Drawn to Speed

The Automotive Art of John Lander

JOHN LANDER

Foreword by Larry Crane

McFarland & Company, Inc., PublishersJefferson, North Carolina

LIBRARY OF CONGRESS CATALOGUING DATA ARE AVAILABLE

BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE

e-ISBN: 978-1-4766-1950-7

© 2015 John Lander. All rights reserved

No part of this book may be reproduced or transmitted in any form or by any means, electronic ormechanical, including photocopying or recording, or by any information storage and retrieval

system, without permission in writing from the publisher.

Front cover: A Squire DMP219 in the United States while owned by Charles Davidson, © JohnLander; back cover: John Lander in front of the J.S. Inskip auto dealership in 1965, after an all-night

drive with Charlie Turner in a gold Aston Martin DB Mark III towing a 1933 Aston Le Mans.

McFarland & Company, Inc., PublishersBox 611, Jefferson, North Carolina 28640

www.mcfarlandpub.com

To my children,and the three people

who suggested I do this book:Jim, Mary and Larry

Table of Contents

Foreword by Larry Crane

Introduction

1. The Racing Cars

2. The French Connection

3. The Squire Obsession

4. California Dreaming

5. American Iron

6. Heroes and Their Cars

7. Bugatti Girl Series

8. Others

9. Strictly Black and White

10. Preliminary Drawings

11. Building a Picture

12. My Cars

List of Names and Terms

Foreword

John Lander made a startling arrival in my consciousness when one of his prints arrived on my deskat Automobile magazine. It depicted a chopped and channeled white ’46 Ford convertible with asports car face and a pair of blue stripes. It could only be “El Mirage,” the car Peter Brock createdand a photo of which hung on the inside of my garage door for the five years I rented Peter’s houseabove Turn Nine at Riverside Raceway.

I was instantly on the phone with John. “This is a brilliant representation of a moment in time outsideErnie McAfee’s shop, but how do you know of this car?”

As the story unfolded, our shared experiences expanded and a friendship developed. I have publishedJohn’s illustrations in two magazines and am always intrigued by his depth of knowledge ofautomotive history, but more in admiration of his ability to include the important personalities in aspecific moment in time—a rare gift.

Think of this volume as a history of the fascinating characters who created some of the most importantsports and racing automobiles in the past century, depicted with the machines they created. I am gladJohn went to the effort to include a brief text of the moment he has illustrated, so we can be aware ofthe time and place, not just admire an impressive piece of art. The story is always the launch pad forJohn’s pencil.

John has enriched my life by sharing his work with me for the past 20-plus years—to say nothing ofthe hours of knowledgeable conversation that they ignited. Here is John’s volume of illustratedhistory; enjoy your time with it. I have.

Larry CraneLos Angeles, 2015

Larry Crane has spent a lifetime in the automotive periodical publishing arena, winning awards asdesigner, editor and writer. His CV includes Motor Trend, Road &Track and Automobile, as well asVintage Racer and AUTO Aficionado, two titles he created from a blank sheet of paper.

Introduction

This past Thanksgiving, I spent a week in Los Angeles with part of my family. Over lunch one day, afriend suggested that I put together a book telling some of the stories of cars and people that fueled mypassion for automobiles. This passion led to my doing the illustrations that make up a large portion ofwhat follows.

My father had a Dodge dealership in Atlanta from 1942 through 1964. Beginning at age 12 I startedworking summers in the parts department and the shop. I was already saving money for my first carwhen I turned 16. Pleased that I wanted to work and save my money, my father offered to matchwhatever I saved. I’m sure he thought I would want a Dodge convertible.

After the end of World War II, there was great interest and demand for new cars. Fortune magazineran a feature article with lots of photos on the first New York automobile show after the war. I wasfascinated by the British and European cars that I had never heard of at this point. I was especiallydrawn to the MG-TC. I began to seek more information and found there was a small auto dealershipcalled Import Motors close to my Dad’s place of business.

