Arguably it transformed the way other collectors think about cars being “just cars”. Mercedes made two of these coupés for a race that never happened, and after press testing and high speed VIP rides chauffeured by race team boss Rudolf Uhlenhaut (that’s him in pic 7) they lived a sheltered life in the factory museum with rare appearances at historic events: ‘Red’ (nicknamed for its upholstery, as opposed to ‘Blue’) had covered just over 5,000km when it was sold.
Always intrigued with design and making a space into their own, they saw the potential through their designer Joel Contreras who at the time was one of the few people redesigning historic homes in Arizona. Ralph Haver was known for his use of affordable and practical building materials, such as concrete block and plywood, which allowed him to create affordable postwar homes. Malcolm and Lea are a part of a small tract of Ralph Haver homes with only 30 homes in their neighborhood.
Throughout the past several years, they have seen a new generation of buyers coming into the neighborhood and lovingly caring/restoring/ remodeling the homes. Ralph Haver homes are reminiscent of the Cliff May homes in Southern California, similar construction, design elements and die hard homeowners that are uplifting the legacy of these architects.
If you’re planning to hit The Ice St Moritz this weekend, prepare to be amazed at the sight of this unique Lincoln Indianapolis that’s likely to ‘out-jet’ anything that even the famous jet-set resort has to offer.
The American sports car racing scene of the 1950s was a time like no other, when fiercely independent, deep-pocketed men could acquire ex-factory racecars and campaign them with some of history’s most legendary drivers. Admirably pure in its essence, this was a golden era of racing that fielded some of the decade’s most beautifully sculpted and ferociously specified competition machines.
One of the most significant purpose-built Ferrari “big block” sports-racing prototypes from the 1950s, this 1955 Ferrari 410 Sport Spider by Scaglietti is one of just two factory-campaigned 410 Sports equipped with a 24-spark plug 4.9-liter V-12 and is one of a select few Ferrari models with coachwork both designed and built by Sergio Scaglietti.
0598 CM was the Scuderia Ferrari team car driven by Juan Manuel Fangio at the 1956 1000 KM Buenos Aires and later piloted by Carroll Shelby during his landmark 1956 and 1957 seasons when driving for the renowned Southern California-based team principal John Edgar. Shelby won more races as a driver in 0598 CM than any other car in his racing career, with eight wins and ten podium finishes.
There seemed to be no race it could not win as Shelby told a Los Angeles Times reporter, “Nothing can touch this Ferrari if it runs” and decades later he added, “It was the best Ferrari I ever drove.” Also raced in-period by legendary drivers Phil Hill, Eugenio Castellotti, Masten Gregory, Richie Ginther, Joakim Bonnier, Bruce Kessler, Jim Rathmann, and Chuck Daigh, 0598 CM is, without exaggeration, one of the most important and colorful Ferraris to compete in racing during the 1950s. It is among the most successful of all even-numbered sports-racing Ferraris, entering nearly 40 races in-period with 11 victories and 19 total podium finishes from 1956-1958.
As it remains a highly original example retaining the matching-numbers engine, chassis, and body, and fitted with the original fuel tank inscribed by Shelby, “Mr. Ferrari told me that this was the best Ferrari he ever built,” this example offers an unparalleled opportunity to acquire a purpose-built, even chassis-numbered racing sports car of unequaled provenance. Faithfully presented in its period livery and desirably maintained, including the recent engine rebuild by a team of Ferrari experts, this 410 Sport can expect an enthusiastic welcome at the most exclusive vintage racing and exhibition events worldwide and will go to its new owners with the first (1956) and last (1958) trophies won by Shelby driving 0598 CM, along with the original 1957 Nassau racing license plate.
Like the famed men who rode it to such success in-period, the illustrious John Edgar and the inimitable Carroll Shelby, this Scaglietti-built spider is a powerful and nuanced character that cannot be repeated—and will never be forgotten.
The 1955 Chevrolet (sometimes referred to as ‘55 Chevy) is an automobile which was introduced by Chevrolet in Autumn 1954 for the 1955 model year. It is considered a huge turning point for the manufacturer and a major success. It was available in three models: the 150, 210, and Bel Air.
The ’55’s top trim offering was the Bel-Air, which had more chrome than the 150 or 210. The Bel-Air, 210 and 150 model could be bought as a four-door, or could be bought as a two door with a post between the front and rear passenger windows, known as the two-door sedan.
The Bel-Air or 210 model could also be had as a two door with no post between the side windows. This was known as the sport coupe, or better known by collectors as “the two door hardtop”. Since this model had no post between the two side windows, it had a shorter roof and longer rear deck than the two door sedan had. Chevy also offered a convertible, with the same shorter roof and longer rear deck as the sport coupe, and it was offered in Bel-Air trim only.
1955 also saw the introduction of the Bel Air Nomad, a sporty two-door station wagon which featured frameless door glass and elongated side windows. The unique roof design of the Nomad came directly from the 1954 Corvette Nomad, a “dream car” designed to be shown at auto shows as a concept sport wagon. Although regarded as one of the most beautiful station wagon designs of Fifties, the Nomad sold poorly, partly due to its price tag (one of the most expensive models in the Bel Air lineup) as well as its lack of four doors. Also the Nomad’s two-piece tailgate design was prone to let excess rainwater leak through to the interior.
