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A concept for a sports car that would have fitted below the Corvette in the GM hierarchy. It used a shortened Tempest drivetrain which meant it had a transaxle gearbox and was powered by a 194.5 ci slant 4-cylinder engine. It developed into the 1966 Pontiac Banshee XP-798 Concept. Source: carsthatnevermadeitetc Images: GM; www.autoweteran.gower.pl; shorey.net

Legendary designer, Virgil Exner Sr.’s tenure at Chrysler was nearing an end in the early 1960s, as his flamboyant Space Age tendencies came into conflict with a management and public seeking increasingly less dramatic automobiles, shorn of the excess chrome décor and tailfins upon whom he had relied for much of the previous decade. Nonetheless, Exner went out with a bang, producing one final show car, the Plymouth XNR, with longtime partners, the Italian coachbuilding firm of Ghia. Creatively and slyly named for its outgoing creator, the XNR featured a dart-like asymmetrical shape inspired by the Valiant’s slant six-engine design, with a Jaguar D-Type-style headrest fairing that expanded into a massive tailfin. The tailfin crossed and extended through the rear deck, naturally forming an “X.” Typical of Exner’s later show cars, the XNR was too wild to see production. Still, it attracted enough attention that Ghia and Exner soon began work on something very similar that could be produced in a small batch for particular clients. Depending upon whom one asks, the Asimmetrica was either begun by Exner very late in his tenure at Chrysler, then completed by Ghia, or was solely a Ghia design project, in the manner of the earlier Chrysler Specials they had independently produced for European clients. Like the XNR, it was based upon an essentially stock Plymouth Valiant chassis, engine, and drivetrain but with the Hyper-Pack features of cast-iron split headers and a Carter AFB carburetor, similar to the infamous NASCAR Valiants. Its styling was toned down from the extreme XNR, including a four-passenger interior, an entire windshield, and a more conventional tail and rear deck, without the large fin. However, it was still recognizably a sibling due to using the XNR’s original bucks for many of the body panels. Controversy similarly surrounds how many of the Asimmetricas were produced. The consensus is that a run of 25 was planned but that, at most, only two roadsters were completed. The first appeared on Ghia’s stand, identified as simply the Asimmetrica (with no assigned manufacturer), at the Turin Motor Show in 1961. It is believed that the Turin show car was later shown in Geneva, where it was purchased by Georges Simenon, the French author of the Maigret detective novels, as noted in David Burgess-Wise’s Ghia: Ford’s Carrozzeria and Simenon’s Intimate Memoirs. “On the Chrysler stand, I am struck by a splendid flame red car, with a new and unseen line,” Simenon recounted. “I am fascinated by the model and address the seller, who introduces me to the famous Italian coachbuilders Ghia, the creator of this exclusive model. The price is shocking, but . . . I buy it for [my wife] Denyse; I sign a check, and Ghia promises to deliver the car immediately after the show closes.” Simenon’s car was later sold by the Swiss dealer Rob de la Rive Box and Roger Meyer of Villmergen to the well-known Blackhawk Collection in 1989. De La Rive Box featured the car in two editions of his book, Encyclopaedia of Classic Cars: Sports Cars 1945–1975, finished both in green and, as he sold it, in a non-original white with red accents and a black interior, both with the same incorrect hubcaps, and identified it as having been owned by the author. Blackhawk’s restorers spent a year restoring the Asimmetrica to its original condition. The car was finished in its original color of red, with a tan interior and as near the original wheel covers as possible. After completion, the car was exhibited at the Pebble Beach Concours d’Elegance in 1990. In 2000 the car was sold by Blackhawk to a collector in the Pacific Northwest, from whose family it is now offered. Aside from an appearance several years ago at the Forest Grove Concours d’Elegance in Oregon, it has not been publicly shown but rather maintained, occasionally driven, and enjoyed, therefore offering up a world of further possibilities for a new owner willing to return the Asimmetrica to the public eye. Offering a particular Exner show car is always a rare and special occasion. With many of his unique designs now ensconced in private collections and unavailable, the Asimmetrica is bound to stir excitement wherever its wild and provocative lines appear. Its designer would have had it no other way! Source: RM Sotheby's (Sold for $335,000 in California, August 2018) Images: www.shorey.net; www.madle.org

