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Designed exclusively for the hit 1966 "Batman" TV show starring Adam West and Burt Ward. This automotive wonder was styled and engineered with the many different special effects innovations by Barris Kustom Industries. Originally it started off as a $250,000 1955 Ford Lincoln Futura concept car. With a deadline of 3 weeks this Lincoln was transformed into the world’s most famous car. Weight is 5500 pounds and it has completely hand formed steel body. Wheel base is 129 inches; overall length is 206 inches and the top height is 48 inches. Powered by a 429 Ford Full Race engine, Moon equipped, NitroOxide Thrust Front end design characteristic is the face of a bat with the hood scoop extending down into the frontal area accentuating the nose. Right and left eyes extend into the ears with dual 450 watt laser beams installed in amber reflective lenses. Hood scoop follows the front area with a hydraulically operated steel chain and cable cutter blade. Hidden behind the ears are functional headlights for normal street driving. The grille cavity is the mouth of the bat with the internal mounted rockets. Dual 84 inch rear bat fins are in line with bullet proof steel as added protection for Batman and Robin. Operable red reflective taillights are mounted in the rear of the bat fins. Four 6 inch flared eyebrow bullet proof wheels wells are formed and used as tire protectors. Ten inch wide Rader wheels made of steel and power thrust alloy use traction grip Oval Firestone tires. The rear upper panel has triple rocket tubes and are on an automatic theft control system with shooting colored fire rockets. 360 degree turning is made possible by pulling the emergency bat turn lever that releases and billows the bat impression twin parachutes on a 25 foot nylon cord. Turbine exhaust finned air cooling rear tube is mounted on the V cavity rear grille section with both parachutes installed on each side. Twin aircraft streamlined plexi-glass bubble windshields and top section are made bullet proof and matching in design. The center safety roll bar arch is made of alloy steel and equipped with operable flashing lights, right and left trouble shooters and miscellaneous warning lights, and then attached to the double bubble top. Twin body contoured air foam bucket seats are formed into the cab compartment of Scottish grain black naugahyde in horseshoe designs, pleats and rolls, black nylon shoulder body and safety belts are fitted for Batman and Robin. The center consul incorporates the power accelerator T arm and the Batman fire extinguisher. Steering wheel incorporates right and left turn indicator buttons made in half aircraft design with all the dials, gauges and speedo installed in center hub. The dash is equipped with many different Batman innovations such as the Batscope that is hooked up with a revolving closed circuit antenna to bring the Batman full vision plus the Bateye switch for anti-theft control, the antenna is for an information radio wave pickup of messages and computering from the Batcave with an electronic unit installed in trunk. A Detect-a-scope is used to determine the area in which Batman or Robin are in, also the Batray reactors and laser beam button controls, plus many flashing warning lights and directional electronic systems. Attached to the anti-fire theft control systems are swivel 5-way nozzles that eliminate any fire throughout the vehicle. Ad double cable control exhaust cutout system are used for sound volume. To finish off this different one of a kind vehicle are 40 coats of super gloss black and then is trimmed in an outline of fluorescent cerise. Source: Barris Images: OldConceptCars

The name Herb Adams is legendary among Pontiac and GM performance enthusiasts. He was instrumental in the development of the Pontiac Trans Am cars and the Super Duty engines. Shortly after graduating from the GM Institute, he did the Vivant as a design study. He was inspired by the three Alfa Romeo B.A.T. prototype coupes. As a result of a fortunate meeting with some Rolls-Royce body craftsmen, he was able to bring his vision to life. The lightweight roadster body was hand-formed by a trio of European panel beaters over Adam's own space-frame chassis. Pontiac cues were deliberately incorporated into the design as well as many Pontiac mechanical components, including the 370 cubic-inch V8, which is one of a limited run of engines assembled as part of Pontiac's horsepower development program. It made its debut at the Detroit Autorama where it was highly lauded. After several other show appearances, the car disappeared from view. It made its first public showing in unrestored condition at the 2011 Glenmoor Gathering of Significant Automobiles. In 2017, it was shown at the Pebble Beach Concours d'Elegance. Source: ConceptCarz Images: OldConceptCars

