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  •   Stephen Prior reacted to this post about 4 years ago
    WOMAN & MACHINE #Roz-Shaw and her #Alfa-GT / #Alfa-Romeo-Giulia-GT / #Alfa-Romeo / #BWRDC

    The #2015-BWRDC Gold Star winner still pedals the #Alfa-Romeo-Giulia GT in which she started, 11 years ago. Words Paul Hardiman. Photography John Gaisford.

    Roz Shaw admits it was her brother who got her into racing. Sibling Richard founded Laranca Engineering in 1988, which now manufactures high-precision CNC-machined parts for the motor sport industry, and is noted for its front-running BMW saloons in Historics. Of course Roz, who rides huge motorcycles and used to off-road Land Rovers for leisure, wanted a go, too. But she very much treads her own path. ‘I’d always wanted a ’60s Alfa – I think BMWs are ugly. I bought this one 11 years ago from H&H Auctions. It had been a rally car, with wins in the Safety Devices Historic Rally Challenge, and it’s now prepped to Appendix K by GTS Motorsport in Solihull.’

    Roz started racing in the Top Hat series and with the Classic Sports Car Club and now competes at home in HRDC and Masters, as well as internationally. Successes soon began to build with many class wins, plus outright victory in the 2013 Alfa Romeo Championship and the Victor Ludorum Trophy. There have also been wins and class awards in the Alfashop Challenge, the Peroni Race Series in Italy (in a Porsche 911 as well as Alfas), the Alfa Revival Cup in Italy and the Coppa Intereuropa (Monza). And most recently her successes in racing and promoting women in motor sport led to the award of the 2015 British Women Racing Drivers Club Gold Star on the MSA stand at Autosport.

    And all pretty much on her own: ‘I wanted to be independent from my brother. Hence I have my own truck and Class 1 HGV, and I load, unload, spanner and help do set-up on the car. Tom at GTS Motorsport has always prepped my cars. The Alfa has done me proud for 10 years with hardly any failures, the engine is refreshed as and when required, and only the odd little bit of bodywork has needed to be done. GTS builds the engines for me.’

    Roz has been a member of Scuderia del Portello, which numbers Alfa legend Arturo Merzario among its alumni, for more than 10 years, and has also been privileged to pedal cars from the Alfa Romeo Museum around its Balocco test track. ‘There is a great spirit of Alfa in the Portello family – I am very proud to be part of it. Even better when you get to beat F1 racer Merzario around Monza…’

    There’s also been U2TC, and a GTAm, and despite not being keen on BMWs she has raced brother Richard’s TiSAs at Donington, Silverstone and Castle Combe. ‘I must admit I prefer the Alfa – the BMW engine is very cammy and a lot harder to keep alight. But they each weigh 1000kg so physically it’s about the same.’

    The red GT has even appeared on the Daytona banking, taking a class win in the Rolex Historic Challenge. ‘When I went in 2007 with CSCC we had so much track time, with four or five races. Unfortunately in the last race the prop doughnut let go on the exit of Turn 4 while I was up the banking. It was like a bomb going off in the car and the tunnel opened up like a banana, with hot metal parts flying up past my leg and head – all quite dramatic.’
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  •   Delwyn Mallett reacted to this post about 4 years ago
    Here’s a question: name the first four permanent motor sport venues in mainland Britain. Most of us know that Shelsley (1905) and Brooklands (1907) came first, followed by Donington (1933). But few know that the fourth, running its inaugural event for cars just 12 months after Donington, was the Scottish hill- climb course of Bo’ness. It had already been used as a motorcycle track since #1933 .

    Between #1934 and #1939 , Bo’ness was so successful that a full road circuit was also drawn up, but finance was never found to build it. When peace returned the hillclimb ran from #1946 until #1966 . Large crowds lined the narrow, twisting course, which halfway up ran through a tight Esses between two private houses and on to the treacherous Snake Bend. In 1947 it organised the first round of the new British Hillclimb Championship, won by the Type 59 #Bugatti of George Abecassis. Stars of that period included Sydney Allard in the air-cooled Steyr-Allard, Dennis Poore with the mighty Grand Prix #Alfa-Romeo 8C, and Bob Gerard, Ken Wharton and Ron Flockhart in ERAs. Later came future World Champions Jimmy Clark, who set FTD in #1959 with the Border Reivers Lister-Jaguar, and the young Jackie Stewart in Barry Filer’s Marcos in 1962.

