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The Ferrari P6 was designed by Pininfarina and first shown to the public at Turin Salon in 1968. The car was to feature a mid-mounted 3-liter 500bhp 60° V12 engine, though the prototype was a rolling chassis. The car design was to form the basis of the Ferrari 365 BB first shown in 1971. Source: Lotusespritturbo.com Images: Pininfarina; Lotusespritturbo.com; www.shorey.net

At the beginning of 1967, an Alfa Romeo initiative to create a very special concept car began to take shape, and the result was presented at the Montreal Expo the following year. The manufacturer aimed to relaunch its glorious marque on the lucrative overseas markets, and to accomplish this it moved towards the idea of a very advanced sporty coupé which would, in the words of Nuccio Bertone, satisfy "man’s greatest aspirations for a car". Nuccio Bertone was entrusted to interpret this concept, and to show the Expo visitors Alfa Romeo’s genuine commitment to come up with a car of great class, futuristic in its design but still respecting the style and taste canons of the day, all within a limited time. Once again, Bertone managed to come up with one of the most beautiful cars of its day, the Montreal. He created a two-seater + 2 coupé with innovative lines, featuring some highly original elements such as the radiator grille, front headlights, and lateral air outlets. Two were produced, and it was the only car on show at the Canadian Expo. Source: www.bertone.it Images: Bertone Archivio Storico; www.alfamontreal.info

This body was mounted on the 1963 Ferrari 250 P chassis #0812. Originally a 250 P from 1963, the car was converted to a 275 P. In races, this car was very successful, with successes in 1963 and 1964. In 1965 the car burned out at St. Jovite. Michelotti rebodied the car. The result of that is mentioned here. In 1989 the car was restored by Autosport Bastiglia in Italy. In 1999 the car was restored to its original form in Italy. Source & Images: www.ferraridatabase.com

Designed by Pininfarina in 1968, the Ferrari P5 was first shown at the 1968 Geneva Motorshow. The P5 won immediate acclaim for its futuristic design, even if some Ferrari purists grumbled at its perceived departure from Ferrari design orthodoxy. Built on P4 chassis number 0862, the two-seat coupe featured a three-liter V12 engine mounted in its tail. A walk around the brilliant white car (later repainted red) revealed a design composed of intersecting convex and concave volume. The design featured a low, concave front fascia with a narrow slot for ventilation for the radiator. Just above this, integrated into the hood, was a bank of headlamps. Flanking this front assembly was pontoon-like fairings for the front wheels. The upper body was almost entirely formed of a transparent teardrop canopy, its gullwing doors revealing a spartan composition of two seats, driving controls, and little else. Seats were minimally ergonomic, and the headrests were built into the firewall that separates the cabin from the engine compartment. The car was a study in aerodynamics and design, and it helped influence later day production Ferrari’s, most notably the clear rear glass over the engine. Source: Ferrari 250 P5 Pininfarina Concept - Supercars.net. https://www.supercars.net/blog/1968-ferrari-250-p5-pininfarina-concept/ Images: www.shorey.net; Pininfarina

The Topless Charger began life as a standard 1968 Charger R/T. Chief stylist for Chrysler Corporation, Elwood P. Engel, used the roofless Charger as an evaluation in styling. The Charger's roof was cut down to the beltline, while a short windshield kept the occupants' faces. The door handles were removed to maintain a sleek, clean image, and the rear seating area was covered with a roadster hard-shell boot. The white with blue-trimmed Charger had its bumpers de-chromed and painted body color (white). The hood and trunk lid were both painted non-glare black. Additional sport features included a perforated stainless alloy steering wheel, cone-styled side view mirrors, custom racing wheels, finned side pipes, locking hood pins, and dual quick-fill gas caps. Source: www.coachbuilt.com Images: Chrysler Corporation