The XVR two-seater that premiered in Geneva in March 1966 was the first Vauxhall concept car ever to be exhibited in public.“ Uncompromising in its styling treatment”, the XVR showed “the future trend in world design” according to David Jones, the then Vauxhall’s Director of Styling. Most of all, it expressed the new means and power allocated to GM’s European design studios in the 1960s. Three XVRs were built, the road going version was metal, the other two were fiber-glass and were both non runners without any engine or transmission fitted. Source: www.gmeurope.info Images: GM

A futuristic concept presented at the 13th Tokyo Motor Show. Along with the “EXperimental” design study Toyota debuted the first generation Corolla at the show whose theme was the “Era of Cars for Everyone.” Toyota were definitely channeling the Jetsons when they designed this concept car in 1966. Maybe this is where flying car designers should look for inspiration now. The cockpit and fin are beautiful and those points in the headlights could be ray guns. Source: Glenn Edley - www.car137.com; carsthatnevermadeitetc Images: www.2000gt.net

In 1966, a one-off prototype, the Titania Veltro GTT 1500 Coupe, also known as ‘Hairy One’, was shown at 48th Salon de Turin. Very elongated, with a diminutive Vanwall-esque air intake, it featured longitudinal slots in the hood as air extracts. Featuring a front-engine configuration using an British Ford 106E power plant, top speed was nevertheless 124 mph. Curiously, this car was similar to that of another great aerodynamicist, Englishman Frank Costin's Amigo of 1970. Both were aesthetically too long in the wheelbase, neither made it commercially, but both excelled aerodynamically using production engines. Source: www.intermeccanica.org Images: Intermeccanica; archivioprototipi.it

This one-off Porsche 911 Roadster was presented at the 1966 Geneva Motor Show. It was created for one of the German manufacturer's American dealerships with a view to putting a limited series out to the American market. Bertone was given a challenging brief: to fit out a Porsche chassis, notoriously atypical in size and shape. It was also very important to deliver a high level of technical and design quality befitting the high quality of the basic product and the prestige of the marque. The driving idea behind the design of the prototype was safety. The cockpit was completely separated from the rest of the vehicle, with the use of a rather deep swage line running from the windscreen along the upper edge of the doors to the engine compartment. This solution also allowed for notably low wings for this type of car. The styling of the dashboard also contributes to this, with the main instruments laid out vertically down the centre, and the tiny fascia tucked in behind the steering wheel. The Porsche 911 Roadster is a fusion of some of the best ideas to appear on the Testudo in 1963, and many styling elements of proven success adopted on the Fiat 850 Spider in 1965. Source: Porsche Images: Bertone; classiccarcatalogue.com; Gooding & Co.

