Holy crap.
The much-discussed 1957 Ferrari 250 Testa Rossa #0714TR sold this weekend at RM Auctions’ Leggenda e Passione sale in Maranallo. It brought in a staggering €9,020,000. This of course, shatters last year’s record 250 California sale by a good $2Million. Why do I even bother anymore?
The late 60s were, by any measure, a high-water point for sports car racing. The cars were absolutely beautiful. The science of aerodynamics was coming into its own. The cars were fast. Very fast. Faster than Formula 1 cars of the era.
Here’s a lovely example of the era that is coming available as part of RM Auctions’ Leggende e Passione auction: A meticulously preserved Ferrari 330 P4. Chassis 0858 is a majestic example, with a fairly impressive history. This is, after all, a car that was driven by Jackie Stewart and Chris Amon. Beyond a win at Monza, they shared the car for a wonderful meeting at Brands Hatch for the the British BOAC International 500. This was the last championship points winning race of the season and the World’s Sportscar Manufacturer Championship was on the line. Ferrari held a small lead, but Porsche was nipping at the horse’s heels. Jo Siffert was racing hard in his 910 to show that Porsche wasn’t just going to let Ferrari walk away with it. Through a handful of lead changes and hard battles, Jackie Stewart took the car back from Amon in the final hour to hold on to second place and secure Ferrari’s championship (Mike Spence and Phil Hill won the meeting in their Chaparral).
A Ferrari 330 P4 is indeed a very special car. In many ways, however, this era is bittersweet for me because it represents the real turning point in sportscar sophistication. The era of the garagista as a force in racing then started its slow decline. Wind tunnels, aerodynamicists, space-aged materials, and technological leaps permanently placed sportscar racing—any racing for that matter—in the hands of professional engineers, not amateur gearheads. I know, I know, I’m always singing the praises of the 917, a car perhaps even more the culprit for this shift. But it’s sad all the same.
On another tangent, I really have to commend RM Auctions on not only securing a marvelous roster of cars for their auction, but on investing in high quality photography for the catalog. These shots are simply stunning and it’s worth hopping over to the catalog just to take them all in.
Martin Chisholm is offering a marvelous 1952 Ferrari 225 Sport Barchetta. She is a beautiful, Rossa Corso wonder. A squat, dense muscle powered by an early iteration of Colombo’s famous V12 that would later prove so successful for the various Ferrari 250 variants that are in such high demand. This version of the V12 was based on the earlier 212, but bored out an extra 10mm and stroked to 58.8 mm for a total displacement of 2715 cc. The extra oomph under the bonnet made 224S #0218ET good for a perfectly reasonable 210 horses at 7200 RPM.
The 225 was developed with the twisty mountain sections of the Mille Miglia in mind, but since she was developed alongside early prototype versions of the 250, she was quickly overshadowed by her big brother in Italy. Fortunately, 0218ET was headed for American shores. This Barchetta, was an Alf Momo car, quickly prepped and ready for club racing in the States.
Bill Spear gave 0218ET her debut at the 1952 Sowega Air Force Base races and brought her in at 5th overall. Not a bad start.
Of course, what makes this car really desirable was her entry in the ’53 Sebring 12 Hours Race. Bill Spears shared the car with Phil Hill. Unfortunately, in a rare mistake, Phil had an off-course excursion that cost them the race. In the early days of Sebring, the grass surrounding the course was a very treacherous place and Phil managed to find the foundation of a disused and demolished barracks. The hit to the rear wheel took out the differential, forcing the team to call it quits for the race.
The car bounced around from racer to racer for several years, before becoming a toy of a Hollywood businessman. Finally the car was rescued by noted collector Gary Schonwald who located the long missing original engine and restored 0218ET to the remarkable shape you see her in today. She looks Concours and Historic Mille Miglia perfect.
Carrozzeria Vignale did an absolutely incredible piece of work crafting the body of this little barchetta back in 1952, and despite the more impressive statistics of the scores of Ferrari models that have followed in the wake of the early barchettas, there is no model that I find more romantic than these early V12 series.
Sports Car Digest posted a lovely series of photos from the ’67 Daytona race that look fantastic. What is it about 60’s color film processing that looks so romantic?
Here’s Lorenzo Bandini looking regal, poised over the #23 Ferrari 330 P3/4 that he and Chris Amon piloted to victory that year. Looks like Ferrari had the magic for Daytona in 1967. They brought home 1st, 2nd, and 3rd with the Porsche 910s & 906s, and Ford GT40s rounding out the rest of the top ten. Bandini and Amon repeated the feat at the following stop in the World Sportscar Championship, Monza. Despite the strong start, the rest of the season belonged to Ford and Porsche with the GT40 and 910 splitting victories for most of the rest of the season.
Take a look at the rest of the set, The shots of Piper & Attwood’s dull green Ferrari P2/3 alone is worth clicking over for. Maybe it’s the color shift of the film, but the years before TV-happy color shades make this era of motorsport color palettes my favorite. You would never see a car with a dull dark green, Semi-gloss navy blue, or less-than-TV-ready shines today. It makes the era feel all the more familial somehow.
