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THE PALOS VERDES CONCOURS, WHERE FRANCE MEETS CALIFORNIA

So you didn't make it to Monterey for the mother of all concours weeks? Not to worry, friend. The 20th annual Palos Verdes Concours d’Elegance, on Sunday, September 16, will more than make up for what you missed. This year the show will highlight classic "French Curves," representing probably the most beautiful and flamboyant automobiles ever created.

The Grand Marshals will be collectors Peter and Merle Mullin, owners of the magnificent Mullin Automotive Museum in Oxnard, CA and best of show winners at the 2011 Pebble Beach Concours d'Elegance. The Mullins are enthusiastic collectors of a period when French automobile designers like Figoni et Falaschi, Pourtot, Saoutchik, Chapron and others were creating what could be called the "romantic period" of automobile styling.

The Mullin Automotive Museum’s 1939 Delahaye 165 Figoni et Falaschi will highlight the Palos Verdes event, but the concours will also feature Bugatti and other examples of fine French design. In addition to viewing more than 200 exhibited cars, visitors can see craftsmen at work in Restoration Alley, shop for gifts, dine in the elegant Club House, and examine show cars in the display areas. The Concours will be preceded by a "Road Rallye" on Saturday, September 15.

California coastline and French coachwork? What more could you want? Perhaps a chance to help others: The Palos Verdes Concours is a charity event with proceeds benefitting the Palos Verdes Art Center’s educational and community outreach programs and Palos Verdes Rotary Foundation Charities, including Harbor Area Boys & Girls Clubs.

[Photos: Michael Furman, courtesy Palo Verdes Concours]

CLASSIC CAR NEWS REVIEW: AUG 03, 2012

CLARK GABLE'S DUESENBERG JOINS MONTEREY AUCTION

With the Monterey classic extravaganza fast approaching, the auction houses are competing to offer the rarest and most interesting cars. Gooding & Company has secured four automotive icons to be sold at its Pebble Beach auction, August 18th and 19th, led by a 1935 Duesenberg Model JN convertible coupe once owned by film star Clark Gable. It is one of just 10 JNs built and one of only four convertible coupes. Get the fascinating background story at this link. [Photo: Courtesy Gooding & Company]

TWO BEST OF SHOW WINNERS AT ST. JOHN'S

Daniel Stroh of Hemmings reports on the ConcoursUSA at St. John's, with a story featuring not one, but two Best of Show winners. As different as they are in some respects (one tall and stately, the other low and sporting) he finds that they actually have a lot in common, including custom bodywork and 6-cylinder engines. I remember the 1933 Delage D8S roadster by DeVillars quite well, having been hired to write an article about it shortly after the car came out of the RM restoration shops. The full story and photos are seen here. [Photo: Len Katz, courtesy Concours d’Elegance of America at St. John’s.]

WINDING ROAD TESTS NEW JAGUAR XKR-S CONVERTIBLE

I was enjoying a brew at my neighbourhood coffee shop this morning when Briana, the owner, reminded me of the time I took her for a ride in a then-new Jaguar roadster. That was a half-dozen years ago when I was testing cars for About.com. She laughed and said "I've never gone so fast in my life. That was fun!" Briana, and anyone else who loves fast cars and Jaguars, should read Winding Road's test review of the new XKR-S convertible. Read the entire review by clicking here. [Photo: Winding Road]

THE GREAT RACE HELPS CELEBRATE OUR 400TH BLOG

A few days ago I published a blog about how I imagined seeing the competitors in The Great Race from an Air Canada Embraier 190 at 35,000 feet. I was looking down on Lake Michigan as the entrants made the transition from Canadian to US roads. Thanks to Nigel Matthews I can now show you some of the cars I would have enjoyed watching had I been at ground level. An eclectic group, indeed, and indicative of how much fun it must be to compete in this classic car run. The car above is a 1934 Ford Speedster.

The Grey Poupon Express, a 1958 Rolls-Royce, arrives at a lunch stop.

This 1907 Renault Vanderbilt Cup racer was the oldest competitor.

