Marque1

AT LAST! A BENTLEY IN YOUR LIVING ROOM!

It is not unusual for a car manufacturer to attach the brand name to other products. Bugatti and watches, for example. So I suppose we shouldn't be surprised to find Bentley linked with furniture. What is unusual is that the luxury car maker isn't just leasing out the logo. It is going the full monte, taking the lead in everything from design to manufacturing to marketing.

I'm not quite certain why Bentley would do this but I suspect it has something to do with China. The brand is becoming a huge hit among Chinese millionaires, of whom there appears to be a dozen new ones every day. "If they love our cars, won't they also love our chairs, couches, and beds? What a nice way to increase profits and have a little fun doing it!"

I've no idea what these Bentley furnishings will cost but you can count on paying a small fortune by average person's standards, if the descriptions are any indication.

Here's an example: "Bentley Motors presents its range of luxury home and executive furniture at the Maison & Objet fair in Paris, designed and manufactured in collaboration with Luxury Living Group, one of Europe’s leading furniture makers. The collection is inspired by the renowned craftsmanship and exquisite materials that characterise the interiors of all Bentley models." The company goes on to tell us "the range has been expanded and developed by the architect Carlo Colombo with Daniele Ceccomori, Bentley’s Head of Product Design."

Got your interest? Okay, read on: "The collection is an exercise in subtlety, incorporating functional performance with comfort and luxurious, sensuous quality. It captures the style of the Bentley driver through items that mirror the impeccable quality and attention to detail of the Crewe-based marque. The colour palette is natural, featuring mocha, cognac, taupe, quartz, grey and ice, flanking variations of purple-red, burgundy, brick red or blue. The combinations exalt the use of tactile leather and sensuous textiles. Hints of male attire, pinstripe or houndstooth, are introduced into sophisticated velvets and the lightest of cashmeres, crafted with three-dimensional patterns."

Still not sold? Better log out now because you'll never resist this poetic pitch: "The Home Collection embodies Bentley’s emergence as a modern high luxury brand. It combines sophisticated materials with contemporary design and the ultimate in bespoke craftsmanship." Or this from Alberto Vignatelli, CEO and chairman of the Luxury Living Group: "We accepted with enthusiasm the challenge of interpreting in furnishings the exclusivity and charm of Bentley. In the Bentley Home collection there exists a passion for details, care of materials and a style that anticipates the trends while remaining true to the codes of elegance and tradition."

While you're calling your banker to transfer the funds I recommend the Butterfly sofa and armchair. "The deep, plush seat is encased in a shell quilted with Bentley’s iconic diamond pattern. The geometry of its side neatly reaches outward, providing a contemporary touch that reflects is cosy yet dynamic form. The sofa is in distinguished ivory leather and the armchair in pinstriped fabric, quilted in fine, grey wool."

Okay, I want them. I'm sending my order in the morning. And when my Butterfly sofa and armchair arrive I'll have them carefully set down on my Rolls-Royce carpet. The car comes later.

WHY BUICK NAMED ITS STYLISH PERFORMER "CENTURY"

You won't find a Century in your Buick showroom these days. That model name has been consigned to history, which is probably just as well since "century" is no longer a word anyone uses to connect with the dynamics of modern living. In 1957, however, in the midst of huge technological changes and many more to come, a car called Century would be full of promise.

And Buick didn't let anyone down. With its sporty lines and powerful engine the Century was both fast and beautiful. Although many cars of the 50s tended to be overstyled and overchromed, Buick's style showed considerable restraint. The cut-down door line, reminiscent of European sports cars, harmonised with the "checkmark" trim that suggested speed and nicely separated the two-tone paint. The waterfall grille was superbly framed by the front bumper. And the familiar portholes looked as though they were bent by the wind to form slender raindrops.

Even so, the '57s carried over design themes to retain continuity, although the bodies were actually longer and lower. In case prospective buyers became confused, Buick placed a badge in the center of the grille that read: "1957." When was the last time a manufacturer promoted a model with the year of manufacture proudly mounted up front?

