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This wedge-shaped coupe built on Volkswagen units was presented at the 1970 Turin Motor Show. The design features can be noted: a safety arc integrated into the body, opening headlights, and a fuel filler cap extended outward in front of the windshield. It was a seat sports car based on the Beetle platform with a rear-mounted 85hp flat four-cylinder engine. Source: carsthatnevermadeitetc.tumblr Images: www.conceptcars.it; www.zwischengas.com; www.ultimatecarpage.com

The British brand is strongly associated with right-hand drive copies of Jim's cars and with duplicates of Opel products. However, history knows the old independent developments of Vauxhall, for example, serial models serial models of Wyvern and Victor and SRV (Styling Research Vehicle) show car, which the Opel team never dreamed of. It may seem that the photographs show a supercar with a pair of doors, but this is not the case - the SRV was conceived as a sedan-like cruiser over five meters long, only 1.05 meters high, and with giant wedge-shaped overhangs. “Designers have always loved two-door sports cars because they are easy to make. I doubt that anyone has ever been able to design a four-door coupe before,” said Wayne Cherry, an artist and one of the project's authors, who joined General Motors in 1962 and took the position of vice president of design in 1992. He did not provide for his starship entirely appropriate wings, but he used small rear "gates" that open against travel direction. “The idea was camouflaged doors – you couldn’t see them until they were flung open. The understanding came that you had a four-seat car in front of you, and it was a real wow effect, ”continues Cherry. The original “vest” did not immediately master serial production - they were used only at the beginning of the 2000s on the Mazda RX-8 and Saturn Ion. A new and unusual solution turned out to be a well-forgotten old trick. A 2.3-liter turbocharged four-cylinder engine with two camshafts was placed transversely behind the cabin. The result of an unusual solution for a sedan was a specific weight distribution with 35% of the mass on the front axle. An overly light “nose” could be loaded in a very original way by pumping fuel into the front 20-liter gas tank using an additional pump. At the same time, if necessary, the clearance on the rear axle changed using electrical adjustment. The interior of the first mid-engined Vauxhall in history was also surprising. Rigidly fixed bases of non-adjustable chairs are included with the load-bearing structure. The adjustable steering column and pedal assembly made it possible to choose the optimal fit. The instrument panel was not located in the usual place but was a box trimmed to the right door panel. The experimental Vauxhall was shown at the British Motor Show in 1970, immediately making it clear to the audience that nothing like this would appear in serial production. Source: motor.ru (translated from Russian) Images: GM; www.lotusespritturbo.com; vauxpedianet.uk2sitebuilder.com

The prototype of an electronic town car, the Toyota Commuter, was unveiled by the Toyota Motor Company at the Tokyo Motor Show in Tokyo last month. The new Toyota town car is a multi-purpose, door-to-door vehicle designed to serve within limited areas of city commuting, school-going, and shopping or within factory premises or railway station compounds. Powered by lead batteries, it is entirely free of toxic exhaust gas. Toyota executives have announced no plans for producing the experimental town car. Source: Toyota Press Release Images: philippe.boursin.perso.sfr.fr; www.thejumpingfrog.com

In 1970 the dream car for Turin Motor Show was intentionally extreme in shapes and technical solutions but anyway thought for mass- production. The starting point is the Volkswagen Porsche 914/16, but there isn't the slightest similarity between this prototype and the production version. The formal trend refers to de Tomaso Mangusta more than the Iguana, presented a year before. Softness and litheness give way to sharp lines, straight radii, and pronounced corners. The wedge is used here for the first time, and it will be used again in many other cars in years to come. Doors and hoods are very exotic and considered fancy solutions for the time, like seagull wings opening the doors for passengers and engine. This solution imposed the design of a "cross" steel central structure that carries the hinges of doors and hoods longitudinally while transversally becoming a roll-bar. Lights, foldaway are protected by a square overhang. Volkswagen Porsche Tapiro was bought by a private collector but faced a cruel fate: in the 80s, this unique prototype was found wholly burned after a car accident. The Porsche Tapiro was designed in 1970 by Giorgetto Giugiaro of ItalDesign. It was Giugiaro’s 4th prototype at Ital and one of his favorites at the time. It was based on the Porsche 914/6 platform and featured a mid-mounted 2.4 liter flat 6 cylinder Porsche engine, giving 220 bhp and 7200 rpm. Their car had gullwing doors, and the windscreen profile was almost the same angle as the bonnet. Its dimensions were 4060 mm long, 1760 mm wide, and 1110 mm high. Sources: www.italdesign.it; Lotusespritturbo.com Images: ItalDesign; Concept Car Central