I began to spend time at Import Motors hoping an affordable used sports car would turn up. In 1951,just in time for my 16th birthday, a used 1948 MG-TC was on the lot at Import Motors. I reminded mydad about his offer to match my savings, and to his dismay, bought the MG-TC instead of a Dodge.From that point on, my interest in cars and racing never ceased. Over the years since, I have managedto own eight MGs (six TCs, one TD and a 1935 PB), three XK-120 Jaguars, a 1932 Aston Martin LeMans, an Alfa Romeo Roadster, a four-passenger Singer and a Bantam Roadster with a Ford V-8engine and transmission.

Along with my interest in cars, I have been drawing pictures from the time I could hold a pencil. Myfather always hoped that I would become interested in business and follow in his footsteps. After highschool, I actually tried a semester at Oglethorpe University, but dropped out after that.

In the spring of 1955, I went to Los Angeles and spent a year at the Art Center School and followedthat with a year at the Atlanta Art Institute. After the Art Institute, I worked in a department storeadvertising department, and then for a small commercial art studio. I got to a point where I reallywasn’t making good money or progressing as an artist.

I went to work for the family business (Lander Motors) until it shut down in 1964 and stayed in theautomotive field until 1972.

In 1972, I landed a job as a project manager for Custom Creations, a design company in Atlanta. Iwas able to work into a position as a designer and stayed in the exhibit design field until retirement. Iwas fortunate to do design work for national and international corporations.

Upon retirement, my love of cars, and drawing them, took over. I began to have my work published inseveral car magazines and started doing commission work for individual clients.

Some of the artists whose work has influenced my style of drawing are Leslie Saalburg, GordonCrosby, Melbourne Brindle and Robert Fawcett.

What follows are examples of my work, along with commentary on the cars and people involved. Ihope you enjoy both.

CHAPTER 1

The Racing Cars

These are some of the racing cars that I read about and dreamed about as a teenager and young adult.The cars presented here range from open wheeled 1930s Gran Prix cars, to sports racing cars of theearly 1950s.

“LM 20”

LM 20 is the chassis number of the Aston Martin Ulster that finished 3rd at LeMans in 1935. In May1962, a “For Sale” appeared in Road & Track magazine: “1935 Aston Martin Ulster Works team car,LeMans class winner, Alan Puckett, N.S.W. Australia.”

Rex Hardy, West Coast Chairman of the Aston Owners Club, bought the car. My late friend, CharlieTurner, later bought the car from Rex. In 1964, we made one of those “live fast, die young” trips topick it up—driving from Atlanta to San Francisco and back with the Ulster in a week. This included aday in San Francisco, having a tow bar made, and a stop at Harrah’s auto collection in Reno on theway back, towing the Ulster. Charlie owned the car for the next 22 years and I got to drive it often,which was great fun.

In the early 1970s, I was storing the LM20 in my basement because Charlie had run out of garagespace. One day, I got a call from Charlie. He wanted to know if he could bring an English Aston Clubmember to my house to see the car. He went on to say that the fellow was a musician. I said sure,thinking this would be someone with the London Philharmonic. Charlie then arrived with NickMason, the drummer for Pink Floyd. Nick owned LM 18, one of the other factory Ulsters. Pink Floydwas playing at the Omni in Atlanta, and Nick gave us some tickets to the concert. The seats wereexcellent and they put on a great show.

“Lucy Blue”

Irish-American Lucy O’Reilly Schell and her husband, Laury, are best remembered for theirassociation with the French Delahaye firm. However, in 1939 they purchased

two of the three 8CTF Maseratis being raced by the factory. The third car, owned by Chicago-basedMike Boyle, had won the 1939 Indianapolis 500, with Wilbur Shaw as its driver. The Schellsintended to enter their cars in the 1940 500.

In October of 1939, the Schells were in a highway accident and Laury was killed. Lucy, althoughbadly injured, went ahead with plans for the 500. World War II had already begun in Europe but shemanaged to get the cars and her two drivers to Indianapolis. One of her drivers, René le Bègue,finished a creditable 10th. Lucy’s second driver, René Dreyfus, stayed in America and later openedhis famous New York restaurant, Le Chanteclair. Wilbur Shaw went on to win in Mike Boyle’sMaserati, making it two wins in a row.

Even though Lucy’s cars were Italian, she had them painted her distinctive French Racing Blue.

“George & Lil”

George Weaver was one of a small group of people who raced in the prewar events of theAutomobile Racing Club of America and postwar with the Sports Car Club of America.