Fortunately Buick matched its styling with a promise of performance. The 1957 Century shared a 122-inch wheelbase with the entry-level Special but under the hood was a powerful 364-cid ohv V-8 taken from the Super and Roadmaster series. It came with a 4-barrel carb and 10.0:1 compression ratio, producing 300 hp. The Dynaflow automatic transmission, formerly a bit of a slug, was improved for '57; Motor Trend magazine's test of the Century revealed a 0-60 time of 10.1 seconds. Handling was what you'd expect from a boulevard cruiser although a lower ride height and Buick's first ball-joint front suspension offered a moderate improvement over the previous model.

Buick has given us several great cars since 1957 but for my taste the Century hardtop and convertible belong at the head of the parade. Incidentally the model name first appeared in 1936 when Buick dropped its biggest straight-8 into its smallest, lightest chassis. In its second season the car could top 100 mph, a much desired number in those years. So what's in the name? Now you know.

[Photo: 57heaven.com]

 

CURVACEOUS AND QUICK, TERRAPLANE HAD A PRETTY NAME

When you're a kid, certain names take on a mystical aura, often for no logical reason. So it was for me whenever I heard or saw the Terraplane. I was too young to know whether it was a decent car but, being made by Hudson, it had to be good. And I was at an impressionable age.

The Terraplane actually began life in 1932 as an Essex-Terraplane, Essex being an existing Hudson brand. With industry sales in a downward spiral due to the depression the Essex-Terraplane was Hudson's answer to its immediate need for an economy car. Competitors like Chevrolet, Ford and Plymouth had similar plans but the Terraplane was a different breed. It added performance to the recipe, reducing the weight of its 2-door coach by 485 pounds. In 1932 and 1933 stock Terraplanes set 72 hillclimb and speed records, including Pikes Peak. At Daytona Beach a Terraplane hit 85 mph and accelerated from 0-60 in under 15 seconds.

By 1934, the Essex brand name was eliminated and Hudson's running mate became simply known as "Terraplane." Styling was all-new, streamlined, with a strong art deco influence. The broad grille featured thin converging bars, there were seven tapered hood louvers, fenders flowed gracefully to the rear. It was a well-equipped car, too, with chrome windshield and window frames and chrome headlamps. Other significant features included front and rear ashtrays, a robe rail and footrest rail, full walnut-finish dash. The KU series added twin chrome horns, twin tail lamps, fender lamps, and dual windshield wipers.

The rear window drops, so the driver can communicate with those in the rumble seat. The windshield pops open for ventilation. Both wind wings and side windows retract into the door. Inside, it features genuine leather upholstery and an elegant woodgrained dash. The optional straight-six in the KU produces 89.5 hp in concert with a 3-speed manual transmission.

All of which makes this 1934 Hudson Terraplane KU Super Six coupe, which I discovered on Hemmings.com, a very desirable purchase, especially at the vendor's asking price of $38,500. Owned by an AACA chapter president, it has just had a total body-off-frame restoration with no expense spared. (One worthwhile upgrade: Because the 1934 Terraplane only came with mechanical brakes it has been fitted with hydraulic brakes to accommodate modern traffic.) For additional information click here, or phone Dave Henry at Spoke Motors. Santa Ynez, California 93460: 805 705-4924.

MUSTANG CONCEPT CAPTURES A MOMENT IN TIME. MY TIME

What I like about this new model from Automodello is that I can say "I was there!" When the 1962 Ford Mustang I concept was unveiled to the media at the Watkins Glen race track I was among the lucky onlookers. Like the rest of my colleagues I immediately fell in love with what we thought would be North America's first affordable mid-engine sports car.

History shows that we were wrong. The company was merely experimenting with ideas, including this one, powered by a Ford of Europe Taunus V-4 engine. But it was an exciting event, especially when the great road racer Dan Gurney demonstrated Ford's Mustang concept on track at speed. The Mustang II concept, a front engine/rear drive 4-seater, would be much closer to what the public, not we automobile journalists, really wanted.