Coachbuilt Porsches are a rarity, given that the German manufacturer has almost always built its car bodies in-house. However, that didn’t stop French coachbuilder Heuliez from producing the 1970 Murène concept, based on a Porsche 914/6. These days, Brissonneau & Lotz builds industrial crane parts. Still, in the late sixties, the French company operated as an automotive coachbuilder and had what would turn out to be two of the 20th Century’s most successful transport designers on its payroll. One was Paul Bracq, who subsequently became head of design at BMW and sired the legendary BMW Turbo concept of 1972. The other was Jacques Cooper, who not only collaborated with Bracq to create the first TGV turbotrain during their time together at B&L but also penned a new shell for the VW-Porsche 914/6 during his stint there. As many will know, the 914/6 was a collaboration intended to equip Volkswagen with a flagship sports car and Porsche with an entry-level model to slot in beneath the 911. Although thousands were ultimately sold, the 914 venture wasn’t without its problems: the death of VW Chairman Heinrich Nordhoff led to complications in the union of the two manufacturers, while the abrupt styling caused opinions to diverge. Enter Jacques Cooper, who sought to resolve the latter by penning a sleek alternative body on behalf of his employers. On seeing Cooper’s sketches, B&L management kick-started the project by acquiring a donor car furnished with the more desirable six-cylinder Porsche engine. However, the resolute Frenchman took his design to Henry Heuliez, whose company had made a name for itself outfitting commercial vehicles and the occasional Citroën motor car. But soon after settling down to work, Cooper’s pet project ground to a halt due to financial difficulties at B&L’s parent company Chausson – hence his take on the 914 seemed doomed before it had even turned a wheel. Cooper was given the go-ahead by his employers to co-operate with the Heuliez research department to complete the project. Since much of the design work had been completed, Cooper’s proposal proved enticing for Heuliez – it offered widespread exposure to the automotive giants it sought to provide services to, but at a minimal cost. It debuted at the 1970 Paris Motor Show, flaunting two-tone beige paintwork and the ‘Murène’ sobriquet – French for a particular eel species. Porsche might have overlooked the Murène, but it fulfilled its intended purpose – Heuliez subsequently gained traction in the automotive sector, plugging niche markets with small-series vehicles. And while it didn’t spawn a limited series production run, the Murène certainly offered a captivating alternative to the familiar original produced by the German carmaker. Source: Joe Breeze - www.classicdriver.com Images: Mario Buonocunto Concept Cars Page; Andre LE ROUX Site; Archives Heuliez via bowlsby.net

The Pontiac CF 428 is a concept car that was built in 1970. The car uses the chassis of the Pontiac Grand Prix. The CF 428 project was led by engineer Paul Farago (C is for Coggiola, F is for Farago). He wanted to fit the 428 cu in V8 engine that produced 395hp. The car is a two-door, two-seater wedge-shaped muscle car that was painted orange and given a black interior. Source: Pontiac CF 428 | Classic Cars Wiki | Fandom. https://classiccars.fandom.com/wiki/Pontiac_CF_428 Images: www.conceptcars.it; Pinterest

In the sixties, Holden had been busy experimenting with several concepts such as fuel injection and overhead camshafts. It was decided to design a Holden sports coupe on July 14th, 1969. By December 15th, the first body had been built, showing the effort and outright determination of building a production lightweight sports coupe. After this, the engineers started on the mechanicals, which had already been developed in the Torana, created on the track by Harry Firth and the boys. The Torana running gear seemed a perfect option. It helped drop the production costs, which is why Holden developed the six-cylinder race engine in the first place instead of continuing with the Chevrolet V8s and Monaro. There were certain criteria that this coupe had to meet if it was to become a production model, and the most important was the price! The Torana had the right ingredients in the suspension, transmission, and engine departments. What Holden did with these restrictions was nothing short of brilliant, and it was a great shame it never made it to the production line. The GTR-X was loaded with features like 4-wheel vacuum-assisted disc brakes, retractable seat belts, foam-filled fuel tank, and electric windows, to name a few. The GTR-X had to be sold for approximately eight years to show a reasonable profit margin, however, to cover the tooling, production, and design costs. The GTR-X came very close to going into production, and the decision not to was probably because of the release of the Datsun (Nissan) 240Z. The Datsun won the world over, and the price was super competitive, which showed in its sales, the 240Z became the biggest selling coupe globally! Colour sales/info brochures on the GTR-X were even printed and handed out at various motor shows. Opel may have contributed to the demise of the GTR-X as well because it was already selling its coupe, and the parent company GMC was not sure the market could handle two low-cost coupes as both Opel and Holden exported to the same countries then and still do today. The Opel was a very modest performer, and the GTR-X would have been much closer in performance to the Corvette, but it is now history, and Holden was only allowed to build one coupe, the Monaro. Source: www.canberratoranaclub.com Images: GM; www.gmh-torana.com.au