On the Vignale stand at the Salone di Torino in 1965, an original 2-door 4-seater prototype was designed by Giovanni Michelotti and mounted on a Maserati tubular chassis with a 4.9-liter V8 engine. An important person had commissioned this car. It is thought that as the 5000 GT was now out of production, this important client desiring such a car commissioned Vignale to build one. Its appearance at the Salone di Torino was very well received, so much so that Maserati immediately made plans to put a version into limited production. The production Mexico, designated Tipo AM112 by the factory, was a derivation of that original prototype, which was first displayed at the Paris Motor Show a year later. The Mexico was powered by a 4.7-liter V8 engine (slightly lower in capacity than that of the prototype), producing 290 bhp at 5000 rpm, this gave the car a top speed of between 240 and 250 kph (150-156 mph). In 1969, contrary to Maserati tradition, the Mexico was also made available with a 'smaller' engine. This time the 4.2-liter V8 engine powered the original Quattroporte 1a series. A magazine article at the time described the 2-door 4-seater Mexico thus: "Maserati has added an elegant and prestigious creation to their range that is luxurious yet functional at the same time. It is fast, spacious, easy to handle, and equipped with the same air conditioning system as the Quattroporte." Apart from the smaller engine option, the Mexico underwent few changes during its lifetime. Its luxurious interior included a rich leather seating for four adults, electric windows, wooden dashboard, and air conditioning as standard. Automatic transmission, power steering, and a radio were available as optional extras. The 4.7-liter version was fitted with 650 x 15" Boranni chrome wire wheels and the 4.2-liter version with 'disc' wheels. The Mexico was the first production Maserati to be fitted with servo-assisted ventilated disc brakes on all four wheels. Production of the Mexico between 1966 and 1973 totaled 482, not 250, one with the 4.9-liter engine, 305 4.2-liter versions, and 175 4.7-liter versions. Source: www.maserati-alfieri.co.uk Images: www.automobilrevue.cz; ruoteclassiche.quattroruote.it; www.maserati-indy.co.uk Pictured Above: 1965 Maserati Mexico Prototype by Vignale Pictured Above: 1966-1973 Maserati Mexico by Vignale

Maserati is celebrating the 55th anniversary of the Ghibli. On 3 November 1966, the Maserati Ghibli made its debut on the world stage at the Ghia stand at the Turin Motor Show. A new interpretation of the concept of a gran turismo car, the two-seater coupé, was designed by Giorgetto Giugiaro. The name recalled a wind, a tradition that continues with the Grecale, part of the Trident brand's new era. The Ghibli is a powerful, warm wind in North Africa that carries a great deal of sand; the decision to take its name was no coincidence, given the car's speed and the 'heat' of its technical and stylistic specifications. In its presentation of the Ghibli, Maserati debuted a car with a sporty yet unostentatious impression: the engine was newly designed, based on the knowledge from the well-known 8-cylinder used in the Mexico. It was capable of delivering an output of 330 hp in the 4,700-cc version and was followed by an even more powerful 4,900-cc version. To leave more room for style by lowering the height of the hood, the engine was equipped with a dry-sump - a solution used solely in racing, and was mounted on a tubular chassis in a very low down position. This solution gave the car its typically assertive and slender appearance, one of the cornerstones of its success. The design was entrusted to Ghia, which then had Giorgetto Giugiaro on its creative design team. The most significant design cue - the marker of a decisive change from the Ghibli's predecessors - was the integration of the volumes: there was no distinction between the car's body and the passenger compartment; they were neither separate nor overlapping rather, they were joined together as a single surface. While the lines were geometric and taut, Giugiaro's hand ensured that the sense of stiffness could be smoothed out. The most obvious new stylistic feature was the front, decidedly original for Maserati: the headlights were retractable, and the very slim grille occupied the car's entire front. The Trident logo remained in the middle, albeit smaller than before. The side view enhanced the slender line of the Maserati Ghibli: a long, low bonnet, a heavily inclined windscreen, and perfect proportions with no superfluous decoration. The triangular rear pillar took on its own identity, becoming an iconic component later in other successful models from the Trident brand. The changes from the past could also be seen in the conception of the two-seater interior, where the instruments were built into an overall design that prevailed over the individual components. The result was a gran turismo car that remained true to the exclusive, luxury style, power, and comfort - yet with an over-arching theme of racing - for which Maserati cars have always stood out. After it was unveiled at the Turin Motor Show on 3 November 1966, the Ghibli was launched in the market in 1967. The following year, its interior was restyled and could also be fitted on-demand with automatic transmission and a 5-speed manual gearbox. From 1969, the Spyder version also became available, which could be equipped with a hard top; one year later, both models were also offered with a 4,900-cc engine, taking the name Ghibli SS. In this configuration, the car further strengthened its solid market position. In all, between 1967 and 1972, 128 Ghibli Spyder and over 1,200 Ghibli coupé models were produced: one was purchased by Henry Ford (the founder's grandson), who would place it in the lobby of the Ford Product Development Center in Detroit, as an example to follow and a source of inspiration. An inspiration that has never ceased at the Trident brand: the Ghibli has always been considered an iconic car. In 2013, Maserati decided to unveil a new model, bringing back the Ghibli name for a sports saloon and thus starting another success story. Source: netcarshow Images: www.carsfromitaly.com; www.renestaud.com