Nevertheless this Mustang was a stunning looker, way ahead of its time, and if Ford had decided to make a production version several famous European sports cars would suddenly have seemed old-fashioned.

It's not every day that a legendary concept car becomes available as a model and Automodello goes one better by offering it in several variations, including a stunning 1:24 scale example signed by Dan Gurney. The lower-priced model shown above is a compact 1:43 in size. Accurately detailed and sure to become a collector's item in later years, it sells for $119.95. For more information or to order directly, just click here.

FINALLY, A CALENDAR WORTHY OF A DESIGNER WALL

I have a hang-up about calenders. It involves hanging them on walls. Most calendars are not exactly works of art and when I pin one on the wall it makes the wall look ugly. That's important to me because, although my abode is quite modest, every inch forms part of an overall design. Clean and contemporary. So when I receive up to a half-dozen annual calenders from well-meaning associates they get filed in a drawer, eventually to be tossed when my conscience allows.

Okay, maybe I'm being obsessive with this but for some of us design matters. And that's why I'm willing to make an exception for the 2014 Kenzie Car Calendar. Not only is this calendar attractive enough for a place on my walls; it exists for a good cause. Jim Kenzie donates half the net proceeds to SMARTRISK, a national charitable organization designed to educate young people about how to successfully deal with the risks which are an integral part of growing up.

I should explain that Jim Kenzie is a long-time friend, one of Canada's best-known automobile journalists, always busy in print, on television and on the Internet. He is privileged to regularly test drive exotic cars, a dozen of which are featured in the calendar. All the photographs were taken by Jim using a Canon SX10 IS or Panasonic DMC-FZ150 digital camera with no artificial light or filters, apart from a polarizing filter. None of the images have been digitally enhanced or modified in any way, apart from cropping to fit the frames.

I like Jim's photographs for their honesty and artistic values. The cars are shot in situ, against backgrounds that contrast the gentleness of natural beauty with the latent power of the subject. And that's why the 2014 Kenzie Car Calendar has the distinction of qualifying for a place on my designer walls.

It deserves to be on your wall, too. At just $14.95 (plus tax, if applicable) it is also a bargain, especially considering that when you order one half the money goes to SMARTRISK. To learn more or order your calendar, migrate over to Jim Kenzie's site by clicking here. A great start to a Happy New Year.

RAYMOND LOEWY AT 100: MASTER OF INDUSTRIAL DESIGN

This month marked what would have been the 100th birthday of one of the great industrial designers, Raymond Loewy. Born and trained as an engineer in France, when he moved to America in his early twenties Loewy brought a European sophistication to his new career as a fashion illustrator and display designer. Manufacturers were turning to artists in those fields to revamp their products and from this grew the industrial design profession.

Expanding his activities to include mass-produced goods, Raymond Loewy subsequently designed everything from lipsticks to locomotives to automobiles. He said that his inspiration was the female form.

The Pennsylvania Railroad GG1 electric locomotive and the Sunbeam 90 sports car, both designed by Raymond Loewy, loom large in the memory of Warren Webb, a classic car enthusiast who wrote in Linkedin, "...as a kid I lived a block from one of the main lines of the Pennsylvania RR and loved the look and sound of a GG1 going by. Fast forward a few years and my second car was a 1954 Sunbeam Alpine. That car was so cool with its factory louvered hood and body, modified from the 4-door Sunbeam Talbot 90..."

Built for use in the northeastern United States, the all-electric GG1's specifications demanded a frame of two halves joined with a ball and socket joint, allowing the lengthy machine to negotiate sharper curves. In order that the locomotive could be operated in either direction control cabs were placed near the center. Twelve 385-horsepower traction motors drove the GG1's 57-inch diameter driving wheels on six axles. The railroad insisted that it be streamlined in shape and capable of at least 100 miles per hour.