The Dodge Daroo I, one of the wildest factory show cars on the '60s scene, was the product of a partnership between Dodge design manager Bill Brownlie and George Barris, Hollywood's self-professed King of the Kustomizers. Revolution was in the air, and the Daroo I made a big splash for Dodge on the custom car show scene with its radical, cut-down profile and flamboyant pearl paint. While there was never any production intent for the stunning custom, Chrysler was a major presence on the hot rod show circuit with its Rapid Transit and Scat Pack display programs, and the Daroo I made an ideal attraction. The name Daroo means dart or spear, and its pointed nose certainly emphasizes the name. The Dodge Daroo I hit the show car circuit in 1968. The Daroo I was based on a new Dart GT Sport convertible, and the job called for a lot of slicing and dicing! It was hard to find the Dart underneath all the swoopy bodywork with its cut-down roof and glass, pointed nose, and velocity stacks. But tracers of the stock Dart dashboard could be seen among Daroo I's new interior features. It was presented at the 1969 Detroit Auto Show and appeared later in the October 2001 Mopar Muscle Magazine. Source: Dodge Dart and Plymouth Duster. By Steve Statham; Barris Kustoms of the 1960s. By George Barris, David Fetherston Images: Chrysler Corporation; Boss Mustang's photostream

The 1968 Dodge Charger III Concept is an experimental two-seater only 42 inches high, 184 inches long, and 73 inches wide. Features include a jet-aircraft-type canopy, swing-away steering wheel, elevating bucket seats, and spoiler-type air brake flaps. Twin hood scoops supplement air entering the engine compartment through the grille. Side scoops ram cooling air to rear brakes. Dodge Division's sporty experimental car, which contains many of the gauges and instruments found in the 1968 Charger passenger version, is on a tour of auto shows throughout the country. The low-slung "Candy Apple" red two-seater is only 3 1/2 feet high. Charger III's spoiler-type air brake flaps are synchronized with the regular braking system. Twin quick-fill gas caps and stop lights, which supplement the full-width taillight, are located under flaps. With no rear window, pop-up mirror is used for rear, wide-angle vision. The switch console is located on the driver's left and includes controls for lights, temperature, radio, and wipers. Service hatch permits routine checks of battery, electrical fuses, oil, and water without raising the hood. The space-age interior of Dodge Charger III contains specially contoured bucket seats with integral head restraints, resembling space capsule acceleration couches. Seats move forward and upward as the canopy raises and the steering wheel swings away. The center console houses the transmission selector lever, parking brake, and passenger assist handle. The recessed switch console at the driver's left includes controls for lights, radio, heater, etc. It was presented at the Chicago Auto Show. Source: Dodge Public Relations Images: Dodge; www.motortrend.com - Matt Stone; www.hamtramck-historical.com

This gorgeous car was built on the last chassis produced by the original Bugatti company. Although the chassis was built in 1951, it languished until 1961 when it was delivered to Virgil Exner, the famed American auto designer. The car, as seen in the picture, was completed in 1965 by Ghia from an Exner design and has been dubbed “the Last Bugatti”. This car debuted at the 1965 Turin Motor Show with hopes of reviving the Bugatti marquee. Although the car received great enthusiasm at the show, due to financial constraints, Bugatti just could not be resurrected. Before this car, ten other examples of Type 101 were produced each with different coachwork. The Type 101s sat atop a modified type T57 chassis and included a 3.3-liter straight eight-cylinder engine, good for 200 hp. Source: carstyling.ru Images: Automobile Quarterly - July 1987

Working primarily as an independent stylist Giovanni Michelotti designed many famous vehicles, which coachbuilders or manufacturers executed. One of his lesser-known concept vehicles is the DAF 55 based "Siluro," Italian for "Torpedo." After its debut at the 1968 Geneva Motorshow, it was not seen in public until it recently resurfaced at the 2005 AutoRAI in Amsterdam. In those 37 years, it served mainly as a memorial to Giovanni Michelotti in his son's garden. He inherited the car after Michelotti's sudden death in 1980. Before starting work on the Siluro, Michelotti had already worked as a consultant for DAF when the DAF 44 and 55 road cars were designed. The single most remarkable feature of these small sedans was the continuously variable automatic transmission, allowing the cars to drive as fast forward and reverse. Although the DAFs did not feature a powerful engine, their versatility made them quite successful in motorsport. The most sporty road cars was the DAF 55 Coupe, which served as a base for the Siluro concept. The Siluro was a design exercise used by Michelotti to showcase the latest trends. One of the most noticeable is the wedge shape, which is very apparent in the Siluro. After its Geneva debut, the Siluro returned to Italy, where Michelotti kept it until his 1980 death. The car quickly deteriorated in his son's garden in the following years, where it was used mostly as a shelter for the local animals. Eventually, it was tracked down by the DAF museum and brought to The Netherlands for the very first time. DAF production stopped many years ago, and much of the Siluro was custom-made by Michelotti, so restoring the one-off was quite a task. Backed by generous sponsors, the Siluro was slowly but steadily brought back to its original shape and condition. All the hard work paid off, and the Siluro made its Dutch debut 37 years after its conception in Italy. Source: Wouter Melissen - www.ultimatecarpage.com Images: www.conceptcars.it