    Fast-forward 40 years, and a group of keen Scottish enthusiasts persuaded Falkirk Council to help them revive die event. The top section was under a housing estate, so the course was restored with a new start line further down the hill, taking in an extra hairpin. After endless dedicated work the Bo’ness Hillclimb Revival, led by Bill Drysdale, Alex Brown, Kenny Baird and others, ran its first event in 2008. It was excellently organised, yet the delightfully informal atmosphere of how motor sport used to be, 60 or more years ago, prevailed in the paddock and in the well-filled spectator areas up the hill. Fortunately the occupants of the two houses loved it.

    This year’s event, die sevendi, was every bit as good. The full entry ranged from Bransilav Sudjic’s massive 1904 Brasier Gordon Bennett racer to Barrie Bird’s one-off #AC-Bristol Le Mans and George Cooper’s #Cooper-MG - the prototype built by John Cooper for his own use in #1950 . Peter Speakman brought his varied trio of Fisher Specials, built in Edinburgh by the late Jack Fisher and, in his #1971 monocoque single-seater with twin-cam Alfa power, Malcolm Wlshart set this year’s FTD.
    For me, making my fifth visit to the venue, there was another attraction. In 1946 a young art teacher at a school in Falkirk, Bill Henderson, was taking pictures at the hillclimb. By #1952 he was the Scottish correspondent for Autosport, reporting and photographing events all over Scotland in his spare time. When racing finished he would rush home, develop his films in his own darkroom, write the report while they were hanging up to dry, print the best shots, and then drive to Larbert Station to put his package on the train to London before midnight, so the magazine’s messenger could pick them up on Monday morning.

    He continued to do this well into his 70s, and he never missed a deadline. He was still teaching during the week and also found time to run his own graphic design business, as well as taking commissions to paint pictures of competitors’ cars.
    Bill is now' 90, and remarkably he is still an accredited photographer at Bo'ness. He shoots on film in the old way, although a Leica M6 has replaced his old Univex Mercury' camera. All his superb photography, covering nearly 70 years of Scottish motor sport, is available from the Bill Henderson Collection, run by his son. Has there ever been a photographer whose career has lasted 68 years, and counting?

    Wharton (ERA) in 1954, Knapman (Allard) in 2014; both by Henderson.
    Bill Henderson: 90 years young, and still shooting.

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  •   Antonio Ghini reacted to this post about 4 years ago
    The Straight Eight Dolomite is the stuff of #Triumph legend. Devised by Donald Healey to take on the might of the #Alfa-Romeo-8C , it liberally borrowed from – some would say shamelessly ripped off – the Milanese car in specification, style and execution. The Dolomite may have very little in common with anything else that ever came out of Coventry but, as someone betrothed to the Triumph badge, this enigmatic car represents the Holy Grail.

    Rob Green of Gloria Coachworks shares my enthusiasm for the model and, as the leading exponent of pre-Standard-era Triumphs, he thought it would be a rather nice thing to recreate. Thus was born one of the classic car world’s lesser-known but most delicious replicas.

    Green began work on the first car in #2005 , taking four years to complete it for a customer. The end result is a remarkable doppelgänger of Healey’s Monte mount. The next – and like the genuine article, there are only two – he kept for himself. Inspired by the second of the original cars, period photos and brochure shots were used to ensure the visual accuracy of its body.

    The starting point was a #1938 Dolomite (sixcylinder) chassis, which was modified and then adorned with authentic pre-war Triumph oily bits. Don’t be fooled by the clever siamesing of the exhaust pipes, though: the big difference between Green’s cars and the real thing is that his are powered by a 2-litre ‘six’ fed by triple SUs and breathing through four ports.