Initial styling of the prototype body was attributed to Westinghouse designer Donald Roscoe Dohner but his proposal must have lacked the style the PRR was seeking, for it then hired Raymond Loewy to "enhance the GG1's aesthetics". Loewy recommended the use of a smooth, welded body instead of a riveted one as used in the prototype. He also added five gold pinstripes and a Brunswick green paint scheme.

On January 28, 1935, to mark the completion of the electric line from Washington, D.C to New York City, PRR ran a special train prior to opening the line for revenue service. It made a round trip from Washington to Philadelphia, and on the return trip set a speed record by arriving back an hour and fifty minutes after departing from Philadelphia. A GG1 was featured on a postage stamp as part of the United States Postal Service's All Aboard! 20th Century American Trains set in 1999.

Almost 20 years would go by before Raymond Loewy was called on to design a convertible version of the attractive Sunbeam Talbot 90 sedan. Not quite a pure sports car, the Talbot 90 Convertible, also known as the "Alpine," was more of a grand tourer although that didn't diminish its appeal. In my view it is one of the prettiest cars of its era, spoiled only by the use of steering-column gearshift, albeit with four forward speeds. It gained fame as Grace Kelly's car when she tried seducing Cary Grant in the wonderful Hitchcock movie To Catch a Thief.

The "Talbot Alpine" should not be confused with the much more common Sunbeam Alpine Series I to V, launched in 1959. The Talbot version is a two-seater sports roadster initially developed by Sunbeam-Talbot dealer George Hartwell in Bournemouth as a one-off rally car. It has a 4-cylinder, 2267 cc engine taken from the Talbot 90 sedan but with a higher compression cylinder head. Gear ratios were changed for better performance and overdrive added. The bodies were constructed by coachbuilders Thrupp & Maberly. Unfortunately this Alpine remained in production for only two years, from 1953 through 1955.

Although it was never regarded as a competition car, in the 1953 Alpine Rally four Sunbeam Alpines won the Coupe des Alpes. The 6th place finisher was driven by Stirling Moss; Sheila van Damm won the Coupe Des Dames in the same rally.

Raymond Loewy was far better known for his work as a post-war consulting designer for Studebaker, in particular the Starliner coupe, in my opinion a contender for the most beautiful mass production car ever made. His last Studebaker assignment, the Avanti, is much admired at concours and other events. Unfortunately it wasn't enough to save the company.

It's fun to imagine what Raymond Loewy might say about today's designs if he were alive at 100. I'm sure he'd approve of the newest high-speed trains in Europe and Japan but I doubt he'd care for the gaping front ends of our current automobiles. They'd offend his sense of elegance.

[Photos: GG1 - National Railroad Museum in Green Bay; Sunbeam Alpine - conceptcarz.com]

THE ART OF ITALIAN SPEED: 2013 MARQUE1 AWARD WINNER

The scene you're gazing at is a fantasy. It never happened. But it could, if someone were to bring that sleek-looking aircraft out of the Italian Air Force Museum where it resides, near Rome, and set it down in Venice.

The 1933 Macchi Castoldi MC 72 still holds the world record for seaplanes, having been built to compete in the final Schneider Trophy race, an annual event matching the world's fastest. Unfortunately engine problems prevented the Italian aircraft from competing but with national pride at stake an attempt was made to achieve a record-breaking speed. It certainly had the power: the M.C. 72 used double contra-rotating propellers driven by a supercharged FIAT AS-6 engine V-24 engine generating between 1,900-2,300 kW (2,500-3,100 hp).

On 23 October 1934 Francesco Agello piloted the M.C. 72 for an average speed of 709 km/h (440 mph). The record has never been broken and it was five years before a wheeled aircraft, even without the drag caused by the pontoons, could fly faster.