Signifying Moretti’s fundamental change, in 1966, the firm displayed at the important Geneva motor show one of its few automobiles to be based on other than small and medium displacement production cars, this stunning 2+2 coupé based on Maserati’s 3500 GT. Its fastback style with sloping tail, influenced by the aerodynamic work of Dr. Kamm, was handsome and sleek. The wide grille with quad headlights was imposing, an effect emphasized by the wide, flat air intake scoop on the hood. Ribbed sill moldings emphasized its length. The effect was remarkably like that of the Iso Grifo, which had made its appearance in 1965. Source: www.maserati-alfieri.co.uk Images: ruoteclassiche.quattroruote.it

The Lamborghini Miura was designed by Marcello Gandini, of Bertone. A mockup was displayed at the Turin Motor show in 1965. It featured a mid-mounted V12 Lamborghini engine, and the original P400 produced 350 bhp (The SV shown produced 385bhp). For better ventilation, the car featured flip-up lights and a louvered engine cover. In 1967 the car hit the headlines with a top speed of 170mph. The P400S of 1969 had a stiffer shell, wider tires, improved engine ventilation, vented discs, and more power. The SV, made from 1971 to 1972, was a much-improved car, with a better suspension to stop the aerodynamic lift at high speeds and a new sump (to stop damaging oil surges during hard cornering). The Miura's rolling chassis was presented at the 1965 Turin Auto Show, and the prototype P400 debuted at the 1966 Geneva Motor Show. It received stellar receptions from showgoers and the motoring press alike, each impressed by Marcello Gandini's sleek styling and the car's revolutionary mid-engine design. Lamborghini's flagship, the Miura received periodic updates and remained in production until 1973. A year later the Countach entered the company's lineup, amid tumultuous financial times for the company. Source: Wikipedia; Lotusespritturbo.com Images: Carrozzeria Bertone s.p.a.