In 1937 the three surviving Maserati brothers sold out to the Orsi Group and, after WW2, founded Officine Specializzate per la Costruzione Automobili Fratelli Maserati - OSCA for short - to build limited edition competition cars. One of the reasons for the Maserati brothers' departure was that they did not want to be involved in making road cars - they were racers, pure and straightforward. OSCAs performed magnificently in international sports car racing throughout the 1950s. In the 1954 Sebring 12-Hours, a round of the World Sports Car Championship privately entered 1.5-litre OSCAs finished 1st, 4th, and 5th against works teams in a category with no limit on engine capacity, an achievement as outstanding as it was unexpected. OSCAs took class wins in the Mille Miglia on ten occasions and also won the Index of Performance at Le Mans. OSCA was a tiny company, never taking more than 30 cars in a single year, all of which were intended for competition. The first offering, introduced in 1948, was the MT4 (Maserati Tipo 4), a small siluro powered by a 1,092cc overhead-camshaft engine, which was immediately successful in the hands of Luigi Villoresi. Enlarged in stages up to 1,491cc and given a twin-cam cylinder head, the OSCA engine was later taken up by FIAT, for whom it was 'productions' by ex-Ferrari designer Aurelio Lampredi. At the same time as its twin-cam engine was powering FIAT's range-topping sports cars, OSCA began producing its GT cars, reversing the policy that had prompted the brothers to leave Maserati. OSCA's 1600 GT was built around a tubular-steel spaceframe chassis equipped with the same engine in a higher state of tune. (It would appear that concurrently with its own 1600 GT, the firm also built special versions of the FIAT 1500/1600, many of which were made as closed coupés, a style not offered by FIAT). OSCA completed 128 examples of its 1600 GT between 1960 and 1963, the majority (98) with bodies by Carrozzeria Zagato. The OSCA 1600 GT offered here is the work of Carrozzeria Touring, featuring the Milanese company's famous Superleggera (Super lightweight) body construction that employed a framework of small-diameter tubing to support the external panels. Delivered new in Italy, chassis number '019' is one of only two of its kind with exceptional features such as the spare wheel mechanism, concave rear window, and full 'groove' contour to the coachwork. Source: www.bonhams.com Images: classiccartrust.com; www.loprestocollection.com; www.bonhams.com

In the early 1960s, industrial designer Rodolfo Bonetto designed numerous cars for Boneschi. Bonetto became one the greatest Italian names in architecture and industrial design, creating everything from household appliances to furniture. He had an excellent eye for scaling and determining what looked ‘right’ and was a talented technical draftsman. He worked with numerous companies, designing bodies for Vignale, Viotti, and Boneschi. In 1962, he drew the Lancia Flaminia Spider, a compact and attractive design. He also designed the Boneschi Maserati 3500 GT, which was given the curious name “Tight” in 1962. Bonetto also penned the lovely Boneschi OSCA 1600 GT “Swift” in 1963. Source: www.italiantribune.com

A one-off open OSCA 1500 built by Fissore and designed by Giovanni Michelotti, who is pictured with the car. It was presented at the Paris Motor Show. The Fiat O.S.C.A 1600 Cabriolet by Michelotti took up the changes to the blinkers, the air intake on the bonnet, and the V-shaped molding on the sides that we had already been seen on the 1500 coupé presented at the 1961 Geneva Motor Show. Images: leroux.andre.free.fr