In 1939, George was points champion of the ARCA, driving his ex–Malcolm Campbell Austin.Postwar, George drove his 1930s Grand Prix racer, the Maserati “Poison Lil,” in the first road race atWatkins Glen in 1948. This was the event that really kicked off road racing in the U.S.

In the 1948 race, George and Lil failed to finish due to mechanical problems. In later years, theymade up for this by winning the Seneca Cup Race at the Glen in 1949, 1951 and, finally, 1956.Always great competitors, George and Lil will be remembered as a very important part of the earlypostwar road-racing scene.

“R-1”

At Pebble Beach, in 1953, race goers were on hand for the debut of an amazing combination of carand driver.

Ken Miles left England in 1951 to become service manager for Gough Industries, the MG distributorfor the western U.S. When they decided racing would be great publicity for MG, Ken was ready.Putting his engineering skills to work, he designed and built his first MG Special, R-1. With the helpof two co-workers, Miles had the car finished in time for the 1953 Pebble Beach Road Race. Ken andR-1 not only finished their first race, they won. They went on to win the next 10 races they entered.

Ken Miles designed, built and drove R-1 successfully, a combination seldom seen in road racingcompetition. While easily defeating the cars in the 1500 cc class, Ken was already planning a lighter,faster car; R-2 was on the way.

Ken went on to many racing successes, and was part of the Ford team that won Le Mans in 1966. In1967, Ken Miles’ life and career were tragically cut short when he crashed while testing the newFord J-car prototype at Riverside Raceway.

“Flying Shingle”

R-2 was the second Ken Miles MG Special, which he raced successfully in 1955. Because of its verylow profile, it was quickly nicknamed the Flying Shingle. The MG factory had supplied Miles withthe 1500 cc engine blocks made for Bonneville record runs. The MG people asked that the car designbear some resemblance to the current MG-TF model.

At the time Miles was planning the car, he chanced to meet Robert Cumberford. Robert, a student ofthe Art Center School, was renting space from John and Elaine Bond, owners of Road & Trackmagazine. Ken and his wife were often guests of the Bonds. Robert was invited to submit designsketches, and the Shingle was the result.

In the late 1980s, I did a limited edition print series, “MG Specials Built and Raced in America,”featuring the four cars from the series. I was very flattered to get a phone call and an order for theShingle print from its designer, Robert Cumberford.

“Ferrari with Iguana on the Rocks”

This title kept running though my mind. The iguana in the foreground was a given, but which Ferrari?The lizard suggested a hot dry area.

From 1950 through 1954, the government of Mexico sponsored La Carrera Panamericana to celebratethe completion of the Mexican portion of the Pan-American Highway. This was probably the mostgrueling, dangerous cross-country road race ever run. This gave me the background I needed.

Several different Ferrari models competed over the years, but I decided on the 340 Mexico Coupe.The long lean look seemed just right. This is the car that Phil Hill drove with Ritchie Ginther as co-pilot in the 1953 race. Unfortunately on the second day of the race, they slid off the road backwardson a tight mountain curve and were out of contention.

In my illustration, we see Hill and Ginther running flat out under a blazing Mexican sun. The iguana issimply a curious onlooker.

I took some liberties and tilted the front wheels and grille forward for an illusion of speed. I hope thefinished product comes off that way!

“Dick Lyons Special”

In 1989, my friend Toby Bergin attended the Monterey historic automobile races. As fate would haveit, Toby came across an interesting MG Special for sale. Toby bought the car and had it delivered tohis shop in Smyrna, Georgia, near to where I live.

Now known as the Dick Lyons Special, this car started out as the Bill David MG Special. The BillDavid car was well known in the early 1950s and photos appeared in several publications at thattime. Bill David sold the car when he started racing an Osca.

Dick Lyons had the car painted British Racing Green—it was originally metallic blue. Dick wreckedthe car at Pebble Beach in 1954.

The car was on a stock MG-TD frame when first built by Jack Hagemann. After the wreck, Hagemann

rebuilt the car with a tube frame and a new front-end treatment. My illustration shows the car atPebble Beach after the rebuild. The small pictures show it as the Bill David Special in 1951 (left)and after the Lyons wreck, in ’54.