The Ghia City Car is the only surviving example in today's sale from the brief period when Alejandro De Tomaso owned Ghia before Ghia's acquisition by Ford. The Ghia City Car is typical of the late Sixties - early Seventies focus on transportation modules to accommodate what was seen as ever-increasing, and ultimately strangling, traffic congestion in the medievally-constricted city centers of Europe. The Ghia City Car is one of the earliest examples of compact - even diminutive - people movers developed by Ghia and other European designers and manufacturers that concentrated on packing the greatest occupant density into the smallest volume. Like the Ghia City Car, all are powered by the smallest possible engines. They reflected the 1973 energy crisis, either in advance as foreseen by Ghia's designers in 1970 with the City Car or reacting to it in subsequent years. At the time, "engine management" was only the dream of a few engineers laboring in secluded garrets far inside the manufacturers' castles, and the solution to air pollution was seen as incredibly small engines tuned to maximum efficiency at peak power and working as hard as they could all the time. That describes the 500cc engine intended to power the Ghia City Car. With seating for four and provision for luggage space over the rear-mounting engine location, the Ghia City Car could be loaded with nearly a half-ton of passengers and luggage. And yet, as Ford's J Mays noted recently, the city cars of the Seventies, personified by the Ghia City Car, "were ten to twenty years ahead of their time. What are now successful city cars, the SMART, Mercedes A-class, and Fiats, are all tied to the family tree of these experiments." The Ghia City Car, with its reverse-hinged "suicide" doors and the rear hatch, is an almost impossibly compact package, an expression of Ghia's talent in creating an "industrial" design - one created to maximize its physical attributes - that also is aesthetically pleasing. Only 54 inches wide and 101 inches long, the Ghia City Car is only 6 inches wider and 5 inches longer than a standard US 4'x8' sheet of plywood. It is built on a wheelbase barely 5 feet 3 inches long. Currently, a non-running concept, the Ghia City Car is in remarkably good condition for its age. The doors and rear hatch work. Its metal body is smooth and straight, with even panel gaps. The windows are made of glass. Riding on tiny 10" cast alloy wheels with 145 SR 10 Goodyear tires and a working suspension, the Ghia City Car is very presentable, although there are some small paint defects on the nose and stress cracks showing at the top of the windshield posts. Its flaws are remarkably minor, given its maturity. While the Ghia City Car is showing its age, it also displays the talent of Ghia's designers and the Ghia artisans who turned the designers' concepts into metal. A one-off Turin Motor Show concept, the Ghia City Car meets the threshold criteria for the most important and prestigious concours. It would be a standout participant amongst the Ferrari, Lincoln, and Rolls-Royce if accepted. That's hard to buy at any price. Source: www.christies.com Images: www.christies.com

Mustang Milano is a sleek, two-passenger grand touring car like those seen cruising the countryside near Milan, Italy. The hood of this Ford Division show car contains air scoops for power-producing ram-air induction. The back window and deck lid raise electrically to provide generous access to the luggage compartment. Milano's taillights glow in green, amber, or red to indicate whether the car is accelerating, coasting, or stopping. Source: Public Relations, Ford Division Images: Ford Motor Company

Motauto asked Zagato to start afresh based on a Volvo 164. Not only was the resulting GTZ 3000 shorter, more comprehensive, and lower than the donor in original form, it had also shed some 300kg and been honed for aerodynamic efficiency. Alfa Montreal-like headlamp covers were implemented, while a bonnet that peaked above the rectangular grille provided a more tangible link to Volvo’s design language. But despite a warm reception from visitors to the 1970 Geneva Motor Show at which it landed, Volvo once again declined. Three strikes and Motauto declared itself out. Source: Classic Driver Images: Zagato