Little is known about this one-off based on the BMC Morris Minor (Mini). The design is attributed to Ercole Spada, and the execution was, of course, by Zagato. According to a 1961 press release by Anthony Crook Motors ltd (Sole United Kingdom concessionaires for Zagato Milano at that time), the car will be exhibited at the Earls Court Motor Show of 1961 and was designed for Ing. V. Piatta, who wanted to extend further the great possibilities of the wonderful Mini Minor chassis, into a grand Touring Car. It is believed that only one car was produced, which is the car that was exhibited at Earls Court. In 2007 Dutch Mini collector Jeroen Booij discovered the aluminum-bodied car in a shed in Milano with a mere 4107 km on the clock. The then-owner was not willing to sell. The car consequently passed through the hands of 3 or 4 owners and was dismantled for restoration before ending up with a classic car dealer in Moncalieri, Italy. This dealer offered the car for sale as a project on eBay. Despite frantic bidding (30 bids) and a final price of US$ 22.200, the reserve was not met. As of November 2014, the eBay seller does NOT display the car on its website anymore, so it is presumed to have been sold or under restoration by the dealer. The car required extensive restoration. Source & Images: Zagato-Cars.com; Zagato; www.aronline.co.uk

In the early 1960s, industrial designer Rodolfo Bonetto designed numerous cars for Boneschi. Bonetto became one the greatest Italian names in architecture and industrial design, creating everything from household appliances to furniture. He had an excellent eye for scaling and determining what looked ‘right’ and was a talented technical draftsman. He worked with numerous companies, designing bodies for Vignale, Viotti, and Boneschi. In 1962, he drew the Lancia Flaminia Spider, a compact and attractive design. He also designed the Boneschi Maserati 3500 GT, which was given the curious name “Tight” in 1962. Bonetto also penned the lovely Boneschi OSCA 1600 GT “Swift” in 1963. Source: www.italiantribune.com

1961 saw Tom Tjaarda resign, a decision usually attributed to friction with another American designer, Virgil Exner Junior (the father had been the main Chrysler designer and thus had worked extensively with Ghia). To interest "karters," Ghia displays a go-kart fitted with a body of typical racing car styling in contrast with the usual practice of leaving the machinery exposed on these somewhat limited-use vehicles. This single-seater was displayed at the 1961 Turin Motor Show. Source: Classic Car Catalogue Images: www.tom-tjaarda.net

A gyroscopically controlled two-wheeled car called the Gyron. However, the two-wheeled Gyron would consume much of Tremulis’s effort and time shortly afterward. As the Farrells wrote, Tremulis – whose chief and overwhelming concern was for aerodynamics – believed his design for a two-wheeled gyroscopically balanced car would represent the ultimate automotive aerodynamics. “In short, Tremulis expected the Gyron to be a genuine breakthrough that would influence all future car design.” Tremulis felt he could do better. The earliest Gyron sketches were rendered in 1956, but Tremulis renewed his interest in the Gyron after learning of GM’s 1959 Firebird III concept, which was hailed as the world’s most advanced and most exotic car. At about that time, Tremulis’s superiors at Ford assigned a new hire, Syd Mead, to work with Tremulis on the Gyron, and together they convinced Ford to let them build a full-scale version of the car. Because a gyroscope of sufficient size to keep the full-scale Gyron upright proved far too expensive for the show car, a pair of wheels on outriggers were added to the design to keep the Gyron upright on the show stand (copywriters explained them away as necessary at low speeds and noted they’d retract at higher speeds); however, its front wheel did steer via a console-mounted dial, and an electric motor did propel the fiberglass-bodied show car up to about 5 MPH. The Gyron debuted in 1961 and would be one of Tremulis’s last projects at Ford, though he would continue to pursue the idea of a two-wheeled gyro car long after he left the company. The fire that destroyed Ford’s Rotunda reportedly took the Gyron as well. Source: Daniel Strohl - blog.hemmings.com Images: Ford; www.petersen.org; www.motorcities.org

Pininfarina's new Project Y. Succeeding last year's Project X, which had fore and aft wheels mounted on the center line and two side wheels amidships, the latest version has conventional wheel locations and is based on the Fiat 600D. Large tail fins incorporating the slender rear winkers are retained, and there may be lessons to be learned from them in making rear-engined cars more directionally stable. Representing the alphabetical terminus, the subsequent Project Z will undoubtedly represent the ultimate ideal theoretical shape. Source: www.classiccarcatalogue.com Images: Pininfarina; www.classiccarcatalogue.com