    Using 16 gauge aluminium over an ash frame, the homage looks just right to me. Green says it took nearly 3000 hours to build and you can well believe it. No one would claim that this is an actual clone, and there are some practical modifications, but the detailing is simply wonderful from the painted wires to the leather interior. Triumph isn’t renowned for its pre-war sporting excellence, and it wasn’t so long ago that the only model recognised by the VSCC – other than the Straight Eight Dolomite – was the sixcylinder Southern Cross, of which only four or five exist from its single model year.

    In spite of that, the cars feel relatively accomplished and sophisticated for the age. The crossflow 2-litre overhead-valve engine is far from asthmatic and has lusty torque, while the gearbox (with synchro on all gears except first) is a delight to use. In fact, as you zip around in the Dolomite only the weight of the steering gives it away as being a pre-war design. Green’s tribute to the Straight Eight really is a beauty, but he has ‘previous’ when it comes to the art of reviving long-lost prewar Triumphs. He explains: “My love for them goes back to the 1960s when my cousin had one. Influenced by that, I bought my first Gloria – a three-position drophead coupé – for £33.”

    Having served his apprenticeship at a Rootes main agent, Green joined North Stables Coachbuilding before setting up Gloria Coachworks in 1980. He deals with all manner of classics, but about 80% of his business is Triumph-related. He reckons that he has now owned seven prewar Triumphs and restored another 37.

    But it is his obsession with filling the historical gaps and the reason why these cars are so rare that fascinates me most. “It’s because there were so many variants of each model,” Green explains. “You could have a long- or short-chassis, four- or six-cylinders and loads of different body styles, so very few of each type were ever produced.” As well as resurrecting the Straight Eight, Green constructed the delectable Gloria Flow- Free using a factory body.

    And he’s not finished yet. In fact, it was building a replica of the long-lost one-off #1938 #Dolomite-Fixed-Head-Coupé that led him reluctantly to offer his own Straight Eight facsimile for sale. And when that’s done, he has an inkling he might like to build himself a Gloria van! I was intrigued to see what value the market would put on the Dolomite when it came up at Historics at Brooklands’ 7 March sale. The answer: an impressive £81,760. Testament indeed to Green’s craftsmanship.

    For more information about these rare cars, visit: pre-1940triumphmotorclub. org

    ‘Donald Healey liberally borrowed from – some would say shamelessly ripped off – the #Alfa-Romeo 8C’.

    Green’s recreation of the Straight Eight is a joy to drive. Bottom: replica’s lines closer to original than the genuine cars.
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  •   Adam Towler reacted to this post about 4 years ago
    The pioneers of Spanish road-racing. #1903-Paris-Madrid

    A stunning collection of photographs charts the early development of motorsport in Catalonia. James Page delves into this rich archive.


    Spain has a long history of motorsport, from the early city-to-city epics to the fabulous Montjuïc Park street circuit of the 1960s and ’70s, plus the more recent success of Fernando Alonso in Formula One. Even though the aborted #1903 #Paris-Madrid never made it as far as the capital, road-racing soon gained a foothold. The first Copa Catalunya was held in 1908 on the 28km Baix Penedès circuit, which linked the town of Sitges with Canyelles, and was also used for the first Carrera Penya Rhin events – cyclecar meetings that took place from #1916 -’19. The Penya Rhin fixture is perhaps the best known of those early races. Organised by a group of enthusiasts who used to meet at the Café Rhin in Barcelona, it became a Grand Prix in 1921 and boasts an impressive roll-call of winners. Albert Divo won the last one to be held over the Villafranca course in ’23, before it was revived first in Montjuïc – #Tazio-Nuvolari won for #Alfa-Romeo in ’36 – and, later, at Pedralbes, where victors included Alberto Ascari.

    Frederic Juandó Alegret was a photojournalist whose work appeared in Spanish sports magazine Stadium. He attended a number of race meetings from before #WW1 to about #1930 . His images are now looked after by the Servei de Patrimoni Arquitectònic Local – or #SPAL – an organisation that was established in #1914 and which specialises in preserving and promoting Catalan architectural heritage.

