This past weekend was the CSRG Charity Challenge race and was by all accounts a resounding success. With near record participation and incredible all-time record attendance by spectators, the event increased their charitable donation to Sonoma Chapter of the Speedway Childrens Charities by more than 40% over last year. Congratulations, CSRG!
Unfortunately, the weekend’s successes coincided with the passing of founding CSRG member David Love. His 1957 Ferrari Testa Rossa has been a mainstay of west coast events for decades. The Charity Challenge was no exception. David always believed that the race weekends were about the cars, with the drivers taking a back seat. In a way, it’s beautiful that the car was there. There’s something haunting, though, about this image of the car paddocked for the weekend. It’s as though the car is serving as her own eulogy.
It really says something about David’s commitment to vintage racing that arrangements were made for the car to be a part of the event even though he could not. David’s remarkable spirit that he brought to vintage racing carries on. More photos from the event below. I’m glad that CSRG’s communications of the event remain celebratory for the fantastic race weekend.
You don’t see Stanguellini Formula Juniors pop up on eBay very often. This 1959 example looks lovely. The car was restored in 2004 and has only had a handful of races in the time since.
My usual sources aren’t turning up specific race history for this chassis number but given the solid history of Stanguellini in FJr, there’s a strong chance that there’s some fun stories back there. While this example is unlikely to have any laps turned by well-known Stanguellini racers like Bandini or Von Tripps; with only a touch over a hundred of them made I suppose it’s possible. At least that’s what I would tell myself while I sat in this one in my garage, goggles strapped on and mouthing high revving Fiat 1100 noises.
There’s 6 Days left and reserve not met at $75K. More info on the lot detail page. As always, if it’s little and Italian, Cliff has details for you.
The Best Small Sports Racing Car produced today—irrespective of price. This is it—the Mk. VI Elva. If you don’t agree, I would be interested to know your reasons by phone (Hastings 51371) or letter—Frank Nichols Elva Cars (1961) Ltd., Hastings, Sussex
I love the bluster of this ad copy, as if Frank is challenging me to a fight if I don’t love the Mk. VI. Easy, Frank. I do.
New Yorkers like to think of themselves as having seen it all. I can’t help but imagine though that this Ford GT40 driving down First Ave in 1967 turned more than a few heads.
Let’s see how shrewd we can be with our trades. Pull out your shoebox of Topps World on Wheels cards and let’s get down to business.
From the card’s reverse:
“The Healey is an extremely light, very rugged car… build for competition. It is designed to stand racing abuse, and provide with moderate power a performance that cannot be equalled in its class. In seven seconds, this car can reach fifty miles per hour from a standing start!”
That zero-to-fifty time might not sound impressive today, but I guarantee you look better doing it in this Healey Silverstone than you would in any of the contemporary production sports cars that can achieve 60 in half this time.
Illustrator Martin Squires’ sketches from the car, motorcycle, and vintage machinery shows he attends are absolutely delightful. I’ve tried many times to capture this kind of quick gestural linework and trust me when I say it isn’t easy. You might think that this quick sketch aesthetic isn’t as challenging as pouring over an illustration table for hours or days but I’d suggest that it’s even more difficult to do well.
Just try nailing the proper contours of a Cooper 500’s bodywork in one quick, confident swash of an ink pen; or conveying the correct proportions of the wheels to the exposed engine to the suspension bits of a hillclimbing special (particular one that you may just be seeing for the first time). These things are not easy. I’d rather have some time to pencil it in, adjust, erase, re-draw, adjust, erase. I’m continually impressed by this kind of rapid freehand work.
Check out Martin’s site for more. Prints and sketch books are available at his shop.
There aren’t a lot of people that own just one Porsche book. Just like there aren’t a lot of people that own only one Ferrari book.
That’s the thing about automotive books in general. People who buy them tend to buy a lot of them. And don’t think for a minute that publishers don’t capitalize on our habit every chance they get. The problem with a lot of books, particularly books that focus on a single make, is that they start to get repetitive in a hurry. Nowhere is this more evident than at the photo editor’s desk. We tend to start seeing the same iconic images again and again.
You are not going to have that problem with SportErfolge.