This time, Nuccio Bertone decided to dedicate the project to himself. In 1962, Bertone built the second and last Ferrari on a 250 GT chassis. Made in a single copy, the car had a forked front air intake in the style of racing cars of the time. Aggressive body lines were brilliantly complemented by thoughtful details that emphasized the car's sportiness: for example, the wedge-shaped false radiator grille echoed a similar detail of a Ferrari Formula 1 race car. Impeccable styling and a visual center of gravity shifted to the rear axle give the Maranello an extraordinary personality. It was presented to the public at the 1962 Geneva Motor Show and was admired by everyone. Source: www.bertone.it Images: Carrozzeria Bertone s.p.a.; www.carculture.com

Casaroll and company made this car. Production was only 26 cars, built only as a glassy two-door hardtop with styling by Ghia. The front was like the earlier Dual-Ghia. The model designation relates to the displacement, in liters, of the Chrysler 383-CID wedgehead V8. Still, there were fewer Mopar components (including the separate chassis, now a special design as Chrysler had switched to unit construction for all its cars except Imperial in 1960). It was twice as costly as its predecessor and faster but softer riding, with handling not as taut as the earlier cars. But svelte good looks made up for a lot, and everybody who was anybody wanted one. Again, however, incredibly high overhead costs plagued the project, and Casaroll called it quits after a mere handful of cars were built. He would play a role in the project that led to a new Stutz, born out of Virgil Exner's proposal for a modern Duesenberg. Images: www.shorey.net; Automobile Quarterly - July 1987

The Dodge Flite-Wing was a concept car built by Dodge in 1961. The Flite-Wing was unveiled in New York’s Central Park on Dec. 5, 1961. One of Flitewing’s outstanding features was its flip-up windows in place of conventional roll-down glass. When the door of the Dodge Flite-Wing was opened, a window-roof canopy automatically cantilevered upward, and vice versa. Inside, the speedometer consisted of 13 separate elliptical windows, which replaced the conventional dials setup. Back then, unlike many car manufacturers, most Chrysler dream machines were built by Carrozzeria Ghia with engines and drivetrains-actual runners. The car had a ram-air-inducted 330-hp 383-cu-in wedge V-8. Source: Carrozzieri Italiani Images: dodge100years.com; www.autoweteran.gower.pl; aldenjewell's photostream

The radical two-door coupe with a retractable flight cockpit-style roof canopy featured a prominent winged spoiler high over the rear deck. This design and aerodynamic feature would later be used successfully by the 1969-70 Dodge Charger Daytona and Plymouth Road Runner Superbird in NASCAR competition. Released in 1961 and displayed during the 1962 Chicago auto show, the TurboFlight concept was Virgil Exner’s last show car for Chrysler. As the name implies, a third-generation turbine engine powered the vehicle. The entire canopy would lift/down in sync with the doors opening/closing, and the headlights were retractable. A unique deceleration flap was mounted horizontally between the soaring tailfins. This was another collaborative effort between Ghia of Italy and Chrysler’s engineers. Source: Chrysler Design Institute; www.chicagoautoshow.com Images: Chrysler

In 1960, the Carrozzeria Vignale was commissioned by the American stylist Gordon Kelly to undertake the fabrication of a one-off Berlinetta that he had designed and was based on the chassis of a Chevrolet Corvette. Alfredo Vignale worked with Sibona and Basano to complete this Berlinetta exhibited on the Vignale stand at the Paris Motor Show in October 1961. The styling was highly simplified for the time with a single volume passenger compartment with rear fenders blended in shape. The front end with a large oval grille consisted of a flat hood and straight fenders with concealed headlamps. The overall appearance could be compared to the Ferrari 340 America Berlinetta prepared by the same Carrozzeria Vignale for the Scuderia Ferrari in 1951, which won the Mille Miglia with Villoresi-Cassani at the wheel. Source: Auto Concept Reviews Images: www.corvettes.nl