Stripped for racing, a magnificent 1931 Auburn.

Turning the clock back to 1930 with a Riley-Ford.

Tevie Smith of Vancouver, BC with his 1947 Chrysler Woodie, known as the Termite Taxi.

The McKeel Hagerty 1959 Bocar. Fast and pretty but The Great Race is not about speed. It's about time, distance, and the endurance of both cars and crew.

[Photos: Nigel Matthews]

SPOTTING THE GREAT RACE FROM 35,000 FEET

Seated in an Air Canada Embraier 190 I looked down on Lake Michigan at what I assumed was the Mackinac Bridge. Thanks to the GPS map on the seatback screen, which I followed throughout the 5-hour flight from Toronto to Sidney, BC, I had a pretty good idea of our location. Try as I may, however, I couldn't spot any cars competing in The Great Race. Not that I really expected to but I was fantasizing about seeing our Marque1 correspondent Nigel Matthews. As Canadian head of Hagerty, the classic car insurance giant, Nigel attends many concours, auctions and events and with Hagerty as one of the lead sponsors it was only natural that he'd be involved.

The event, a controlled-speed endurance contest restricted to cars from the 1969 model year or earlier, has traditionally been held in the lower 48 states. This year, the drivers were circumnavigating the Great Lakes, taking in many of the communities that propelled the development of the automobile and visiting, for the first time, Canadian locations.

In spite of its name, the Great Race is a time-and-distance rally, something I'm familiar with from my own motorsport days. Along the route there are checkpoints recording the exact time that the team passes. The objective is to arrive at each checkpoint at the correct time, not the fastest. The score is the result of the team’s ability to follow designated instructions precisely (usually 220 to 250 per day). GPS, computers, and cell phones are not permitted and odometers are taped over. It's a test of human mental agility and endurance as well as classic car endurance.

The course avoids timed segments on interstate highways, opting instead for scenic local, county, and state highways whenever possible, through some of the prettiest country in the United States and, this year, Canada. Nearly $120,000 in prize money is given to competitors who follow instructions correctly, awarded on July 1 at the Henry Ford museum in Dearborn, Mich. Don't be deluded into thinking that powerful contemporary machines have an advantage: the starting grid included a 1907 Renault, a veteran of the Vanderbilt Cup Races held on Long Island before World War I. According to the Great Race's official Web site, the Renault would be the oldest car ever to participate, beating out last year’s 1911 Velie.

I try not to be envious of my friend Nigel's motoring activities but this is one event in which I'd love to be involved and if that were to happen I'd probably be feted as the oldest driver to take part. I certainly have the background to justify such a ride but beware, anyone who might step forward to offer a seat. I'm no mechanic and would be next to useless if en route repairs were required. Better I should look down from a Brazilian-built jetliner.

I'D ROLL OVER TO OWN THIS CABRIOLET. IN FACT, I DID

My association with the French Simca was peculiar, amusing, and rather frustrating. I'd just been sacked as assistant public relations manager of Volkswagen Canada for the sin of taking my wife and baby son with me on a business trip to the Maritimes. The trip was successful and the VW dealers agreed that bringing my family along was a nice touch but VW Canada's Managing Director Werner Jansen was old school and fired me the moment he found out. I needed work and Simca, which was launching the Simca 1000, hired me temporarily to assist with pr and create a brochure.

One of my suggestions was to prepare a 1000 for sedan racing. I'd won a CRDA class championship with a modified VW and since both cars had their engines in the rear, the dreaded oversteer was well within my capabilities as a driver. Simca's management agreed, the suspension was altered and suitable tires were fitted. But someone in the group suddenly objected to spending money on engine modifications and with no time to argue the point the car was entered in its first race with an absolutely stock powerplant. Qualifying found me on the back row for the first time in my life, next to a BMW 700.