Tony Adriaensens’ work with his Corsa Research imprint has, in my opinion, brought a sense of discovery back to the world of sports and racing book publishing. His commitment to sourcing amateur and largely previously unpublished photography is remarkable. It gives a fresh new perspective on not just eras of motorsport, but individual races that we’ve read about for years and thought we knew. This moment from early in the book captures that sentiment well and also gives some insight into both the process of producing SportErfolge and the philosophical approach of the author:
“My decision to make this book came about when I found the Kodachrome slide opposite, out of the late Bob Lytle’s collection from Phoenix, AZ. Bob drove his Jaguar XK120 from California all the way up to the Tuxtla Gutierrez on the Mexican border with Guatemala to see the start of the Carrera in 1953 and 1954. In ’53 however, when returning to his hotel room after dinner, he found all his equipment stolen; cameras, films .. all gone. He only had one single roll of exposed Kodachrome film left in his pocket. This was the last film he had shot and he had captured José Herrarte’s class winning Porsche after the finish of the Carrera.”
Tony Adriaensens
That quote does a few things that I think are central to why SportErfolge is so successful as a work of early Porsche racing storytelling. It gives us some perspective on why this topic begged to be covered—after all, let’s be honest; there’s no shortage of Porsche books out there. More importantly though, it highlights in a very real way how precious these photographs and the stories that they tell truly are. In this case, Bob’s photograph is a rare survivor when he lost the bulk of his captures of the event. How many other photos from this era are metaphorically stolen as they languish away forgotten in closets or attics—slowly deteriorating in their albums? Are they not just as lost? This is why I so admire Tony’s efforts to source amateur photography for his work. It is the same motivation that has prompted me to find these kinds of forgotten amateur archives for this site. It is so much more arduous a task than phoning up the major photo houses and having them send over the usuals. It’s a task that pays off again and again in SportErfolge.
Corsa Research calls SportErfolge a “photo essay” and I think the description is apt. The captions that accompany each photograph (the vast bulk of which are presented in full-page glory) are as vital as the book’s main narrative in telling the story of Porsche’s racing efforts starting with the 1951 Coupe du Salon at Montlhéry through the effort at the 1963 Le Mans 24 Hours Race.
SportErfolge also excells at highlighting some of the races you haven’t read much about. It would be easy to just rely on major international events and championships to tell the story of Porsche’s racing heritage. It’s the lesser known events like Switzerland’s National Slalom of May, 1956 or the Flying Kilometer of Antwerp in July, 1959 that are just as pivotal to Porsche’s early racing heritage as the Mille Miglia. These amateur events, presented alongside the biggies in chronological order, do a great deal to show how Porsche entered, astonished onlookers, and established itself as central to global sports car racing. I also appreciate that this puts the privateer and gentleman entries right up there with the factory efforts in the story of Porsche’s rise to the international stage. That’s not to say that iconic Porsche-centric events like the Carrera Panamerica and Targa Florio are neglected—they are decidedly not. It is refreshing, though, to see these much-storied and gloried races (and drivers) have to give up a little spotlight to regional events like the Santa Barbara Road Races and Grand Prix of Léopoldville, Congo.
Reproduced graphic details increase the charm and evoke the era.
In addition to the photography, the inclusion of small graphic details like the specific race logos that adorn the slipcover or the inset Liège-Rome-Liège rally stamps are a welcome glimpse into the visual ephemera of the era. This does not give the book a scrapbook aesthetic, but are presented as a tasteful graphic that enhances the typography and overall design. That level of detail makes me believe that Tony’s choice of photos to bookend the piece is deliberate. Within the foreward for the book and among the first photos in the volume is a 3/4 rear shot of Carrera Abarth #1010 in the pits at LeMans in 1962. The very last photo of the book is a shot of Carrera Abarth #1009 at the 1000 km of Paris. Taken under different circumstances at virtually the same angle. Whether the author intended to let this juxtaposition reflect Porsche’s stability and permanence in sports car racing, or whether he just likes the Abarth’s rear (who doesn’t?); I don’t know. But it’s little touches like this that make SportErfolge such a joy to repeatedly dig into and find new details to absorb.
Tony’s books ain’t cheap, but I think they’re worth much more than their cover price. More information at Corsa Research. SportErfolge is an absolutely beautiful, well researched, masterfully photo-edited book.