The XP-737 Sebring Spyder roadster was built in three basic versions by GM Styling, all based on the same car and all with a wheelbase shortened 15" from the stock 108". This is the second version, the first one shown to the public. It debuted at the Chicago Auto Show on February 18, 1961. Dayton wire wheels were used on it and other Corvair show cars before the stock Corvair Kelsey-Hayes wheels came about in 1962. Its engine was boosted by a Paxton supercharger, like the unit still on the Super Spyder. The rear wheels were noticeably de-cambered since the car didn't have to cope with rear passenger weight. The Sebring Spyder bumperettes inspired Cal Custom to produce similar aftermarket bumper kits, which are rare today. The instrument cluster was the prototype for the production Spyder unit. And the entire rear deck was one fiberglass piece hinged directly behind the seats. This was later replaced by a stock deck lid and a rear-hinged tonneau that hid a real folding top in the car's last version. GM Styling Archives state that the Sebring Spyder was scrapped in 1966, but one never really knows for sure... so far, it hasn't surfaced! Source: GM; David Newell - www.corvaircorsa.com Images: www.shorey.net; David Newell; General Motors Design

Cadillac Brougham Coupé Speciale 2 posti "Jacqueline," 1961 - PF's coupe was built in honor of America's first lady, Jacqueline Bouvier-Kennedy. This striking-looking one-off show car was created by Pinin Farina and first displayed at the 1961 Paris Salon, the last to be held at the Grand Palais. The legendary Italian coachbuilder had been responsible for styling Cadillac's Eldorado Brougham limited edition models for the immediately preceding two seasons and was seeking ways to continue its association with the world's top-selling luxury brand, hence the 'Jacqueline,' which was named in honor of the wife of the newly elected President of the United States, John F Kennedy. There have been relatively few (perhaps only a half-dozen) Cadillac-based styling exercises by Pinin Farina, the 'Jacqueline' being one of four made between 1958 and 1961. These comprised the 'Skylight' coupé and convertible (1958), the 'Starlight' coupé (1959) and the 'Jacqueline'. Only the 'Skylight' and 'Jacqueline' coupés have survived. 1958 Cadillac Skylight Coupe Concept by Pininfarina 1958 Cadillac Skylight Convertible Concept by Pininfarina 1959 Cadillac Starlight Concept by Pininfarina 1961 Cadillac PF Jacqueline by Pininfarina The sensational 'Jacqueline' stole the show at the Grand Palais in '61, the same venue it is being offered for sale 50 years later! It should be noted that many of its influential styling devices would appear on future General Motors products. However, it was far from a fully finished car: the body was supported on a tubular frame, mounted on two trailer axles, and there was no engine, transmission, steering, or suspension. After its time on the show circuit ended in the early 1960s, the 'Jacqueline' was consigned to the Pinin Farina Museum, where it remained for the next 30-plus years, rarely seen in public. In the mid-1990s, Pininfarina (the contraction occurred in the mid-1960s) sold the car to the President of Cartier, Alain Dominique Perrin, its first and only registered owner. Already the owner of an extensive collection of rare and desirable automobiles, he decided to send the 'Jacqueline' to the USA, where it was rebuilt on a 1960 Cadillac Eldorado Biarritz chassis. The latter has been retro-fitted with a 390ci (6.4-liter) 325bhp V8 engine dating from 1959. Other noteworthy features include a four-speed automatic transmission, independent front suspension with coil springs, live rear axle with leaf springs, and four-wheel power-assisted drum brakes. The car is now fully driveable and has covered only delivery mileage since its mechanical restoration. Most of the interior, including the one-piece bucket seats, is precise as initially conceived by Pininfarina, albeit with many items now fully functional. Source: www.bonhams.com Images: Pininfarina; www.heritageclassics.com