    Alegret’s negatives are on glass plates, which gives the remarkable reproduction shown here, and the SPAL intends to make them available to the public. Many have never before been published and, unfortunately, information on the images is sparse at best. The service – for which motor racing is a new area of research – has been working with local enthusiasts in order to establish when and where certain photographs were taken, a time-consuming process that remains ongoing.

    Clockwise, from below: Paco Abadal in 1911 Spanish Amateur; Pierre de Vizcaya in ’21 Penya Rhin GP; Baix Penedés circuit ran through towns.

    Right: crowds watching the #1911 Copa Barcelona. Far right: an early David racing car. The marque was founded in Barcelona in 1914 by racer Josep Maria Armangué. It continued following his death in an aircraft accident three years later, expanding into the construction of taxis and even electric cars.

    Clockwise, from left: cars in the pelouse at the 1911 Spanish Amateur Championship; Álvaro de Lonca’s Sizaire-Naudin in the 1910 Copa Catalunya; J Bons’ Hispano-Suiza.

    Left: another view of de Vizcaya’s Bugatti Brescia in the ’21 Penya Rhin GP. Below: passing the timekeepers during the well-attended 1911 Amateur Championship.

    Clockwise, from right: José Moré’s #David-MAG , ’ #1921 Penya Rhin GP; Rafael Clarasó’s Díaz y Grilló on the 1916 Barcelona- Madrid-Barcelona race. He finished second in the 1256km event; the 1922 Penya Rhin GP was won by British ace Kenelm Lee Guinness aboard his #Talbot-Darracq .
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  •   Matt Robinson reacted to this post about 4 years ago
    OSCA 1600GT. What Maserati’s founding brothers did next. Size doesn’t always matter.

    This tiny Italian concern built a tiny number of tiny cars - but its founders are among the giants of Italian motoring lore. Words Richard Heseltine. Photography Mark Dixon.

    Great changes tend to have great side effects. For Italian carrozzerie, the 1950s and early '60s represented a period of tumultuous upheaval as grandees of the movement expanded out of all recognition. Traditional coachbuilding gradually made way for mass-manufacture as the likes of #Bertone , #Pininfarina and #Zagato became subcontractors to major players. Touring of Milan was among their number, the difference being that adapting to new circumstances and chasing volume would prove to be its undoing.

    In #1961 , Touring bodied only two OSCA 1600GTs, but the parallels between marque and coachbuilder are apposite. OSCA had struck a deal with a major brand that should have acted as a protective cloak for a company that was habitually underfinanced. Yet OSCA failed to see out the decade.

    Italian motoring lore is littered with fallen acronyms and few ever matched OSCA for sonority and brevity. Strictly speaking, it should be OSCAFM, but the last two consonants were dropped on account that it was impossible to pronounce. Yet it's the 'FM' bit that matters, for it stood for Fratelli Maserati. You see, for a decade or so, 'real' Maseratis were OSCAs.

    The fratelli were Ernesto, Bindo and Ettore, who had sold the marque that bore their name to #Adolfo-Orsi in #1937 , five years after sibling and guiding light Alfieri perished in a racing accident. Retained under contract for a further ten years, a decade that was said to have been less than amicable, the brothers left #Modena the moment the agreement expired. They regrouped and set up shop in a disused part of the original Maserati factory in their home town of Bologna to build small-displacement racing cars. Orsi retained the rights to their surname, so the brothers contrived the alias Officine Specializzate per la Costruzione di Automobili - Fratelli Maserati SpA.

    With Ernesto as designer, Ettore the artisan and Bindo running the show, the trio introduced their first model, the MT4 (Maserati Type 4), in 1948. This skimpy device was aimed at the 1100cc category that was popular on the home front. OSCA was soon at the sharp end of the tiddler class; often in contention for outright wins, too, attracting such stars as Gigi Villoresi, Felice Bonetto and Luigi Faglioli. After an embarrassing foray into #Formula-1 (and F2), the brothers stuck to sports cars thereafter, the highlight being outright victory in the #1954 Sebring 12 Hours for Stirling Moss and Bill Lloyd aboard their MF4 1450 barchetta.