Here’s the program cover for the race; handsome, don’t you think?
I thought I was a fan of Frankenheimer’s Grand Prix, but I must admit I’m a rank amateur compared to a group of commenters on Atlas F1’s Nostalgia Forum that have created one thread that digs deeply into the minutia of every scene, outtake, driver, and disguised model after disguised model to unearth a trove of information about every aspect of the film. Particularly impressive is a series of observations by forum member Macca, who pulled from his well of information of the Ferrari factory at the time to determine the very month that the film shot in the factory itself.
You’ll remember, that Sr. Manetta, the film’s stand-in for Enzo Ferrari, takes a meeting with driver Pete Aaron who is down on his luck after his crash with teammate Scott Stoddard leaves him dropped from his Jordan B.R.M. team. I know it’s difficult to keep straight the difference between actual teams and events and the fictional events of the film—which probably speaks more than any review could of how well the film has captured the spirit of mid-sixties Formula racing.
Macca did a little trainspotting in these scenes and noticed a few things about the cars and parts on the factory floor. The factory floor shows three neatly placed 36-valve engines. In the background, we see a 246P Dino bearing racing number 44. This car was given #44 for Giancarlo Baghetti to use in the practice sessions for the Italian GP. From this sparse information Macca, unbelievably, determined the scenes were shot at Maranello in September! Fantastic detective work!
That’s right friends. 296.
I know when we see “Dino”, we automatically think of the simply stunning 60s-70s mid-engined, Pininfarina designed, Dino 246, and with good reason; the 246 is an absolute masterpiece of automotive design. This Dino, however, is a bit earlier and every bit as beautiful. The 1959 296S Dino (chassis # 0746) has a fascinating history of her own to be proud of.
She debuted at the 1958 Silverstone race with racing’s best dressed driver Mike Hawthorn at the wheel pushing her hard to a 3rd place finish. Some sources, however, claim 0746 actually had an earlier race at the hands of Wolfgang Von Trips; finishing 3rd at the January, 1958 Nurburgring 1000km. In either event, the Scuderia quickly sold 0746 to retired racing driver, N.A.R.T. founder, and America’s first Ferrari distributor, Luigi Chinetti. Luigi soon had a handful of North American talent driving talent throughout the US and beyond. The car’s primary drivers in this era were Mexican phenoms the Rodriguez brothers, who had early success with 0746 in Nassau (1st and 2nd in various races that weekend) and Sebring (3rd).
Pedro Rodriguez, of course, went on to major international success as a Formula 1 driver for the Scuderia, Lotus, and BRM in various seasons from 1963-1971. He also won the LeMans 24 Hours race in 1968 with co-driver Lucien Bianchi in a Mk. I Ford GT-40. His brother, Ricardo, had his promising career tragically cut short in a fatal crash in 1962 during a practice session for the Mexican Grand Prix. Ricardo’s potential was staggering, barred by the LeMans officials from driving in 1958 because he was too young, Ricardo returned in ’59 to claim 2nd in an OSCA with co-driver André Pilette. A string of Formula 1 races for Ferrari followed, making Ricardo the youngest-ever Formula 1 driver at the time. He also claimed outright victory in a Ferrari Testa Rossa in the 1962 Targa Florio. With such an amazing string of successes, it’s all the sadder to think of the amazing career he might have had.
Following Luigi Chinetti’s stewardship of 0746, The car went on to further successes with American driver, George Constantine, who had top-five finishes with the car in three 1961 SCCA National races and won the 1961 Grand Prix Watkins Glen.
Today, UK dealer Duncan Hamilton offers Ferrari 296S #0746 in fantastic condition in her Rossa Corso N.A.R.T. livery. She’s a sight to behold. Included with the car are two of the underrated Ferrari V6s and wrapped in disc brakes all around. Sure, Ferrari means V12 to most, but I have an affinity for the early 6 and 8 bangers. She’s an absolute beauty and I hope to see her slicing around Goodwood or the Monterrey Historics soon.
Most of us will never own a Bugatti Type 35, or a Ferrari GTO, and certainly not the “Old Number 2” Bentley. Each of these models has something in common, examples of each have undergone restoration and had parts replaced. These original parts provide the raw materials for a series of accessories from TMB Art Metal. Thanks to them, we can at least own a small part of these magnificent automobiles.
From Bentley’s famous 1930 Speed Six “Old Number Two”—one of the famous racing cars of all time and part of Bentley’s 1-2 finish in the ’30 LeMans—come these cufflinks. Beautifully sculpted renditions of Old Number 2’s radiator grille and her wheel spinners, these marvelous little cufflinks are actually made of aluminum and bronze melted-down from parts removed from the car during Richard Moss’ 2-year restoration.
Similarly, TMB offers cufflinks made from the melted body panels and other components of a Ferrari GTO, an Aston Martin DB4GT, and a Bugatti 35.