In 1968, GM unveiled the AstroVette show car. According to an official press release, "This clean-contoured, experimental Corvette is a study vehicle, which will provide useful information in another automotive design investigation area." The car was based on a blue production '68 convertible. It was built in the spring of 1968. The shape and the aluminum wheel covers suggested a land speed record Bonneville salt flat racer. The paint was pearlescent white, and the blue interior was dyed black. Other than a non-stock steering wheel, the interior is production stock. The side flaps in the front fenders are non-functional. They are only scribed in the body. The original 400hp L-68 427 engine mated to an automatic Turbo Hydra-Matic transmission was not modified, except for some chrome items. Tall narrow Firestone tires added to the Salt flat racer look. The car was not very popular at first, and it earned the name "Moby Dick." Soon after its unveiling, it was relegated to secondary show car circuits and eventually put in storage. At some point in time, the car was repainted orange, and in 1992 the car was restored to original show car specs. The 1968 Chevrolet Corvette Astro-Vette concept car was an aerodynamic study to see how slippery the Corvette could be. Two notable styling features were picked up in 1973 and 1974. In 1973, when most cars got huge, chrome front bumpers, Corvettes got the Astro-Vette treatment. Then in 1974, the tail end was restyled, a la Astro-Vette. Source: Frank Markus, MotorTrend Magazine; Mario van Ginneken - www.corvettes.nl; Bill Bowman - wiki.gmnext.com Images: www.shorey.net

The 1968 Chevrolet Astro II (XP-880) was introduced at the 1968 New York Auto Show as a practical, personal sports car designed to carry two passengers and their luggage comfortably and rapidly. A hint of Astro I styling flavor is seen in the frontal appearance of this running experimental car, but unlike the Astro I, Astro II had doors to access the passenger compartment. The contours had been altered slightly to accommodate wide section tires, which promoted stability and handling and reflected the change in dimensions, resulting from adopting a mid-wheel base location for the engine. The air-cooled, single overhead camshaft six-cylinder engine used in the Astro I was replaced with a liquid-cooled 390 horsepower MK IV big-block V8 engine, with power passing through a two-speed torque converter from a Pontiac Tempest transaxle. Unlike many European mid-engine vehicles, the Astro II carried its radiator at the rear, a location intended to minimize the amount of plumbing required and to keep the hot water lines from passing through the passenger compartment. This arrangement freed the front compartment for the storage of luggage. The sponson area on either side of the car behind the passenger compartment was available for extra storage, and a collapsible spare tire on the right. The rear section of the Astro II was raised aft of the passenger compartment immediately to allow access to the sponson storage areas and the engine and suspension. The Astro II has a wheelbase of 100 inches, an overall length of 181 inches, and a height of a mere 43.7 inches. The overall width is 74 inches. Inside, driver and passenger were snug, surrounded by well-padded surfaces, which provided maximum lateral support, advantageous because of the high maneuverability of this vehicle. The instrumentation was normal, with 270 degrees sweep speedometer and an 8,000-RPM tachometer. The conventional complement of gauges included water temperature, air pressure, ammeter, and gasoline gauge. A sliding transmission selector replaces the usual lever. Lead engineer Zora Arkus-Duntov and GM styling chief Bill Mitchell were hoping Astro II would be the concept for the next-generation Corvette. Still, the GM management figured the public was not ready for a mid-engine car. The Astro II is currently part of the GM Heritage Center Collection. In total, there were three Chevy Astro Concepts: 1967 Chevrolet Astro I Concept 1968 Chevrolet Astro II (XP-880) 1969 Chevrolet Astro III Concept Source: Bill Bowman, wiki.gmnext.com Images: Vintage Web, www.corvettefever.com; General Motors Archive

BMW 2000 ti coupe was built by Pietro Frua (the project number 350) for an unknown client and exhibited at the Paris Salon in October 1968. It appears that it was a development of the idea of Monteverdi 2000 GTI, which Frua demonstrated in March 1968. BMW 2000ti Coupe was equipped with a 1,990 cc engine from BMW 2000SA. Distinguishing features: BMW-style "kidney grille" Front turn yellow with chrome base Spoked wheels BMW logo on hood and C-pillars Source: BMW 2000 ti Coupé by Frua (1968) - BMW Concepts and .... https://bmwconceptsarchive.wordpress.com/2015/01/08/bmw-2000-ti-coupe-by-frua-1968/ Images: www.pietro-frua.de