    By the dawn of the 1960s, it was a different story: OSCA was ill-equipped to bat away competition from the emergent British garagistas. There was some light on the horizon, however, as the firm's 1.5-litre twin-cam engine, as used for that Sebring win, had attracted the attention of Fiat. The Turin giant was looking to create a competitor for the sporting Alfa Romeo Giuliettas, and approached OSCA with a view to using the alloy-headed four in its proposed 1500 model. The brothers were receptive to the overture, but OSCA was in no position to produce the engine on an industrial scale given the amount of machining, honing and laborious fettling required per unit. Fiat was undeterred: a deal was struck whereby it would manufacture the engines in volume and supply them back to OSCA.

    In a roundabout way, this led to OSCA producing proper road cars as opposed to street-legal racing cars. This began with an approach from an existing customer who requested a small gran turismo, the resultant Tipo 1600GT becoming a catalogue model after it broke cover at the #1960 Turin motor show. The work of ever-creative pen-for-hire Giovanni #Michelotti , the prototype was dramatically - some might say controversially - styled, but it struck a chord. Beneath the square-rigged skin, this new strain featured the proven four-cylinder allied to a five-speed gearbox, mounted in a tubular ladderframe chassis. Suspension was all independent by double wishbones and coils, and there were Girling disc brakes front and rear.

    Predictably, numerous styling houses treated the 1600GT as a blank canvas, with Zagato's pretty take on the theme proving the most popular. Offered in various states of tune from 95 to 140bhp in twin-plug GTS spec, a full-house 710kg (down from 817) version was added to the line-up in 1963 with dramatic - some might say ugly - #Zagato coachwork. Only one was made. That same year saw the Maserati brothers sell out to the Agusta motorcycle/helicopter combine, and 1600GT production ended.

    The new regime instigated new models in time for the #1964 Turin motor show. The 1600TC (Trave Centrale) featured a backbone chassis (hence the name) and 'shock-proof' glassfibre body, but it failed to find favour. Same for the 1050 Coupe and its Spider sibling, which were based on #Fiat 850 platforms. The final ignominy heaped on this once-respected marque was the bizarre MV1700 - which featured 1.7-litre #Ford-V4 power and open or closed bodywork moulded by boatbuilder Corbetta. In 1967 it was all over. Tooling was destroyed, as were remaining spares.
    That wasn't quite the end of the story. The name was revived in #1999 using Japanese finance, yet the Ercole Spada-styled, #Subaru flat-four-powered 2500GT (or Dromos) remained unique. To many, the 1600GT remains the last true OSCA, yet precise production figures are a source of debate. Chassis numbers started at 001 and ended at 00127, of which Zagato bodied 98 (with three subtly different body styles), Fissore 24 (three of them convertibles), Touring a pair, Morelli just the one and Boneschi a trio of angular coupes. The problem is, some historians believe there are gaps in the chassis log and that the actual figure is closer to a mere 66 cars.

    Either way, the 1600GT is uncommon in any of its many flavours. 'Our' car was first seen on the OSCA stand at the #1961 Turin motor show, Road & Tracks Henry Manney III going so far as to describe its outline as being 'pleasant'. He went on to ponder the likelihood of it entering series production as a standalone variant. No chance: Touring had bigger fisher to fry.

    That same year saw Touring's principal Carlo Felice Bianchi Anderloni entertain George Carless, the ironically named general manager of the Rootes Group's newly established Italian headquarters. This led to an agreement whereby Touring would open a facility big enough to accommodate production lines. Britain was outside the European Common Market at the time, so it made sense to have a manufacturing site within the EC's borders. Sunbeam Alpine and Hillman Super Minx models would be assembled there, with Touring tailoring niche models.