Additionally, this wallet made of leather sourced from the upholstery of a GTO is fantastic. Each one a unique piece of art exhibiting the patina of 40 years of use. Some examples show the diamond pattern found in the under-hood batten, or the smooth pebble texture of the seats; but all have a small representation of the GTO formed from a melted body panel.
I may never be able to sit in a Ferrari GTO, but with this wallet, I can sit on one.
Keep your eyes peeled for car #14. It’s the Scuderia Ferrari 250 Testa Rossa piloted by Phil Hill and Peter Collins, 1958’s winning car.
Don’t get me wrong, I like Rosso Corso as much as the next guy. Isn’t it a bit refreshing though, to see a classic Ferrari in a color other than red? This French racing blue 250 GT LWB on offer from Symbolic Motors looks fantastic with it’s tri-color French racing stripes. The long wheel base cars don’t seem to get as much respect as the ridiculously popular 250 SWB, the 250 GT California, and the later GTO; but the extra 8 inches hardly seems worth quibbling about when a car looks as absolutely fantastic as this.
Like all 250s, the Tour de France draws power from the Colombo designed 3-liter V12. Although restricting engine size in the wake of the tragedy at the ’55 Le Mans was a bit unpopular at the time, the engine is still impressive, drawing 240 hp in the early Tour de France configuration. This, coupled with the very lightweight body, allowed to 250 Ferraris to be strong GT competitors.
This car, chassis 508, is the 8th Tour de France of 9 bodied by Carozzeria Scaglietti using the original Pinin Farina designed body style. True to its name, gentleman racing driver Jacques Peron and his co-driver, Jacques Bertrammier, debuted #508 in the 5th annual Tour de France Auto, placing 8th. Peron continued to track the car, largely in mainland Europe, for another 2 years with fairly high levels of success. Notable races include wins at the ’56 Rallye des Forets, ’56 USA Cup at Montlhéry, ’57 Grand Prix of Paris, and what must have been an exotic rally indeed, the 1957 Rallye Allier in Algier.
After Peron returned the car to it’s lessor (who knew you could lease Ferraris in 1956?), the car was sold to Bruce Kessler in the States and dropped out of competition.
Damaged in the 1970’s the car sat dormant until a series of restorations in the 80’s and 90’s brought it to the concours quality you see today. 508 took 2nd in it’s class at the 2003 Concours at Pebble Beach and since then has been bouncing around from auction to auction.
There’s no question that the car is beautiful; and a 250GT is an impressive addition to any collection. I’d prefer the car’s interior was kept the original black in the restoration. And the current climate of 250GT sales is atmospheric, even for cars without long racing provenance (the ridiculous price brought in by the ex-James Coburn 250GT California comes to mind). I say that, of course, but if I had the funds I’d be jumping on the opportunity to put this amazing car in my garage. The car last sold for $4.5 Million; certainly a princely sum, but given recent 250 prices, I wouldn’t be terribly surprised if it breaks that price.
Here’s some footage of the ’56 Tour de France Auto. Keep your eyes peeled for #75—the number this car wore for the race.
As you may have read recently, Life Magazine has dug up thousands of images from its archives and released them as hosted content for search on Google’s image search. With such a deep bounty of vintage photography, I’ll be posting a few images at a time over the next few weeks.
Take this crop from the 1953 LeMans 24 Hours race. This was, of course, before the disastrous crash in ’55 in which Pierre Levegh careened off the course, killing more than 80 spectators. So you’ll notice the immediacy and danger that led to such tragedy—and made spectating much more interesting—in this photo of Alberto Ascari’s and Luigi Villoresi’s Ferrari 340MM Berlinetta. That little fence and hay bales wouldn’t hold in a horse, especially not this prancing one. Ascari and Villoresi DNFed that year, completing 229 laps.
Here’s a shot of the start of the race—how thrilling that classic running Le Mans start must have been to see. Missing from this shot (unless that’s it peeking out from behind Fangio’s Alfa Romeo #22) is Tony Holt and Duncan Hamilton’s #18 Jaguar C-Type that won the race that year.
And here is the sprint for the start itself. Prominent in this shot are the cars of the Briggs Cunningham team in the foreground bearing racing numbers 1, 2, and 3. Phil Walters and John Fitch took the #3 car to third place.
I’ll close with a couple of fantastic shots of the Nash Healey pits. First, just this lovely atmospheric shot of the calm before the 24 hour storm.
And here’s a shot of Nash Healey #10. Bad luck for Pierre Veyron and Yves Giraud-Cabantous that year, the car DNFed at lap 9. I don’t think Yves even got behind the wheel. But look at that tail! What a marvelous, almost whimsical extravagance; predating the long-tail Porsches by a good 15 years.
There you have it, Life Magazine’s archives of the 1953 24 Hours of LeMans. Excellent photos, and I’ve only just begun to dip my toe into the archive. Look for more in the coming weeks.