Concours come in all shapes and sizes, at the top end there is one sure fire method of judging the event, what are the Ferraris like? Some may disagree with my approach but I find the higher the level of Maranello’s finest, generally the better the show. So how did Salon Privé rate last September?
The answer is simple, first rate. I had missed the event for a couple of years, but I was truly impressed with the organisers’ achievement in maintaining such a high standard of exhibits on the lawns.
A good example of the rarefied level is this exquisite 250 GT Ellena dating back to ’58. Originally a Pinin Farina design, Mario-Felice Boano took over building the cars while Farina had a new factory constructed. He subsequently headed off to Fiat, and handed responsibility for upgrading the 250 GT to his son-in-law, Ezio Ellena. Some of the Corrozzeria Ellena examples had a raised roof line, all had bigger brakes and a steering system from ZF. This elegant coupé is a ‘matching numbers’ example as it was reunited with the original engine in 2013.
A complete contrast is this F40 LM, developed from the road car by Michelotto with Maranello’s blessing. The car was raced in North America by an all-star line up of drivers for its five IMSA GT races. Ecurie Pozzi employed no less a bunch of aces than Jean-Louis Schlesser, Jean-Pierre Jabouille, Olivier Grouillard, Jacques Lafitte, Hurley Haywood and Michel Ferté in its ’90 campaign. A few years down the line and the F40 LM was developed into the fearsome GTE versions that spiced up the BPR and provided the F1 GTR with proper opposition.
The palatial backdrop for this 250 GT Europa Vignale Coupé is most appropriate. Originally ordered by the Belgian Princess Liliane de Rethy, second wife of King Leopold III, a passionate Ferrari enthusiast. It was the final Ferrari chassis to be given a body by Vignale and is very distinct from the Pinin Farina examples of this model. There is an unusual inclined opening in the dash board, something of a mystery. However, by a stroke of luck a bottle of Veuve Clicquot can be accommodated, though how it is to be kept chilled is not clear.
A rare gem from the mid-60s is this 500 Superfast, one of just 36 examples built. The list of owners of these fabulous machines could have come straight from the gossip columns of William Hickey or Nigel Dempster: the Aga Khan, Peter Sellers, Gunther Sachs and the Shah of Persia to name but a few; all very important figures at the time, now more Ozymandias-like in our enlightened Twitter age………….
The 500 Superfast has been described as ‘the ultimate in front-engined Ferraris for those who like the Rolls-Royce touch with their performance cars.’, they were the last of their breed.
I am an unashamed fan of the 250 GT SWB Berlinetta Competizione, with its elegant proportions and fantastic record in competition. This example finished third overall on its debut in the ’60 Paris 1000kms held at Montlhéry. Driven by Jo Schlesser and André Simon in Paris, it went on to win the GT class in that year’s Tour de Corse with Mrs Schlesser accompanying her husband.
Ferrari, despite the ramped-up production levels in the modern era, remains a fairly exclusive brand, the likes of me are unlikely to trouble the Ferrari Owners’ Club. As Orwell put it so sagely, “all animals are equal, but some animals are more equal than others”. So it is with Ferraris, this 365 California Spider is part of an ultra-exclusive group, just 14 examples were built in the mid-60s. The flowing Pininfarina design and angular rear set it apart from its contemporaries.
Almost the last word in exclusivity on planet Ferrari are these two 342 America models, this one the coupé.
And this one is a cabriolet. Just three of each variety were specially built, the car above is the only one with bodywork from Carrozzeria Vignale.
The coupé on the lawn at Salon Privé first appeared at the ’53 Geneva Salon. Both cars have spent most of their lives in the USA.
The 2019 edition of Salon Privé comfortably passed the Ferrari Test in a very stylish manner. We must hope that in the troubled times that 2020 is enduring the show will go on.
John Brooks, July 2020