    Touring had contracts with other manufacturers, but they were pared back in preparation for the manufacture of 10,000 Rootes products a year. Rootes then got cold feet and Touring employees went on strike in 1963. The firm's Nova Milanese factor}’ was never used to its full capacity - not even close - and it lurched into receivership in March 1964. There were attempts to turn around its fortunes: a batch of 400 Hillmans was assembled in short order from CKD kits, along with 100 Sunbeams. There was also the stop-start construction of #Lamborghini-350GT and #Alfa-Romeo Giulia GTC bodies. A year later, Touring was given the task of repainting a thousand unsold #Lancia Flaminias that had remained on the company's books. There were other orders, but none that could possibly return the company to prosperity. By late 1967, the game was over.

    It was a sad end for a carrozzeria that had produced a slide-show succession of design icons spanning several decades. Following its Turin showing in #1961 , chassis 0014 was sold to a trader in Genoa who moved it on the following year to a woman from Pasaro. She retained the car for 50 years before selling it to a dealer in Bergamo. It was acquired by arch-collector Corrado Lopresto in 2012. He is at pains to point out that the car hasn't been restored so much as titivated. It was mechanically overhauled, while the bodywork is largely original. The 1600GT has, however, been returned to its original colour, having been painted in a lighter shade of green early in its life. It has since gone on to win several concours prizes on more than one continent, most recently at the #2014 Warren Classic.

    Photographs don't really lend a sense of scale: the OSCA is barely 3900mm long, 1497mm wide and approximately 1200mm high. As such, there's an art to getting into it that doesn't involve you banging your noggin against the delicate ally skin. What's more, it's worth the effort. The cabin trim, from doorcards to carpeting, is all original, having merely been cleaned. The body-coloured dash is fronted by an attractive alloy-spoked wheel, its array of Jaeger instruments bearing the legend 'Fratelli Maserati Bologna' at their bases. The speedo runs to 200km/h, the revcounter to 8000rpm. There's no redline.

    Prior experience of OSCAs informs you that they're unhappy in traffic, not least because of the high-profile cams, yet this example is wonderfully well-mannered, if noisy. That rather goes with the territory - but what a noise. There's little urge below around 2000rpm but, once free of hectoring commuters and on less congested roads on the outskirts of Milan, the 1600GT comes into its own. It thrives on revs, becoming increasingly choral past 5000rpm. It feels like a thoroughbred engine, and it is precisely that. While Fiat made ample use of the OSCA unit, it supplied the blocks to OSCA unmachined. These in turn were honed and modified to the point that there were significant differences, not least increased oil flow to the journals, the use of special pistons and so on. Its competition heritage is palpable. It crackles with energy.

    The in-house gearshift is close-coupled to the point that it's all-too-easy to fluff a change and move from first to fourth but, with familiarity, it's delightfully precise. The steering, too, is light but accurate with it. You guide the #OSCA with smooth, minimal input rather than sawing at the wheel. Turn-in is crisp, and there's little discernible weight transfer. The ride is a little unyielding, but even the briefest of sorties is an immersive experience. It's a wonderful car, and one with bags of character.

    Whether success eluded the #1600GT or it eluded success is a moot point. It's a step above most small-series sports cars of the day, one that was capable of sub-8 second 0-60mph times, depending on state of tune. What's more, it had an enviable competition pedigree and wore distinctive outlines conjured by some of the more celebrated styling houses of the day. If not quite its final curtain, this was OSCA's last triumph.
    THANKS TO Corrado Lopresto, his son Duccio, and Massimo Delbo.

    Car #1961 #OSCA-1600GT
    ENGINE 1568cc four-cylinder, DOHC, twin Weber 38DCOE carburettors
    POWER 115bhp @ 6800rpm
    TORQUE 105lb ft @ 4800rpm
    TRANSMISSION Five-speed manual, rear-wheel drive
    STEERING Rack and pinion
    Front: double wishbones, coil springs, telescopic dampers, anti-roll bar.
    Rear: double wishbones, coil springs, telescopic dampers.
    BRAKES Discs
    WEIGHT 817kg
    PERFORMANCE Top speed 118mph

    'This ear was first seen on the OSCA stand at the 1961 Turin motor show’
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