The origins of the Manta concept go back to the mid-sixties when legendary engineer Giotto Bizzarrini began to develop the P538 competition prototype to race against the likes of Ford's GT40, Ferrari's 250 P, and Porsche's 906. With that caliber of competition, Bizzarrini plowed maximum resources into the project, picturing a Le Mans win that would provide professional acclaim and serve as a personal triumph over Ferrari. The two parties had awkwardly parted company in 1961, following a disagreement between Enzo Ferrari and many of his most talented staff. Although it started the 1966 Le Mans race, the P538 lasted just half an hour on the track before being hindered by a ruptured radiator pipe – but not before setting one of the highest speeds on the Mulsanne Straight. This did little to counter Bizzarrini's disappointment, but his problems were soon to grow unbeknownst to him. A regulation change in the prototype category soon afterward – which limited engine capacity to 5,000cc – immediately rendered the 5,359cc Corvette-engined P538 obsolete, and with the finances of the company resting on its success, the end was nigh. The death of one so often leads to the birth, and such was the case with the P538. Bizzarrini's former collaborator and long-time friend Giorgetto Giugiaro, after several successful years at Fiat, Bertone and Ghia, was forming Italdesign. Giugiaro needed a platform for his first independent project, and Bizzarrini needed cash, so the redundant P538 chassis (number 003) swiftly changed hands, Corvette engine, etc. On 13 February 1968, Italdesign was formally created. A deadline for the inaugural project was set for the Turin Motor Show – allowing just 40 days for transformation from forgotten chassis to show-stopper. Suppose there's one characteristic that differentiates the great from the good. In that case, it's the ability to work under pressure – and despite the seemingly impossible window, Giugiaro duly presented the new car in Turin. Resplendent in Acid Green with Orange accents, the Manta (named after the Manta Ray, thanks to its flat, aggressive profile) stunned show-goers. It was the world's first 'one-box' GT; the constant curve from bonnet to roof was unconventional, to say the least, and resulted in a 15deg rake to the windscreen. Giugiaro devised an ingenious solution to overcome the visibility issues: a 'venetian blind' system at the foot of the windscreen. It could be opened manually during low-speed maneuvers through cityscapes and closed to preserve aerodynamic integrity at the high speeds allowed by the racing car underpinnings. The low, wide stance afforded by the car's racing pedigree also meant there was a generous amount of lateral space for the talented designer to play with. Perhaps inspired by the 1966 Ferrari 365 P Speciale by Pininfarina, he gave the Manta a three-seat configuration with a central driving position – though some remarked that the encroachment of the front arches gave the driver-flanking occupants little legroom. The driver was a little more spoilt, and he also knew the steering column wouldn't impale him in an accident, given its collapsible design. Having done the rounds as a highly successful PR tool for newly formed Italdesign, a decade of mystery shrouds the Manta's fate. It went missing in 1969 on the way back to Europe from an event in Los Angeles, only to resurface ten years later at a customs auction. After that, it remained in Europe before making its way to the States, and it has since won multiple awards, including a class win at Pebble Beach. Though it was a 'rush job,' the Manta not only skyrocketed Italdesign into the automotive stratosphere and inspired countless other designs (penned by Giugiaro or otherwise), it is also remembered as one of the most representative concept cars of the seventies, if not the 20th Century. Its existence may be easily explained as 'one man's trash is another man's treasure,' but the truth is that there are few designers on the planet as talented as Giugiaro. And to prove that, bear in mind that he was just 28 when he created one of the most memorable concept cars in history... Source: Joe Breeze - www.classicdriver.com Images: ItalDesign; Mario Buonocunto Concept Cars Page; Gooding and Company

At the 1968 Geneva Motor Show, Bertone presented the Panther, a racing prototype for the Brescia Corse team, destined for the Prototype World Championships. The chassis was a monocoque for obvious reasons of the practicality of replacement and enhanced aerodynamics. The rear was designed to feature two large grilles for engine cooling and the exhaust pipes. The refined aerodynamics also featured a prominent, high, wing-shaped spoiler above the cockpit, which could be hydraulically controlled to vary its effect. The prototype featured many advanced solutions, such as the geometry of the suspensions, tubeless tires, and a 24 Volt electrical system that offered equal absorption but allowed for the use of smaller, and therefore lighter, conductors. Source: www.bertone.it Images: Bertone