The Michelotti-designed coupe was no dragster but when modified, as my competitor's was, it could be quick. Not quick enough in the class in which we were racing, though; consequently he and I would compete for last place. I don't recall his name but this gentleman, a German immigrant, was an accomplished racer. I suspect he was as embarrassed as me while lining up on the grid. When the starting flag fell, however, we were both determined and gave it our best. It was fun for us and possibly the spectators, cut-and-thrust on every corner, and I won. No trophies for finishing second-to-last, though.

A few weeks later I was invited to drive a Simca of a different kind at Mosport. The Aronde had been raced by a CBC radio producer with poor results, and so dealer-owner Bruce McFarlane invited me to try it during race practise to determine if there was a problem with the car. There certainly was. I was accustomed to oversteer with my VW and Porsche, but this Simca's suspension had been modified to the extreme in the opposite direction. It understeered so badly that the only way to get through a corner was to enter slowly and add throttle (gingerly) on the way out.

On the third lap of open practise I entered a fast right-hander with a gaggle of competitors following. Normally I'd take the inside line and let them pass on the left but I could barely keep it on track. So I took the outside line, leaving plenty of room. The following drivers stayed to the right except for one eager-beaver in an Austin-Healey who was determined to pass me on the left. His fender tapped mine and the Simca, already on the edge of adhesion, traveled up a grassy bank and rolled over, ending on its side. I quickly shut off the engine and crawled out, with no worse injury than a bloodied knee.

Owner McFarlane was quite offended that his car had been damaged (albeit lightly) and refused to believe my complaint about understeer. I showed him the patch of blue paint and went off to find the offending Healey which, sure enough, had a matching scrape. The driver, Paul Muir, was nowhere to be found. Meanwhile the dealer repaired the Simca and raced it with its regular driver who, as usual, brought up the back of the pack.

All that is ancient history. Now I look on Simcas with a certain affection, and so I was attracted by this rather rare 1960 Aronde Cabrio. It has been properly restored and is offered by Dutch dealer Joop Stolze Classic Cars "at a price to be agreed on by buyer and seller." Joop Stolze is a classic sports car enthusiast who, 36 years ago, imported his first TR3A from London. Today his collection consists of hundreds of extraordinary cars. Everything has been imported by Joop himself, which he says causes prices to remain low and histories to be more reliable.

THE CITROËN DS19, 10 YEARS AHEAD OF ITS TIME. NO, MAKE THAT 56 YEARS

When I was starting my advertising career in 1966 I wanted to write an ad for the Citroën DS19. The headline under the photo would have read: "In 1956 They Said We Were 10 Years Ahead. It's 1966 and We're Still 10 Years Ahead. When Are They Going to Catch Up?" The copy would go on to explain Citroën's futuristic advantages and ask why the competition was so far behind.

I soon learned that in the ad business copywriters don't get to choose their clients. Clients choose the ad agency and we writers rave about the product whether it's crap or not. So I never got to write an ad for Citroën or any of the other automobiles I admired. I did write many car ads and commercials over the years but few of those vehicles appealed to me.

My reason for wanting to write a Citroën ad was simple. I thought it was one of the most beautiful cars I'd ever seen and was mesmerised by the technology. It was an opinion shared by many others. The DS came in third in the 1999 Car of the Century competition and was named the most beautiful car of all time by Classic & Sports Car magazine.

So how do you improve on a masterpiece? You don't if the Numéro 9 concept (above) to be unveiled at the Beijing Motor Show later this month is an example. Citroën is touting it as the DS19's spiritual successor. Well, forgive me folks, but the Numéro 9 has none of the elegance, beauty, and futurisim that was represented in the DS19. On the other hand it would be almost impossible, indeed foolish, for the company to have attempted a retro version.

Perhaps the most spectacular technical feature was the DS 19's ability to be raised or lowered on its suspension according to the driver's needs. Lowered, and the already impressive aerodynamics were further improved, as was the roadholding. Raised, and the Citroën could be driven over deeply rutted roads. Easier for well-dressed ladies to enter and exit, it also made tire changing simpler. The all-encompassing hydro-pneumatic system included power steering, brakes, and a semi-automatic transmission. Disc brakes were fitted to all four wheels, inboard up front. The roof was made of fiberglass and the hood of aluminum.