Ford exhibited the Maverick Estate Coupe concept vehicle at the 1971 Chicago Auto Show. The Estate Coupe had a dark green padded "Landaulet" roof over the rear seating, and the body finished in limefire green. That unique color used a subtle gold-flake base and complimented the avocado interior. Cast magnesium wheels had a spoke design reminiscent of the classic wire wheels. Source: www.chicagoautoshow.com Images: Ford Motor Company; www.chicagoautoshow.com

Larry Shinoda designed the 1970 Ford Mach II Concept in 1970 as a challenger to the Chevrolet Corvette. It did not, however meet production. The car was based on a De Tomaso Pantera chassis and engine. The rear design was influenced by the 1962 Corvair Monza GT. The Mach II project was abandoned when Ford teamed up with De Tomaso to sell the Pantera in the USA through their Lincoln-Mercury dealer network, cheaper than developing this car. Larry Shinoda left Ford soon after designing this car and set up his own Company, Shinoda Design Associates. Source: www.lotusespritturbo.com Images: deansgarage.com; Wayne Barratt - www.lotusespritturbo.com

The 1970 Super Charger was Dodge's latest show car entry. Based on the 1968 topless Charger, the Super Charger was designed by Dodge stylist and built by George Busti of Creative Customs in Detroit. Using the 1968 topless Charger, the Super Charger had a strong platform on which the stylist could make cosmetic changes. New of 1970 introduced tapered nose cone and functional air scoops on top of both fenders, which were borrowed from the Dodge Daytona. Engine cooling was increased by adding two vacuum-operated louvers in the hood. The rear decklid now incorporated an adjustable air spoiler. The driver could electronically operate the rear fin for increased rear downforce. The Super Charger's new paint scheme included seven "Fire Orange" paint coats with non-glare black accents. The interior was changed to current 1970 standard Charger. The black-trimmed interior included fully padded high back bucket seats. Based on the '68 Topless Charger idea car, this vehicle was updated with a Plymouth Superbird-style nose cone, wore brilliant (and original) Fire Orange paint with a black hood, had a cut-down 10-inch windshield, and, unlike many of its show-only cousins, came equipped with an honest-to-goodness 440-cubic-inch, 375-horse Magnum V8. Features that never made it to the production line included a rear spoiler that automatically adjusted as speeds increased, vacuum-operated hood vents, side pipes, and twin flip-open gas caps. Source: www.coachbuilt.com; www.is-it-a-lemon.com Images: Chrysler Corporation

“Signore” Pietro Frua was already a big shot at the legendary Pininfarina design firm. Later, he walked out of the company to do his own thing and created some of the most memorable, most amazing, and most desirable one-off cars ever made. These were, of course, not cheap; in the early ’70s, a Frua special was in the $100,000+ range ($730,000 in 2020). So let’s say you’re an important, loaded fellow, and you need a new ride. Something unique because mass production is for poor people. Something Italian but with some muscle? You call Mr. Frua, and incredible automotive magic happens. Dr. Alfred Shäfer, director of the Schweizer Bankgesellschaft (Swiss banks union), did just this in 1970. Shäfer was friends with Walter Haefner, Swiss entrepreneur (today one of the oldest billionaires in the world), founder of AMAG (Automobil Motoren-AG), and Chrysler importer in the Confoederatio Helvetica; together, they came up with the idea of turning a regular Dodge Challenger into something extraordinary, and Frua made it happen. The R/T SE 383 Challenger was given a sleek Italian body and an assortment of parts from European cars to be reborn as the timeless masterpiece it became, a Mopar in a tuxedo. Without a doubt one of the most beautiful cars ever made, the Frua Challenger has (thankfully) made it to the present in great condition; the car was almost left unfinished because it nearly “killed” its creators, Shäfer and Haefner; the two were returning from a meeting with Frua in Turin when their plane experienced problems and was forced to make an emergency belly landing. The Challenger exchanged hands in 1977, ending up with Nicolas Leutwiler Zumikon, another Swiss national. Despite being only seven years old, Zumikon ordered a full car restoration; he also had the interiors replaced (white cream leather), the radiator grill chromed (black), the bumper overriders removed, and the wheels changed for wire ones. Sources: http://carfanaticsforum.com/thread-6138.html: http://challenger.mpoli.fi/board/topic-4807: http://www.pietro-frua.de/1970_dodge.htm Images: www.concorsodeleganzavilladeste.com; www.supercars.net; www.pietro-frua.de