1966, the year of the Miura, also saw Nuccio Bertone fully occupied on other fronts. The Geneva Motor Show featured the presentation of two interesting new prototypes, one of which was the Jaguar 3.8 FT. The Turin manufacturer created a prototype for a four-seater coupé, Tarchini Svaj, the Coventry carmaker's importer for the North of Italy. The main aim of the project was to come up with a line destined to be sold through the Jaguar sales network both in Italy and abroad, and to this end, the considerable demands of the typical Jaguar client - traditionally very faithful to the brand - and the specific type of car usually produced, were kept in mind. As a consequence, Bertone worked with the idea of creating a classic design with original lights and roof, and the result is a design that overall exudes classic Jaguar style but with a more agile, dynamic, even aggressive feel. The wings are tight, up to the level of the rear roof pillar. From this point, a hint of relief creates a feeling of thrust and allows for the styling of the tail with its ample boot but very sporty feel. The most original part of the car is the greenhouse, its pillars, lights, and roof panels. While giving great light and visibility, it still retains a pleasing, welcoming, and discreet feel. The overall result is a car with a typical Jaguar feel, softened by Italian styling and given a tougher, deliberately sporty feel. In 1966, the Jaguar importer for Northern Italy, Giorgio Tarchini, commissioned the legendary Carrozzeria Bertone to build a five-seater coupé based on the Jaguar 420 saloon which was displayed on their stand during the 1966 Geneva Motor Show. At this time, Bertone had just parted company with its chief stylist, Giorgetto Giugiaro, who had moved to Carrozzeria Ghia to head its design center. Giugiaro was replaced by Marcello Gandini, the man who would be responsible for such classics as the Miura, Jarama, Espada, and Urraco for Lamborghini, not to mention the Alfa Romeo Montreal, Maserati Khamsin, and Lancia Stratos. The 'FT' Jaguar would have been one of his first designs for Bertone. The car was intended to honour the importing firm's founder, Ferruccio Tarchini, hence the 'FT' in the name. Initially, it was planned to distribute this limited edition model through the Jaguar sales organization in Italy and abroad. Still, in the end, production was limited to just the prototype show car and one other, which Bonhams sold at its Paris sale in February 2012. Predating the landmark XJ6 of 1968, this very handsome coupé has that familial Jaguar look, with a Mk10-style radiator grille and a very luxurious interior. This particular car is based on the Jaguar 420 platform and was supplied in 'CKD' (Completely Knocked Down) form, to be assembled in Italy with Bertone bodywork. Launched in 1966, the 420 was the final incarnation of Jaguar's amazingly successful medium-sized saloon line that had commenced way back in 1955 with the Mark 1. The newcomer was, in fact, a face-lifted S-Type, the latter's Mark 2-style front end having been replaced by one reminiscent of the Mark X. A development of the hugely successful Mark 2, the S-Type/420 differed mechanically by virtue of its independent rear suspension. The latter had originated in the E-Type sports car and was first seen in saloon form on the Mark X. The 4.2-liter XK six-cylinder engine was standard on the 420, which incorporated other improvements such as alternator electrics, a limited-slip differential, and dual-circuit brakes. First registered in Italy in 1969, this left-hand-drive Bertone prototype is presented in un-restored condition, complete with its original tan leather interior and dark blue metallic paintwork. Other noteworthy features include a 'Frigette' air conditioning unit, electric windows, and the four-speed/overdrive gearbox. Last used approximately eight years ago, the car has belonged to the Tarchini family from new and is sold on behalf of Giorgio Tarchini's son. The vendor informs us that the engine currently does not start, but it does turn over. Once restored to its former glory this rare coachbuilt Jaguar will surely be enthusiastically welcomed at the most prestigious of concours d'élégances worldwide. The car is offered with its original Italian libretto, copies of period newspaper clippings, copies of invitations to its presentation at the 1966 Geneva Motor Show. Source: www.bertone.it; www.bonhams.com Images: Bertone; auta5p.eu; www.bonhams.com

Giugiaro joined Corrozeria Ghia in December of 1965 and worked on two designs presented to the public at the Geneva Motor Show three months later. The first one, the G230S-delivered Ghia 450 SS, as Giugiaro's contribution only involved modifying a few details (grille, light clusters) and not the basic shape. The Isuzu 117 coupe was the Turin designer's first real research project in his new capacity as Styling and Design Center director at Ghia. In Japan, the 117 coupe became a classic among four-seater coupes. The car went into mass production in 1968 and stayed for thirteen years, with almost 100,000 units to its credit. Substituted in 1981 by the Isuzu Piazza, designed by Giugiaro at Italdesign. So much so that, along the lines of the noblest clubs of European car lovers, when it left production, an Isuzu 117 Fan Club was founded that keeps the historical record and organizes meetings and shows. Giugiaro had a four-seater coupe theme which led him naturally to the shape layout of the Fiat Dino. In a more compact form, this design repeats the Dino's belt-line movement and the cut of the trunk lid. The design of the back side window is original: the window base runs parallel with the belt line rising slightly towards the tail, while the top line is broken just at the start of the C-pillar. The classic front end sports double circular headlights with a horizontal mesh grille. The trunk lid catches the eye for its very low cut, done to divide the tail section into two symmetrical parts. The rear light clusters are unusual in their upside-down isosceles trapezoidal shape with rounded corners. The 117 Giugiaro, a super-refined version boasting newly designed interiors, went on the market in 1979. Upholstery and seating expressed shapes, materials, and colors that the designer had chosen one year earlier for the Italdesign Megagamma concept car. Source: www.isuzuperformance.com Images: 117history.com; svammelsurium.blogg.se; www.2000gt.net '