The interior didn't disappoint. Braking was accomplished, not by a typical pedal, but a much smaller "button" on the floor. The steering wheel had only one spoke, which grew out of the steering column like a branch on a tree. The dashboard was a work of art, where drivers could operate the integrated controls without taking their hands off the wheel. Did I mention that the DS19 was front-wheel-drive? But what would you expect from the company that pioneered fwd in mass-produced cars with the Traction Avant back in the 30s?

Sadly, it was the engine and transmission that prevented the DS19 from becoming a major success in America. Hampered by French tax laws that removed any incentive for large, powerful engines, Citroën had to make do with a relatively small 4-cylinder powerplant. And the transmission was a semi-automatic at a time when all American manufacturers could offer full automatic convenience. The clutch was automatic but the driver still had to change gears manually. It's possible that Citroën had yet to develop a system that could work well with front-wheel-drive.

During its 20 years, 1,456,115 units were made, including the lower cost ID. But in the vital North American market only 38,000 units were sold. Citroën did show the car's versatility with a station wagon, a convertible, and a stretched executive version; the same one seen in movies and newsreels, chauffering Charles de Gaulle and other dignitaries. On TV it is the choice of The Mentalist's Patrick Jane, who drives an eggshell blue Citroen DS21 Pallais.

With due respect to the Chinese, it's probable that very few buyers have ever heard of the DS19, let alone seen one, so the Numéro 9 concept may be ideal for its hoped-for expansion in that market. As for me, I may like it better when I see the car rather than a photo, but for sheer beauty I'll stick with the DS19, even though I never did get to write that ad. Hmm... wonder how it would sound in Chinese?

GREAT PRETENDER OFFERS ADVICE ON CHOOSING A CONCOURS

Perhaps it's just my imagination but I'm getting the impression that more and more concours d'elegance are being added to the calendar each year. Is this a good thing? Yes, in a way, for it means that people all over America, who otherwise might never see a great classic car, are being exposed to these rare and exquisite beauties. Those same folks wouldn't travel halfway across the country to attend a concours but if there happened to be one within a hundred miles and it's properly promoted, they might make the effort.

On the other hand, in spite of the popularity of the collector car hobby and the number of restored survivors from almost any era, we may be reaching a point where concours organisers begin competing against each other for important entrants. Much as car owners enjoy showing their vehicles and seek to win prizes for best in show, there is a limit to how many they can attend without stretching personal schedules and even budgets. And that forces them to make choices which may not be in an organiser's best interest.

What made me think about this was a conversation I had the other day with a fellow enthusiast who owns a 3-year-old Shelby GT500 and pours a considerable amount of money into performance and aesthetic upgrades. Chris' area of interest revolves around this and similar cars and though he's aware of collector cars and likes them, my friend had no exposure to the great classics of the 20's and 30's until he saw one being auctioned during Barrett-Jackson's Scottsdale TV coverage. It was, literally, an eye-opener, and led him to ask me about those "concoors" and how he might get to attend one.

We began by discussing Pebble Beach but our conversation soon focused on other locations and he was quickly overwhelmed by the number of possibilities (as was I). In California alone there are, in 2012, at least seventeen concours worth seeing. We live in the Pacific Northwest so California, which has more classic cars than anywhere in America, is an obvious destination. As well, my friend is an avid golfer and several locations have notable courses nearby.

Now here's the funny, or sad, truth about me as an expert on concours d'elegance. When Chris asked how many I'd actually attended I was forced to admit, "just three... Pebble Beach, Kirkland (Washington), and Palm Springs." That's it, folks. Dozens of car shows and other events in Canada, the US, and England but only three concours. Through most of my adult life I was too busy working and when I finally retired to write about classic cars I could no longer afford the journeys.