It might be easier to obtain the Alfa Romeo Disco Volante (flying saucer) for this fantasy setting. First built as a concept, it went into production in 1952, based on Alfa Romeo 1900 mechanicals in a tubular space frame, with bodies from Touring. The modified engine produced 158 hp and with the aid of wind tunnel aerodynamics, gave a top speed of 140 mph. One open cockpit and two different coupé styles were made. They were not particularly successful in racing but one did win the Gran Premio Supercortemaggiore. The unique 3.5-liter car seen above is preserved in the Museo Nazionale dell'Automobile in Turin.

I have two reasons for featuring this work of art. First, because I think it is absolutely stunning and therefore gets the unofficial Marque1 award for the most beautiful automotive painting of 2013. Second, because Federico Bozzano's work has inspired a Fantasy Gallery at CarArt.us which includes "dreamworks" by more than a dozen renowned artists.

The gallery describes Bozzano as a "visual effects maestro who brings fantasy worlds to life on the big screen. If you enjoyed Avatar, then you have already appreciated the vivid imagination of our new artist." If you fancy having a print on your living room wall there are two opportunities: Choose from a 39" x 59" giclée on paper for $450.00 (60 available), or a 28" x 39" giclée on paper for $320.00 (100 available). To order just go to the CarArt.us online site. Oh... and if you happen to be heading to Italy, you might consider a trip to those museums.

CONCOURS, WITHOUT THE ELEGANCE

Do not gaze upon this page if you are susceptible to flashing bright lights. The two automobiles shown here may be threatening to healthy eyes. They may also be an assault on good taste, though I don't wish to offend the gentlemen who own them as they've obviously put a great deal of time, love, and effort into creating their cars.

The vehicle at the top of the page is called the Aero Special. It was built entirely at home by a former airframe specialist, which explains the name and the extensive use of aluminum and other aircraft components. The body is aluminum sheet over a much-modified steel tube frame. The instruments are a mix of Jaguar and WD aircraft parts. It was made entirely with the use of basic home tools, with the owner doing 90% of the work. Power is supplied by a Jaguar 4.2 litre DOHC six tied to a Jaguar 4-speed box with overdrive.

The owner proudly reminds us that it was done "in the English specialty building tradition, favouring ingenuity over wads of cash." That explains the use of Jaguar running gear along with his intent that the style imagines a 30s Bentley or Lagonda. Performance, he says, is similar to a Jaguar XK150. It took four years to get it on the road and "is not finished yet."

I can only congratulate this gentleman (sorry, didn't get his name) for his skill and determination in building an entirely original automobile. As for the aesthetics, well, you can judge for yourself. Just be careful how you gaze upon it, for that shiny aluminum finish is brighter than a Boeing 737 just off the line in Seattle.

The Aero Special debuted at the 2013 collector car show in Sidney, BC. Appearing at the same show was this 1920 Detroit. Restraint is definitely not part of owner Ken Newcombe's creative instincts, for it appears that every available accessory was attached along with a lavish amount of gold trim and a two-tone paint job that couldn't be missed in the depths of a coastal fog.

Mr. Newcombe also has an affection for badges from auto clubs and other groups, judging by the impressive number decorating the front of the car.

I cannot vouch for its authenticity, though I don't doubt that it must be a 1920 Detroit, as the owner says. Trouble is, I can't find anything in my Encyclopaedia of American Cars that resembles this one. There were several makes that claimed the Detroit name but the only car surviving in 1920 was battery powered and it was called the Detroit Electric.

While Mr. Newcombe's Detroit does not resemble any vintage electric that I've ever seen, the Encyclopaedia does tell us that in 1920 the old-fashioned look was modified by the introduction of false fronts which made the Detroit appear more like a conventional car. So maybe behind all that glitz and glitter there really is a battery-powered electric. I wonder if it lights up when he hits the starter?

CLASSIC CAR MAG PICKS VOLVO COUPE AS FUTURE COLLECTIBLE

Note: This is the 600th Marque1 blog since the site's inception. Something to celebrate.

Feel free to call me naive. At least when it comes to cars. I have this habit of letting emotions govern common sense and thus becoming infatuated with automobiles that, if I really thought about it, either weren't very good or had no logical reason to exist. The Volvo 262C and later 780 coupes fall into the latter category.