Just in time for the 1968 Turin Motor Show, Pininfarina finished work on this Bentley T, which was to become a one-off. With its distinct sportive lines, the Two Door Fastback Saloon showed a clear distance from the four-door standard saloon from the factory. Pininfarina had preferred a more modern design than the quite attractive Mulliner Park Ward two-door saloon designed by Bill Allen (and in 1971, given an identity of its own as Bentley Corniche). Not even the original shape of the radiator shell had been considered to meet demands exactly, so this had been subject to certain re-styling. Those familiar with Pininfarina's creations did notice that the master had copied himself regarding one detail: the striking lower roof edge with lines extending as the upper rear wing line had been a feature of a styling study based on a Ferrari 365GT exhibited at the 1967 Paris Motor Show. Pininfarina's factory documents listed the car as a "Coupé Speciale," though sometimes the description "Berlina 2 Porte" is found. This car was a striking reflection of those special features, which had been the very essence of the Bentley Continental of the early post-war period. Here was a motor car perfectly suited for the owner-driver, a car with a powerful engine and fine road-holding capable of covering vast distances without fatigue. The bonus of the sportive design did not result in compromises regarding passenger comfort. Not everyone does know that this Bentley T, which was listed at Archivio Pininfarina with the number PF 917, made an extraordinary impact on Rolls-Royce. The company did ask Pininfarina to design a big coupé - based on using the floorpan and engine of the Rolls-Royce Silver Shadow, too - for the following year, 1969. The new coupé was, of course, the Rolls-Royce Camargue, and it cannot be denied that Pininfarina's Bentley T Coupé Speciale sparked off the initial idea. However, there was a tremendous delay - mainly from problems at Rolls-Royce - before this new model started in 1975. This Bentley, which, in addition to its charm, has been a major link in the co-operation between the top Italian designer and the noble English motor car manufacturer, is a unique motor car. Over more than three decades, this Pininfarina-bodied Bentley T had been subject to but marginal modifications. Some of the original polished wheel discs covering the rim completely have been substituted by some to the pattern used on the Bentley Corniche. The original chrome bumpers are no longer fitted. Their place is occupied by those Polyurethan-edged bumpers introduced in 1976 on coachbuilt Rolls-Royce and Bentley motor cars to meet American safety legislation. However, the car's color still is "Velvet Green," such a dark shade of green that the car appears to be black if not exposed to direct sunshine. Source: K.-J. Roßfeldt - www.rrab.com Images: www.supercars.net; www.rrab.com

Manzù’s research into new appliances and technical solutions, which began with the City Taxi, was paralleled by his studies of sports cars. He developed two projects that both went as far as constructing complete models but without the mechanicals. The Autobianchi stand at the 1968 Turin Motor Show exhibited the study for a car with two-door coachwork and a centrally mounted engine. This was the Autobianchi Coupe with a polyester body, distinguished from the second study, called Autobianchi 111, by certain details in the design of the body, divided in both cases into four different sections: the first included the radiator, headlights, and battery; the second the luggage compartment under the hood in front; the third contained the cabin; and the fourth section housed the engine, the principal mechanicals, and the fuel tank. The care shown in the choice of the materials used for the body was not the only outstanding feature of the two cars. Both the 111 and the Coupe re-launched the idea for a sports car that could be produced cheaply, with an attractively designed body and a rational yet forward-looking interior treatment. Source: Enrico Leonardo Fagone - autodesign.socialblog.us Images: www.piomanzu.it; www.manzonidesign.com

