Woodill built variations with Ford, Cadillac and Buick parts to test manufacturer interest. It wasn't there, but home builders reacted enthusiastically to Woodill's dream, eventually snapping up something like 600 of what Woodill called the "14-hour sports car." This example is Buick-powered and identified throughout, including the steering wheel center, headlights, taillights and grille teeth, suggesting along with its 1954 dating that it may have been Woody Woodill's original Buick proposal and therefore a significant milestone in Fifties' American car culture and history. Equipped with an automatic transmission and continental kit, it has been well preserved and is recently professionally detailed and freshened. Finished in white with a red pinstripe (signed "AandM Custom Body and Paint, Orange, California, 1953") and red and white upholstery, it is identified by a Woodill Motor Co. Inc. badge with the serial number W216B. Attractive and rare, its style and significance make it a valued addition to any collection as well as an appreciated participant in cruises, shows and open road tours.
     

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