Little is known about the 1970 De Tomaso Studio City Car. This microcar concept was presented at the 1970 Turin Motor Show but would never go into production. Images: www.uniquecarsandparts.com.au

To understand the 1970 Lamborghini Miura Le Mans Concept, you have to understand Luigi Colani - the man behind this fiberglass pod-inspired prototype that combined the rear end of a Lamborghini Miura with the front end of what appears to be a glider. Colani - originally born Lutz Colani in Berlin in 1928 - pioneered the biodynamic school of design, which was characterized by rounded, organic forms Colani believed to be ergonomically superior to traditional design. Throughout his long career, which spanned from the 1950s to his death in 2019, the German designer applied biodynamic design to everything from ballpoint pens, the Schimmel Pegasus grand piano, the Soviet ekranoplan, and car design. Colani also created several biodynamic-inspired concept cars for manufacturers, including Fiat, Alfa Romeo, Lancia, Volkswagen, and BMW. The most striking of Colani’s designs is the Lamborghini Miura Le Mans concept from 1970. Launched in 1966, the original Bertone-designed Miura is widely regarded as the world’s first supercar thanks to its 3.9-liter V12 engine, which propelled it to a top speed of 163mph and would reach 0 to 60mph in 6.3 seconds. Its rear mid-engined two-seat layout and jaw-dropping looks, including its unmistakable “eyelash” headlights, may have also contributed to its status as the “world’s first supercar.” Almost everyone in the motoring world regards the Lamborghini Miura to be one of the finest pieces of car design ever. Almost sixty years since its launch - the Miura is still winning awards for its aesthetics. Earlier in 2020, it scooped the GQ Award for the Most Beautiful Car Ever Made. Enter the Lamborghini Miura Le Mans Concept from 1970. Now, we said “almost everyone,” meaning everyone apart from Luigi Colani, who saw an original Miura and thought, “hmm... I can make what is considered one of the best looking cars in the world make it look better by making biodynamicising it”. It is also probably worth adding that Lamborghini had no part in Colani’s design. Essentially, Colani booked a table at a Michelin Star restaurant and brought along his own ketchup bottle to “improve” the meal. Colani sawed a Miura in half, threw the front in the bin, and kept the rear end with the original car’s wonderful 3.9-liter V12, suspension, and six-speed gearbox. As for the front end, it was made of fiberglass and appeared to resemble a glider. The driver and passenger would lie almost horizontal in the cockpit and control the car with a joystick. To ensure it kept within the principles of biodynamics and achieved as much of a spherical, streamlined form as possible, Colani hid the front wheels under the body, meaning they could not turn. At this point, I hear you asking, “why the joystick?” This is because the rear wheels didn’t turn either - going around a corner was achieved by connecting the front and rear of the Miura Le Mans Concept through tie rods and pedal cables, meaning that the car would bend in half. Envisage in your mind an articulated bus, and you would be correct in picturing how the Miura Le Mans Concept would tackle the twisty stuff. Unsurprisingly, the Lamborghini Miura Le Mans Concept never made it to the 24 Hours of Le Mans. However, it was a fully functioning prototype and became a regular on the international car show circuit from 1970 to 1974. As a showpiece, Colani’s bright orange concept was repainted blue and decked out with Veedol oil stickers during its last year. The car then disappeared in the United States, lying forgotten until it resurfaced on eBay in 2010. It was auctioned off for $75,000 despite having a broken front suspension, no engine, and peeling paintwork. The rear wheels were still intact, which was a plus point for the owner. Source: The Design by Luigi Colani That Makes the ... - Dyler. https://dyler.com/posts/305/the-design-by-luigi-colani-that-makes-the-lamborghini-miura-look-boring Images: Colani Design; eBay

In 1970, Colani proposed an alternative supercar project to Mercedes-Benz, which had shown a concept C 111 central engine coupe powered by a Wankel rotary piston engine the year before. I must say that despite the shape and color, more reminiscent of a product from a sex shop, the car turned out to be very streamlined: the drag coefficient Cd was only 0.2 - half that of sports cars of that time. Source: Vlad Klepach - motor.ru Images: Colani Design