“Milwaukee Marvel”

In the early 1950s sports car racing was beginning to take hold. David V. Uihlein wanted to build a1.5-liter class winner. He wanted to use American know-how and ability to produce a world-beater.

Uihlein, of David V. Uihlein Engineering Co., sought out E.J. Healy—an Allis-Chalmers engineer—and Weikko Leppanen to handle the design phase of the project. Machine work and engineconstruction was carried out by Tudy and Carl Marchese, engineers and racing mechanics.

Beginning with a stock MG-TD block and bottom end, a twin hemispherical cylinder head wasproduced. A positive cam gear train mounted in ball bearings was used instead of the traditionalchain drive. The MG components were left stock, with twin S.U. carbs feeding the fuel to the left sideof the head and four individual pipes handling the exhaust.

To reduce weight from the stock TD chassis, a chrome-plated frame was designed and constructed.Joe Silnas, an Indianapolis body man, built the sleek two-man aluminum body over the frame.Complete, the car was 600 pounds lighter than the stock MG-TD.

Even though the car was well thought out and beautifully constructed, it never lived up to its potentialand disappeared from competition.

“Formula for Success”

In 1957, Lance Reventlow was touring racecar factories in Europe and Great Britain for a suitablechassis to race in the 1958 season back in America. His final stop was Brian Lister’s shop inCambridge, England. Brian’s cars, powered by Jaguar engines, were winning a lot of British sportscar events. Lance wanted to buy a car and fit a Chevrolet V8 in it. After touring the shop and checkingout the cars, he was disappointed with what he saw. At that point, Lance decided to build his own car,the Scarab.

As the only child of Woolworth heiress Barbara Hutton and Count Kurt Von Haugwitz-Reventlow,

Lance had no lack of funds for his project. Reventlow chose shop owner Warren Olson as his projectmanager. Olson had prepared racecars for Lance in the past year or so.

Olson’s first step was to hire a team of racecar builders—Dick Troutman and Tom Barnes. Olsonneeded a really good mechanic/test driver and filled this slot with Chuck Daigh. Others involved readlike a list of the elite from the racing world. Emil Diedt, famed Indianapolis car body builder, tookcare of hand-forming the bodies. The final touch was the beautiful paint scheme by renownedpainter/striper Von Dutch. With driving by Reventlow and Daigh, the Scarabs had their formula forsuccess.

CHAPTER 2

The French Connection

During the 1930s, French manufacturers and coachbuilders produced what, to me, were the mostbeautiful cars ever.

Bugattis and Talbots, bodied by Figoni and Falaschi, are among my favorites. The little Amilcar inmy “Sidecar” illustration is simply a delight.

“High Maintenance”

Goutte d’eau, “A drop of water,” nature’s perfect aerodynamic shape, was the inspiration for theteardrop coupes by Figoni and Falaschi. Talbot-Lago supplied the race-bred chassis and Figoni andFalaschi the coachwork.

One of the cars, a 1937 Talbot-Lago T150C SS, chassis number 90107, was purchased by theMaharajah of Kapurthala for his daughter. She kept the car in Paris and Nice prior to World War II.The Maharani showed the car often and won a prize at the Concours d’Élégance Femina in June 1938.During this time, the car was repainted several times to match the Maharani’s current gown.

The car in my illustration, chassis number 90106, is currently on display in Peter Mullin’s collectionin Oxnard, California. I had the privilege of touring the museum in 2012 and was floored by the carsand other art deco design. Pictures cannot do justice to seeing the car in real life.

In my illustration, the impatient young lady waits for her escort to get going! “High Maintenance”—the Talbot, or the lady?

“Red Pacific Sunset Red Atlantic Coupe”

The original owner of this Bugatti Type 57SC Atlantic Coupe, one of three built, was Victor LordRothschild in 1936. I am showing the car as it appeared in Los Angeles in the early 1950s. The ownerat that time was Robert Oliver. Oliver had front and rear bumpers installed and had the car paintedred.