An American-Italian hybrid developed by designers Robert Cumberford and Franco Scallone, produced in New York in the workshop of Jack Griffith, powered by a 235hp 4.5-liter Plymouth Commando V8. In 1966, Griffith sold 14 units but, facing bankruptcy, sold the project to Steve Weidler, who renamed the car Omega GT. Production moved to the Holman-Moody workshop in North Carolina using bodywork made in Turin, now powered by a 271hp Ford 4.7-liter V8. Weidler made 33 Omega GTs, but his venture also ended in bankruptcy. Finally, Intermeccanica took over the project and created the one-off Intermeccanica Italia based on the Omega GT. Source: carsthatnevermadeitetc

In 1966 at the Turin International Auto Show Ghia displayed their Giorgetto Giugiaro styled 450/SS. The cars were hand-fabricated which meant production was low - only 52 were created. Ivan Ruiz, a collector of Italian cars, showed MacDougald his 1967 Ghia 450/SS—a pretty coachbuilt Italian convertible based on Plymouth Barracuda running gear. These beauties carried a $13,000 sticker price and in modern times they are priceless. The car is made up of many Chrysler components. Source: Ghia Images: Pal Negyesi; Ron Kimball/KimballStock

The fantastic Fitch Phoenix, the first of a projected series of 500 cars, remains the only one in the world today. Strangled aborning by the bureaucracy and red tape of Washington, D.C., the Phoenix was Fitch's concept of what a luxury grand touring machine ought to be. It was a dramatic departure from production cars of its day. The body styling resulted from a three-year collaboration between Fitch and illustrator Coby Whitmore, his good friend and neighbor. Together they constructed a full-scale mockup which they spent countless hours developing and refining. The final design was executed in steel by Frank Reisner's Intermechanicca Group in Turin, Italy, and wedded to a highly modified Corvair drive train and running gear. Building on a base of readily available mechanical parts was essential to ensure that spares would be available and to simplify servicing. As assembled by Fitch, the Phoenix's Corvair underpinnings gave sensational performance and handling. The car weighed in at just 2,150 pounds dry, and the flat-six air-cooled engine, fueled by multiple Weber carbs and tweaked to 170bhp, got to 60mph in just 7.5 seconds and had a top end of 130. Brakes were Girling discs for and 9.5-inch drums aft. Tires were radials, but mounted on 6-inch rims in front and 7-inch rims in the rear, so two spares were required, one of each size. A classic touch was mounting the spares in front fender wells. Fitch premiered his dream car in New York on July 7, 1966. Priced at $8,700, it created a sensation. Unfortunately, 1966 was also the year Congress passed the Highway Safety Act, legislating the establishment of a Highway Safety Bureau to set safety standards for automobiles. However, until the bureau was set up, a director appointed, a staff hired, and standards established, Fitch could not go into production with any assurance that his car would meet the as-yet-unspecified standards. Interim standards were established but challenged in the courts by Ford and Chrysler, and it wasn't until January 1, 1968, that things were finally firmed up. But by then, Nader's criticism of the Corvair had killed it, and Fitch had his source of mechanical components knocked out from under him. Despite its shelving, the Phoenix would become synonymous with Fitch, regularly used and displayed by him. It is certainly no stranger to the Greenwich Concours d'Elegance, were it was driven to and shown by him a number of times. Source: www.bonhams.com Images: www.intermeccanica.org; www.hemmings.com

The Vanessa, designed by a young Giugiaro, and released at the 1966 Turin Motorshow, was a car designed specifically for female drivers. Using the Fiat 850 Idromatic mechanicals (including automatic transmission), it featured by no means ridiculous ideas, including a baby seat that folded down from the rear backrest with a separate side entrance (useful for shopping, too) alongside separate front seats with decorous swiveling cushions (claimed to ease use when wearing a miniskirt!) and elegantly articulated safety backrests, a host of padded drawers and cubicles for makeup, umbrellas, handbag and the like, and a commodious carpet-lined boot in the front. Source & Images: carrozzieri-italiani