One of Chrysler’s more unusual show cars was mentioned at the July club meeting, the Cordoba de Oro. Chrysler has displayed several show cars over the years. In 1970 Chrysler showed a very wedge-shaped car, the Cordoba de Oro. It was styled by Elwood Engel and featured a cantilevered roof with no A-pillars. In this fashion, it harked back to the Norseman of 1956, which also featured a cantilevered roof. The Norseman was a Virgil Exner creation, Engel’s predecessor as styling chief at Chrysler. The Cordoba de Oro had unusual features with a thermostatically controlled air intake and experimental headlights. It was built on the standard Chrysler wheelbase of 124 inches. The production 1975 Chrysler Cordoba was quite a different car, an intermediate with a 115-inch wheelbase. The Norseman was built by Ghia in Italy, who had a long association with Chrysler that was only terminated when Ford purchased Ghia. Exner had wanted to do rollover tests on the car, but it suffered a much more dramatic fate. It was shipped on the Italian liner, Andria Doria. That liner collided with a freighter off the coast of Long Island and took the Norseman to the floor of the Atlantic. Unfortunately, the Norseman never made it across the Atlantic. This must be one of the most bizarre ends for an experimental car. Source: John G Huntington - www.cavoa.com Images: Chrysler; www.chicagoautoshow.com; www.v8buick.com; Revs Institute Archives

The 1969 Aero Coupe started life as a stock 1968 350 Corvette. It was modified by Bill Mitchell to a show car and used to preview the 1970 1/2 styling changes. The changes he made included a taller windshield, a one-piece lift-off roof, large side exhaust; spoilers, front and rear, cast alloy wheels, and cross-hatch grille and side vents. The car was painted bright red, and at certain times, Mitchell used the Aero Coupe as his personal ride. A short time later, in 1970, the Aero Coupe was reworked and renamed Scirocco. It had a ZL-1 all aluminum 427 C.I.D. engine coupled to a prototype 4-speed automatic transmission. It received the slim, Manta Ray-style side pipe covers, a new paint job with the front bumper-grille assembly painted body color, the mirrors were moved up the door pillars, and the roof panel was given a rearview periscope. The car worked as the pace car at the Can-Am races for the next four years. In 1974, the car was restyled again and was renamed Mulsanne. The Chevrolet Corvette Mulsanne wore 1975 style front and rear bumper covers, painted bright metallic silver. The pop-up headlights were replaced with 4 rectangular lamps under body-fitting clear plastic covers. The hood had a raised center section with recessed, functional scoops on both sides. The interior was completely trimmed in leather with fixed seats, adjustable pedals, and a steering wheel. Chaparral style lace aluminum wheels were used. The ZL-1 aluminum engine was bored out to 454 C.I.D. and was equipped with an experimental Rochester fuel injection system. Bill Mitchell called the Mulsanne “the greatest Stingray ever.” Source: Bill Bowman - wiki.gmnext.com Images: General Motors Design

Luigi Chinetti and his North American Racing Team (NART) are legends in American (and worldwide) motoring. He was the man who brought Ferrari to America, and the initials of his racing team mark some of the world’s most valuable Ferraris. In 1969 or 1970, Chinetti met with GM with the idea to create something exotic based on one of their cars. So, using a modified 1969 Cadillac Eldorado chassis, Chinetti (and his son, Luigi Jr., who helped pen the body), created this unique one-off creation. It is powered by a mid-mounted 8.2-liter V-8 making 400 horsepower. The car is rear-wheel drive instead of the Eldorado’s standard front-wheel-drive layout. The body was constructed out of aluminum by Zagato in Italy. Styling cues are a mix of both European performance and GM parts bin. Unfortunately, General Motors never really gave the car any consideration for production. Still, Zagato did show it at the 1971 Turin Motor Show, and Chinetti showed it again in New York later that year. It’s a unique piece of history – perfect for collectors of Cadillacs, General Motors concept cars, Zagato concept cars – and even Ferraris. It all ties in. It should bring a respectable $280,000-$450,000. Source:NART - Ferrari garage at Sebring 1962 | Factory Ferrari .... https://www.flickr.com/photos/smuckatelli/36018768252/ Images: Zagato; www.shorey.net