In 1953, the car was crated and shipped to the Bugatti factory and rebuilt mechanically. In 1954, itwas sent to Carrozzeria Moto in Italy for a few body modifications, which included enlarging the rearwindow. From Italy, the car was shipped by rail to Paris. Oliver, who was unhappy with the originaltransmission, had a Cotal electromagnetic shaft transmission installed. It was then re-crated andshipped back to L.A.

After Oliver’s death in 1970, the car was purchased at auction by Dr. Peter Williamson of

Greenwich, Connecticut, to be part of his impressive Bugatti collection. Dr. Williamson had the carrestored to its original condition and blue color.

The car is presently at the Mullin Museum with other fine French automobiles.

“Carlos Background”

An unusual Bugatti gets a unique background. In 1936, Parisian Andre Bith bought his third Bugatti.The car was a Type 51 Grand Prix racing model. Bith added cycle fenders and headlights so it couldbe driven as a road car. In Paris, the winter of 1936–37 became bitterly cold. In February, Bith askeda designer friend, Andre Roland, to help create a coupe body mimicking the Bugatti Atlantic coupes.The coachwork was supplied by Louis DuBos. The profile suggested a shortened Atlantic coupe.

I wanted a light colored background to contrast with the dark blue car. I decided to do a copy of apencil and watercolor drawing by Carlo Bugatti. Carlo, Ettore Bugatti’s father, was well known forhis ornate furniture designs. The geometric insect stylization was used as a furniture inlay. Like hisson Ettore’s automobiles, Carlo’s furniture was individualistic and unforgettable. I felt this pattern

made a great background for this racecar coupe combination.

After passing through several owners, the car was acquired by the Nethercutt Museum collection.Sixty-six years after its creation, the car has been restored to like-new condition.

“Sidecar”

What do a diminutive French Amilcar and a young Floridian in Paris have to do with the classiccocktail, the Sidecar?

At the Ritz Bar, Horace Chase was becoming a regular, showing up in his tiny two-seat car. Frank, thefamous bartender, jokingly referred to the car as a child’s toy, or more like a motorcycle sidecar. Oneday in answer to Frank’s “What will it be?” Horace decided to have something special. “Back home,I used to drink Bacardi and lemon juice with a little Cointreau. Mix that, but use brandy in place ofthe Bacardi.” Horace thought the result was quite good, as did others who tried it. Frank was alsopleased and quickly named it a sidecar, after Horace’s little car.

The Amilcar was manufactured just outside Paris. In the decade of the 1920s, the dashing little car fitright in and prospered. When you see an Amilcar in real life, it is a delightful little car bubbling withpersonality. The cocktail named for it is a delight for the taste as well!

“Staggerwing Fantasy”

The 1930s not only produced some of my favorite automobiles, but some exciting aircraft as well.

The Staggerwing Beechcraft was introduced in 1932. The builders wanted a cabin aircraft with theinterior feel of a fine luxury automobile. They wanted a high top speed but a slow landing speed forthe short runways of most airfields. They succeeded at both. The plane could top 200 mph and land at60 mph. The upper wing behind the lower improved pilot visibility and led to the name Staggerwing.

You already know about my enthusiasm for the Talbot-Lago Teardrop coupes. The third element in theillustration comes from my time reading comic strips as a kid. Milton Caniff’s comic strip Terry andthe Pirates combined adventure, airplanes and exotic characters. One who captured my imaginationwas the wonderfully wicked Dragon Lady. The lady is based on her.

Our dashing traveler rushes from his Staggerwing Beech toward the Dragon Lady, who waits besideher midnight blue Talbot coupe … “Staggerwing Fantasy.”

“Just Imagine”

Mallard, the great locomotive of the London and North Eastern Railway, holds the all-time speedrecord for steam locomotives, 126 mph set in 1938.

The Talbot-Lago TI50C SS was one of the fastest cars in Europe when built in 1938. This cabriolet(with coachwork by Figoni & Falaschi) was delivered to its first owners, the Count and Countess deColhiva, in Portugal.

The Mallard ran between London and Edinburgh. The two vehicles were never in close proximity.But, “Just Imagine” several miles of arrow straight rail line running parallel to an empty stretch ofopen roadway. The young lady in the Talbot challenges Mallard as they hurtle along side by side, flatout in our imagination!