An alternative two-door coupe project was developed by Pininfarina in 1966. The appearance of the coupe almost completely repeated the spider work of Tom Charda: the main difference was the huge panoramic glass at the back, framed by a thick B-pillar. But Pininfarina's proposal was rejected - the Fiatians preferred their own project of a spacious four-seater coupe. So this car did not go into production, and practically nothing else is known about it. Whether this copy has been preserved to this day in the storerooms of Pininfarina or was destroyed, we do not know. We have three photographs taken in the Pininfarina viewing room and several publications in Italian magazines of the time. Source: motor.ru Images: Pininfarina

The Fiat 124 Smart, created in 1966 by Francis Lombardi, was a very square-styled coupe with a huge luggage compartment. Thanks to the large greenhouse area and narrow pillars, the car had a spacious and very bright interior. Not the most beautiful styling example, but it had immaculate lines similar to some Carrozzeria Boneschi creations designed by Bonetto in the 60s, recalling the “Linee Tese” design language of those years. Source & Image: carrozzieri-italiani

Seeing these photos, many will think that this is another craft from the ubiquitous tuners who abused the "penny" and made a convertible. But they didn't guess - this is the real factory Fiat 124 C4, which was released in 1966 with the help of the Carrozzeria Touring bodywork studio from Italy. The car is very rare if you can call it that, as it exists in a single copy. The prototype was created based on the serial Fiat 124, which subsequently, with minimal changes, began to be produced in the Soviet Union under the brand name VAZ 2101 until 1988. At first glance, the car looks just like a sedan with a cut-off roof. But in fact, the convertible has a number of subtle differences that gave chic to the modest Fiat. So, the windshield was tilted for the sake of a dynamic silhouette. The doors were not only lengthened but also made a spectacular oblique trailing edge. And to give the body rigidity, the height of the thresholds was doubled. This copy of the convertible was shown off at the Turin Motor Show in 1966 under the name "C4 Touring Superleggera" about a thousand applications for a car from individuals and dealers were also accepted there. To the delight of the studio, the Carrozzeria Touring studio decided to start a small-scale assembly of the new model. But this was not destined to come true. Fierce competition from major studios Pininfarina and ItalDesign forced Carrozzeria Touring to abandon this idea, and after a while, the studio declared itself bankrupt. Source: pulson.ru; motor.ru Images: Touring Superleggera

The Fiat Moretti Sportiva is a small coupé produced by the Moretti Motor Company based on the Fiat 850 from 1967 to 1971. It was based on the engine and chassis of a Fiat 850 Coupe. Introduced in 1965 at the Turin Motor Show, the Sport was Moretti’s last car that could be customized beyond the usual choice of seat colors. According to the buyer's taste, there was the possibility of obtaining trim and equipment levels of great prestige for the age. The Sport was initially proposed as a two-seater coupé, although it became available as a convertible. The original Sport had dual headlights, although a dealer from Switzerland fitted two sports with quad headlights to resemble the not yet available Fiat Dino. The Sportiva was originally offered with an 850 cc engine producing around 47 hp (35 kW) at 6,000 rpm. The standard engine was later enlarged to 982 cc. Due to the aerodynamic profile, it was necessary to mount the spare wheel horizontally in the front luggage area, occupying it entirely. Therefore, the designers had to create a luggage compartment, made from a stiff cloth, between the seats and the engine space. The lack of rear seats was unappreciated by purchasers, and in the successive year, Moretti introduced the S4 four-seater. Approximately 300 examples of the Sport were produced in various forms (around 52 examples of the Moretti Sportiva S2). The base price for the Moretti Sport in 1967 was 1.095.000 Liras which could increase with personalization to nearly two million Lira. The more luxurious and modern Fiat 124 in the same year had a list price of 1.035.000 Liras. Source: www.carsfromitaly.net; wikipedia Images: www.moretti-cars.net; tocmp.org