The ’55 offered a wide array of colors. One solid color, which was standard for the 150, could be had for the 210 or Bel Air…or nineteen different two-tone color combinations were also available.
Christophe Schmidt, co-founder of A & S, and Anders Warming, Automotive designer, discuss the 1955 Porsche 550 Spyder, chassis 550-0050.
The 550 Spyder put Porsche firmly on the map as a serious competitor on the world’s racing tracks; indeed, the diminutive mid-engined roadster generated the nickname ‘Giant Killer’ for its ability to defeat much more powerful rivals. Introduced at the 1953 Paris Auto Show, the 550 and its second iteration, the 550A, remained in production through February of 1959, and a total of 130 chassis were constructed before the 718 RSK Spyders appeared. A large proportion of 550 production was destined for the United States.
Built on a frame of seamless mild steel tubing, the 550 utilised a front suspension of double trailing arms and transverse-leaf torsion bars. After the first few examples, the rear suspension was redesigned from leading control arms to trailing arms with swing axles and tubular transverse torsion bars. Porsche’s engineers had planned an all-new engine to power the Spyder at the gruelling Carrera Panamericana, but early testing determined that Dr Ernst Fuhrmann’s Type 547 advanced 1.5-litre air-cooled four- cylinder Boxer engine was not quite ready. Thus, the first few chassis were fitted with conventional pushrod Porsche engines. Soon, however, reliability was ensured and the new ‘Four-Cam’ would be installed in all the 550s, 550As, RSKs, 356 Carreras, and 904s that were to follow.
Perhaps the most incredible thing that could be said about the B.A.T. series is that the fantastical design is actually functional, with all three examples exhibiting drag coefficient figures that would still land them in the top ten most aerodynamic cars on sale today. Their extreme forms are, in fact, functional.
Predictably, the B.A.T. concepts made a huge splash on the international motor show circuit, leading to Scaglione’s two greatest hits in terms of production figures – the NSU Sport Prinz and Alfa Romeo Giulietta Sprint. Unfortunately, the B.A.T. concepts would also mark an inflection point for Bertone and Scaglione’s working relationship.
Scaglione’s daughter Giovanna describes it, “Bertone was a little bothered when it happened that in a magazine article they wrote about Franco Scaglione and not Bertone… For example, in an article speaking of one of his works [Scaglione’s] name was mentioned three times and the name of Bertone was mentioned only once…” Though Giovanna does not attribute her father’s sudden departure from the firm to this incident alone, it was clear that Scaglione wanted to strike out on his own, so that year, he handed over the title of chief stylist to Giorgetto Giugiaro and left Bertone for good.
Gooding & Company proudly presents this beautiful 1955 Aston Martin DB3S. This car, chassis 102, is one of three Almond Green customer cars ordered for the the Australian racing team, the Kangaroo Stable.
As their lead car, 102 was campaigned throughout Europe, England, and New Zealand during 1955 and 1956, with the most notable result being a 2nd Overall finish at the 12 Hours of Hyères.
Today, this DB3S stands as a wonderful reminder of the glory days of international sports car racing – a halcyon period when eager amateurs could find themselves locked in battle with the works racing teams on the world’s great circuits.
The Newport Jazz Festival was just one year old when the Clifford Brown/Max Roach Quintet blazed onto its stage in 1955. By 1960, when pianists Dave Brubeck and Horace Silver each played a rollicking set, the event was an institution, known all over the world. And so it remains today — though there’s something to be said about the fest in that formative era, when every step forward was historic.
For all of us at Jazz Night in America, the Newport Jazz Festival is both hallowed ground and a cherished hang. Our host, Christian McBride, is the festival’s artistic director. (Call that a disclosure, if you like; we think of it as a heavy asset.) So this summer, in the absence of a physical gathering, we’ve set out to lovingly recreate the festival experience, Jazz Night-style.
Our three-part series begins with The Golden Age — a jump back to the mid-to-late ’50s, featuring McBride’s selection of rare and unreleased Newport recordings by Brown and Roach, Brubeck and Silver, along with a killer festival house band. (Will there also be a taste of Muddy Waters? You’ll have to listen to know for sure.)
Musicians
Newport House Band: Joe Zawinul, piano; Howard McGhee, trumpet; Clark Terry, trumpet; Zoot Sims, tenor saxophone; Wendell Marshall, bass; Roy Haynes, drums.
Clifford Brown/Max Roach Quintet: Clifford Brown, trumpet; Max Roach, drums; Harold Land, tenor sax; Richie Powell, piano; George Morrow, bass.
Dave Brubeck Quartet: Dave Brubeck, piano; Paul Desmond, alto saxophone; Eugene Wright, bass; Joe Morello, drums.
Horace Silver Quintet: Horace Silver, piano; Blue Mitchell, trumpet; Junior Cook, tenor saxophone; Gene Taylor, bass; Roy Brooks, drums.
Set List
Boomers Daily 