Motor Trend Classic magazine is featuring an article about the 780 which immediately caught my eye. And left me wondering why I fell for these cars in the first place. Okay, I remember why. I'd always liked Volvos (used to race one, owned three at different times) and admired that strong four-cylinder B20 engine. So when Volvo hired Bertone to chop the roof on a 262 sedan, gave it a six-cylinder engine to replace the four, and added some luxury touches such as a leather interior, I was hooked. Not many buyers agreed with me.

In 1987 Volvo decided to try again, but with a difference. Instead of just lowering the roof it asked the Italians to create an entirely distinctive coupe body. Motor Trend Classic has named this one as a future collectible and they may be right, but first a look at what Volvo added to make the 780 Coupe a luxury performer.

Power still came from the familiar 90-degree Peugeot/Renault/Volvo V-6 co-op engine. Motor Trend Classic reminds us that the car "arrived in U.S. dealer showrooms for 1987, boasting every creature comfort that could be crammed into its glove-leather and beechwood-lined custom interior." It got fatter wheels and tires for better handling. In 1989 a more powerful 2.2 liter turbo was added to the line. The sheetmetal, grille, and head- and taillamps were all unique. The sticker price was $34,785 -- more than $7500 above the most expensive Volvo sedan. That's about $70,635 in today’s money.

The 780 coupe was more successful than its predecessor but not by much. I suspect that it was too expensive for people's perceptions of Volvo, still regarded as a boxy "safety car." Perhaps the rather conservative design let it down, too, even with the Bertone name attached (one wonders if most of the design wasn't done in-house, with Bertone adding a few detail improvements plus the prestige of its name). The 780 appeared during a design era dominated by straight lines and angles, one that I disliked intensely. Give me curves or at least round off the edges.

That unloved 262C, though a bit awkward with its glass area reduced by the lowered roofline, at least had some personality, something the 780 lacks with its computer-drawn edges. Unfortunately it also had a grille that looked like it was borrowed from an old diesel locomotive.

Regardless of my emotional reaction, Motor Trend Classic is probably correct in labeling the 780 coupe a future collectible. It may even be that now is the time to buy, for these cars are relatively inexpensive. I suggest reading the magazine article first because it also outlines problem areas that the buyer should look for.

 

CORVETTE DESIGNER'S PERSONAL CAR UP FOR AUCTION

Harley Earl is truly a legend in automobile design, the man GM hired to create its first "art and color" department. He had a hand in many great projects including the 1927 LaSalle redesign, the Buick Y-Job and LeSabre styling cars, the ground-breaking Motorama dream cars, the iconic big fins of the 1950s, wrap-around windshields, pillarless hardtops and two tone paint. But some say he was best known as the "father" of the original Chevrolet Corvette. It follows, then, that Earl's personal Corvette would be a very special car. So unique that it is headlining Mecum's Chicago auction this month.

This 1963 Corvette was a GM styling project, intended for display at the Chicago Auto Show but replaced by another car before it went on stage. It began life as a fuel-injection-equipped four-speed convertible that may first have found service as a pool car or test mule but then was given as a gift to Earl, sent straight from GM styling to the driveway of his Palm Beach, Florida, home. Earl used the car as a personal driver for two years in addition to running it as the parade car at the 1965 Daytona 500 where he served as Grand Marshall.

Originally red in colour, it is fitted with several 1965-vintage components plus a number of items that were never Corvette production pieces, such as the unusual side-exit exhaust that sprouts from behind the front wheel wells. The interior was also modified with custom leather and metal accents and a unique gauge and dash treatment. It is expected to draw considerable interest and may even set a new record price for a Corvette sold at auction. Earlier this month, a 1967 L88 Corvette went for a record $3.4 million, also at a Mecum auction. For more on this one-of-a-kind Corvette, just click here.

[Photo: Mecum Auctions]