The 1961 La Salle concept was also known as XP-715, following the General Motors custom of assigning 'experimental' cars XP numbers. The Buick Riviera was introduced to the public on October 4, 1962, and immediately the Riviera received approval as the most brilliant automobile to appear in years. Automotive writers praised the car for its style, engineering, and handling. Unlike most of the new models, the Riviera had its beginning in the styling studio, with little thought given to engineering considerations. It wasn't until Buick was awarded the car did they have to work out all of the mechanical problems without altering the shape. It should be said that the idea for a new personal luxury car at GM was most likely influenced by the success of Ford's four-seat Thunderbird, which was introduced in 1958. The new Thunderbird proved to be such a phenomenal success that GM president John E. Gordon realized the need for GM to have something to compete. He looked to his styling studio and his new chief stylist, William L. Mitchell, for ideas. Mitchell, trained under Harley Earl, had a talented staff of designers, including Ned Nickles, who had created the 1949 Roadmaster Riviera, Buick's first pillarless hardtop. GM had already been working unofficially on a car they believed would blow the feathers off the bird. According to Nickles, he had sketches of a vehicle that he made in his apartment, which he envisioned as being a Cadillac LaSalle II. There seemed to be no interest in the project until Mitchell showed the concept to Buick's new General Manager, Ed Rollert. In 1959, while the preliminary design work was ongoing, Mitchell attended the London Auto Show. There, it is told by Mitchell himself that one evening on a foggy London street, he was impressed by the silhouette of a Rolls Royce, with its sharp lines and angles, which was partially obscured in the mist. He recalls thinking, "That's it, but the car would look much better if it were lower. He then knew the look he wanted to achieve with the new project. Upon his return, Ned Nickles and his staff modified the original sketches to include the razor-sharp roof and sides. The new project was assigned experimental project number XP-715, and by August 1960, they had a full-sized mockup bearing LaSalle II nameplates. The preliminary drawings featured subdued or hidden headlights concealed behind the fender grilles. Many solutions for headlight placement were tried. Some were awful. The original plan to put the headlights behind the fender grilles could not be engineered in time, and the headlights were placed in the grille. The early grille designs varied; some even had a solid front without a grille and air intake below the front bumper. Due to Mitchell's influence, nonfunctional dual scoops were added to the side panels. This was one of the first cars, along with the Pontiac Grand Prix, that broke away from the excessive use of chrome. Although the car was initially designed as a Cadillac, John Gordon, GM's president, allowed all divisions to compete when the design was complete. As it turned out, Chevrolet and Cadillac were doing so well they didn't need another model, whereas Buick, Oldsmobile, and Pontiac were very interested. Buick's sales were way down, and this new model was just what they needed. In April 1961, after an energetic presentation and a promise not to change the design, they were presented with the XP-715. However, the car was still without a name. After dismissing such names as "Centurion" and "Drake," they chose "Riviera," which evoked the elegance of the Italian and French coastline. The name was not new to Buick, as they had used it since 1949 to describe their early pillarless models; however, this would be the first time the name would appear on an exclusively designed model. Source: Ray Knott - The Review Vol. 18, No. 1 Nov. Dec. 2001 Images: GM; rivowners.org

The 3200 CS was the last BMW with a separate chassis suitable for coachbuilding like this pillarless Coupe by Bertone. It was Giorgietto Giugiaro who did most of the styling when employed by Bertone. BMW 3200 CS was the first BMW car with Hofmeisters's kink (>see Wilhelm Hofmeister); the car's design also incorporated some other characteristics of the BMW ethos, repeated later in other cars as small, almost symbolic, central grille kidneys, a BMW emblem on C-pillar, unusually simple for its time treatment of the car's body void of any horizontal chrome lines. Based on the underpinnings of the 502 sedan model, the 3200 CS was designed as a transition model and made use of the same 3168 cc V8 engine. The 3200 CS was first launched at the 1961 Frankfurt Motorshow. Production started in the following year and lasted until 1965, with 583 (some sources say 603) examples produced. Bertone built one 3200 CS Convertible as a gift for BMW principal Herbert Quandt. Source: www.coachbuild.com; www.bmwism.com Images: Bertone

The London Motor Show, Earls Court of 1960 introduced the most beautiful cars and the most significant Aston Martin. Each DB4GT rolling chassis were sent to the Zagato factory in Milan to be clothed in the lightweight body designed by the young Ercole Spada. The Zagato was given an even more powerful engine than the standard GT by using a higher 9.7:1 compression ratio. This was able to produce a quoted 314bhp. Needless to say that the performance was and still is very impressive, with a top speed of 153mph and 0 to 60 acceleration in 6.1 seconds. Source: www.astonmartins.com Images: Zagato