I'm still undecided about which to recommend to Chris as his first concours, although the Palo Alto Concours d'Elegance next September 16 (see above, and click on this link) is a serious contender. An outstanding show amid magnificent surroundings and this year featuring "French Curves," those sensuous, curvaceous French beauties of the pre-war era. Think of it as the Moulin Rouge with cars instead of dancers. As for me, I intend to get around more in the future and would love to combine a concours with a special "railfan" event, for I enjoy vintage trains as much as I love classic cars. And two-for-one would be a lot easier on my travel budget.

IN PRAISE OF THE STRAIGHT-8 ENGINE

Let's kick off the new year with a few kind words on behalf of the 8-cylinder inline engine, shall we? During the 1930s and into the 40s it was the one to have if you couldn't afford a V-12 or an even more costly V-16. Indeed some straight-8's produced enough power to drive that era's muscle cars; fast sedans, coupes and convertibles that were middle-class-affordable. All were respected for their smoothness and straightforward design.

No doubt some of our viewers will disagree with such praise, especially fans of Henry Ford's V-8, the old lion having gone directly from four to eight because he disliked sixes. Others may feel the straight-8 is a dinosaur that barely merits a mention in any discussion. I think it's one of the most aesthetic, smoothest-running engines ever devised and I may not be alone in that opinion. A few years ago Ford presented a concept car at the Detroit show that featured an inline-8 mounted east-west and working a front-wheel-drive transmission. It was, of course, a dummy engine that never would have been produced, but at least showed there were some in Ford who longed to bring back the straight-eight.

Consider, for example, the Buick Century of 1936 to 1942. In theory the first models could achieve 100 mph, that being the reason for the model name, though the actual top speed at GM's proving grounds was 95.6. (In those years, remember, 100 mph was a magic number, when kids would peek at a speedometer and if "100" was imprinted on the instrument, would actually believe the car could go that fast.) Each year the Century's power was increased until in 1942 it was delivering 165 bhp, more than enough to top the "century" mark.

Buick had a serious competitor from Hudson, dubbed the Essex-Terraplane Eight. When the 1933 model was introduced it had morphed from a six, a refinement of Hudson's straight-8 and a serious competitor for Ford's V-8. With 94 bhp and a relatively light weight it could beat the Ford V-8 to 60 mph by 2.4 seconds. Top speed was 83.0 mph vs. the V-8 Ford's 81.8 mph. Graham (another marque gone to the history bins) had a Special Eight available in 1934 with a supercharger. In 1935 Cannonball Baker piloted a supercharged Custom Eight from coast-to-coast in four days and 5.5 hours. No Interstates in those days, friends; his record remained unbroken for 41 years.

Most marques from GM and Chrysler used straight-8's before and immediately after WW2, as did Studebaker and Nash. It's important to note, however, that only upmarket models featured an overhead valve design, the Buick Century being a good example. At the luxury end of the market straight 8's with twin-overhead-cams were used to provide maximum performance. Among the finest were those from Duesenberg, Bugatti (photo at top), Isotta-Fraschini, Auburn, Stutz, and Alfa Romeo. Mercedes-Benz would create the last notable straight-8 racing cars in 1955, with the championship-winning W196 Formula One racing car and the 300SLR sports racer.

Eventually auto manufacturers preferred the compact, sturdier layout of a V-8, where ample power could be produced without expensive overhead-cams, although today multi-valve twin-cams are standard in everyday fours and sixes, plus a diminishing number of V-8's, which shows just how far technology has advanced. Nevertheless the straight-8 will always be appreciated for its simplicity, smoothness, and rather elegant appearance.

You can read more about the straight-8 and its history in this Wikipedia article.

THE MULLIN MUSEUM, AN HOMAGE TO ART DECO AND FRENCH CAR DESIGN

An article in the New York Times Wheels newsletter drew my attention to the magnificent Mullin Automotive Museum in Oxnard, California. The Times article explains that "Rétromobile, the annual collector car show held in Paris in early February, this year will feature 10 significant French cars from the Mullin Automotive Museum in Oxnard, Calif., many of them having not been exhibited in France since they were new." That comment prompted me to view the Museum's Web site for a better look. Now I'm declaring that some day I must visit live and in person. And it's not just about the cars.