The AMC AMX-GT is a concept car developed by American Motors Corporation (AMC) for the 1968 show car circuit. The design of the grand touring-type rear-wheel-drive pillarless coupe of monocoque construction with two doors and a truncated rear end treatment was influenced by AMC stylist Dick Teague. The AMX GT was built by shortening the 4-seat Javelin coupé to a 97-inch (2,464 mm) wheelbase (the same as the production 2-seat AMXs), lowering, or "chopping," the roof, and cutting off the tail. The one-off AMX-GT body used a fiberglass rear and featured side-mounted "macho external exhaust pipes." It appeared in two versions. At the New York International Auto Show in April 1968, it was red with a white stripe on the sides that ran across the roof. It also had plain, flush wheel covers, generic all-black tires, a side-mounted exhaust, a ram-air intake hood, an integrated roof spoiler, and fixed rear side windows (quarter glass) with no support (or "B") pillar. The wheels were soon replaced by an alloy five-spoke design with Goodyear white-letter tires. The hood and roof were repainted a contrasting dark blue. This color scheme, which followed the major character lines of the car, was applied to some of the early factory-sponsored race cars before AMC changed to bands of red, white, and blue. The AMX GT provided several clues to future production models and options. The most immediately available were the optional side exhaust pipes for 1969 Javelins and AMXs. A slightly modified version of the show car's hood scoop became part of the factory production "Go package" option on Javelins and AMXs for the 1970 model year. The flat black "shadow mask" paint treatment also became available in the 1970 AMXs. The AMX GT's truncated tail treatment reappeared in 1970 on the Gremlin subcompact. The show car provided the general shape for the small Gremlin. The design, an example of Teague's approach to maximizing AMC's limited resources, resulted in a new version from an existing platform. Source: wiki Images: www.autoweteran.gower.pl

The second 33 Stradale-based concept car displayed at the November 1968 Turin Salon was executed by Pininfarina. The P33 Roadster mixed subtle curves with plane-like surfaces but was most memorably equipped with a basket handle-type aerofoil positioned just behind the cockpit. Painted white with the interior and aerofoil in brown, it seems probable this body was later removed by Pininfarina and replaced with the 1971 Alfa Romeo P33 Cuneo by Pininfarina that debuted in January 1971 at the Brussels Motor Show. Source: www.qv500.com Images: pininfarina spa.; Paolo Martin - www.paolomartindesigner.com

Along with other tuners (such as Giannini), Carlo Abarth also had a look at the Grand Prix. First seen at the 1968 Paris Motor Show, Abarth's version received a tuned version of the larger 903 cc engine from the recently introduced Fiat 850 Sport Coupé/Sport Spider. Abarth Scorpione, 1968 - 52 PS (38 kW). Abarth 1300 Scorpione, 1970 - More powerful Fiat 124s 1.2 liter engine, bored out by 2.5 mm for a total of 1280 cc, this model has 75 PS (55 kW). Abarth Scorpione S/SS, 1969-70 - This powerful model was extensively re-engineered, with a coil-over front suspension, a reworked rear suspension, anti-sway bars front and rear, and all-wheel Girling disc brakes. The top speed is 115 mph (185 km/h). After Fiat took over Abarth in 1971, the Scorpione was quickly canceled. Source: wiki Images: www.bernimotori.com; ruoteclassiche.quattroruote.it

Jacques Cooper styled this 1969 Porsche Murène for Brissonneau & Lotz, a French firm initially founded as a locomotive engineering and manufacturing firm but later involved with automotive production, including bodywork for Opel’s GT. Financial difficulties forced B&L to cancel the project shortly after acquiring a donor car, but rather than concede defeat, the resourceful Cooper (best known for leading the design of the first TGV prototype) simply shopped around with his sketches before finding a partner in historic French coachbuilder Heuliez. The resultant car debuted at the 1970 Paris Motor Show, but Porsche AG passed on the design despite its popularity with the public. The car then went into storage for many decades until recently and has reportedly since been treated to light cosmetic and thorough mechanical refurbishment. We’ve always thought it was a cool-looking car and would love to see it at an upcoming Retromobile. The design isn’t as successful from some angles as others, but neither was the production 914. It’s a quirky, endearing thing, and we’ve always admired its distinctly French take on things. Bodied in plastic and originally presented in the light brown and cream livery saw below at its 1970 Paris Motor Show debut, the car’s upper portions were resprayed in orange shortly afterward. Note that the wheels were changed too. The lower dash and door interior door panels differ from standard 914 items, but everything else looks largely standard in the period promotional image below. Mechanicals were standard 914-6, meaning power comes from a 2.0 liter, 125 HP flat-six driving the rear wheels through a 5-speed transaxle. The car has undergone some light cosmetic and more thorough mechanical restoration before its last sale in 2012, though we gather it’s never actually been street-registered. Source: One-Off Heuliez Prototype: 1969 Porsche ... - Bring a Trailer. https://bringatrailer.com/2018/04/30/one-off-heuliez-prototype-1969-porsche-914-6-murene/ Images: oldconceptcars