Mr. Mullin is a fan of art deco design and the machine age – eras that produced exquisite art and magnificent automobiles. The building was previously owned by newspaperman Otis Chandler who once housed a  collection of vintage automobiles and motorcycles in what is now the revamped museum structure.  After Mr. Chandler’s death in 2006, Mr. Mullin acquired the property, then called “The Vintage,” and began an extensive remodeling. The structure includes a solar photovoltaic roof system to capture energy and a planted "green" roof, making the building less dependent on traditional sources of power.

Peter Mullin also loves the curvaceous lines of classic French cars from the 1930s and has collected rare examples of the finest, from Bugatti to Voisin to Delahaye, as well as significant  and representative decorative art from this same period. The museum includes no less than 30 Bugattis, including several from the once-secretive Schlumpf collection in France.

The interior of the Mullin Museum is alone worthy of a visit. It's a two-story structure, and when the main floor exhibit is viewed from the balconies above it resembles a period Paris Auto Show, complete with car manufacturer's signage. All the furnishings are designed in art deco style, as is the architectural detailing and what appears in the photo to be an elegant bar. If I'm wrong about the latter it's only because I've yet to see it in person, but the Mullin Museum has now soared to the top of my list of great car places that I absolutely must visit.

[Photos: Mullin Automotive Museum]

COULD THIS BE THE GREATEST PEBBLE BEACH EVER?

It seems absurdly early to be writing about the 2012 Pebble Beach Concours d'Elegance. Roughly nine months as I write this. But there are two reasons why I'm willing to promote the event for the benefit of our viewers. First, because securing affordable accommodation is all but impossible if you wait until summer. One could even say that "securing affordable accommodation" can't be done at any time but perhaps, with advance planning, you might get lucky.

The second reason is that, having read the list of planned features and classes, I'd say that the 2012 concours is shaping up to be one of the most spectacular  in Pebble Beach history. The featured marques will include Maharaja Cars, plus the marques of Mercer and Fiat. Special classes will recognize Saoutchik Coachwork, AC and AC Cobra, Sport Customs, and German motorcycles.

I'm not sure how the organisers plan to find enough "Maharaja Cars" for the show, even allowing for the fact that more than a few Indian maharajas ordered customised luxury cars from the likes of Rolls-Royce, Hispano-Suiza, Isotta-Fraschini, and others. A few years ago I wrote a piece for another Web site about a maharaja who had a collection of some thirty rare classics, all of which were kept in perfect running order. He was in the habit of sipping his morning coffee from a balcony while a chauffeur would perform drive-pasts in whatever cars the master chose for his entertainment. One wonders if he still does this and if any of the cars will make it to California.

More realistically, it happens that over the years several maharajah cars have been sold or auctioned to private owners outside India (no longer allowed as the country takes steps to keep its treasures), and it is probably from that group that Pebble Beach expects to attract entrants.

But if the cars of India aren't enough to entice you, the class for Saoutchik Coachwork should do it. Saoutchik was one of the most creative and most flamboyant of prewar designer-builders, whose bodies were often stunningly beautiful. To see just one is an experience. To see multiple examples will have you shaking your head in amazement.

I'll be looking forward to the AC and AC Cobra class, for even though Cobras are frequently seen at concours, the AC cars from which they were derived are not and I think show goers will be surprised at the variety of sporting cars that came from this small UK company, which dates back to 1911. Along with some older examples we may see the sleek Greyhound sedan, the Aceca coupe version of the Ace roadster (the latter including three different inline 6-cylinder engines), perhaps a 1971 AC Frua and, who knows, maybe even one of the 3-wheeled "invalid" cars it produced so handicapped folks could keep mobile. Somehow I doubt that any of the twenty-eight streamlined Southend railway cars it produced in 1949 will make it to Pebble Beach.

Add to this the classes for Fiat and Mercer and you have the potential for an unforgettable Pebble Beach experience. If you own a car that fits the above you should get in touch with the organisers now. If you're intimidated by those Monterey room prices, now's the time to look for deals. If you find one, let me know.