The inspiration for this picture came when I was thumbing through an issue of Octane magazine at alocal bookstore. An article on Mallard’s speed record caught my eye and this was the result.

CHAPTER 3

The Squire Obsession

My longtime interest in the Squire automobile goes back to the 1950s. In fact, my first publishedillustration was of a Squire roadster. The Sports Car Club of America journal, Sports Car, ran theillustration on the back inside cover in 1956. In 1973, I worked with Bill Jackson, who was theneditor of Classic Car, on a definitive article about Squire. I did two illustrations for the Jacksonarticle and one was the color centerfold for the magazine.

“DMP 219”

Adrian Squire took a small inheritance, formed his company and set out to build the car he haddreamed of since he was a schoolboy. He wanted to build an English car that would equal or surpassthe sports cars being built on the continent in the 1930s. The resulting cars had everything a realenthusiast could expect. A twin overhead cam supercharged engine was mounted in a chassis that hadoutstanding cornering and braking abilities. This engine-chassis combination was topped off with adrop-dead gorgeous Vanden Plas roadster body. Perfection cost money, and in the 1930s few buyerscould afford it. Seven cars were built initially and three more were assembled by the buyer of thebankrupt company.

My illustration shows the first car and factory demonstrator, DMP-219. Behind the car are AdrianSquire, in the tie and vest, and “Jock” Manby-Colegrave. Seated in the car is Reginald Slay. Thethree company directors were all in their twenties. Sadly, Squire and Colegrave were both killedduring World War II.

“UD 6784”

The first Squire sold to a private owner went to the Hon. R.R.W. Sherman Stonor. Stonor’s Squirewas delivered as a short chassis roadster with scarlet Vanden Plas bodywork.

Stonor became interested in driving in competition and later had the car rebodied. Stonor hadMarkhams of Reading build a cycle-fendered two-seat doorless body, which was referred to as a“Skimpy.”

The original Vanden Plas body was mounted on the chassis of a single-seat car that the factory hadraced. This car, COA 420, was wrecked and dismantled.

The Stonor car with its “Skimpy” body was exported to Cape Town, South Africa, by the Hon. Johnde Villers before World War II. In the 1970s, it was restored in South Africa. The car has sincereturned to Great Britain and is enjoyed by its current owner there.

This is my illustration from the 1973 Classic Car magazine article.

“JB 5568”

The third short chassis roadster went to G.F.A. “Jock” Manby-Colegrave. Colegrave, Adrian Squireand Reginald Slay were the company directors. Squire and Cole-grave were old school friends.

At the end of World War II, the car was owned by Basil Porter Putt. Putt blew up the engine at thePrescott Hill Climb. He decided to replace the supercharged Anzani engine with something morereliable. He settled on a 1.5 liter British Salmson unit. In this form, the car passed through twoowners, wound up in the states and eventually dropped out of sight. After decades in a storage unit,the car resurfaced after the death of its owner, Robert Davis of Albuquerque, New Mexico. It wassold at auction and has been restored to original condition by its new owner.

When World War II broke out, Manby-Colegrave became an R.A.F. pilot and was killed during theBattle of Britain.

“COA 420”

In an attempt to gain some notoriety through racing, Squire had Markhams build a single-seat body fora short chassis. Luis Fontes was the driver. In the 1935 British Empire Trophy, the car did not finishdue to engine problems. The second race it ran was no better. The car retired with a split fuel tank.Finally in October of 1935, they managed a 3rd place finish in a race at Brooklands.

The single seater was not seen again. The original Vanden Plas roadster body from Sherman Stonor’scar was mounted on the chassis. In this form, the car was sold in May 1936. The new owner, CaptainB.H. Pincent, wrecked the car and it was a total loss.

COA 420 is the only one of the seven original Squires that did not survive to the present.

“CLO 5”

In January of 1936, Val Zethrin took delivery of the first long chassis car. The coachwork was built byRanalah.

When the Squire Car Manufacturing Co. was declared bankrupt in 1936, Val Zethrin bought allremaining parts and chassis. Two Squire mechanics stayed on with Zethrin to assemble three morecars over a period of time.

For quite some time, a long chassis car owned by Bill Comer in Florida was thought to be the caroriginally delivered to Zethrin in 1936. I actually went to see this car in 1973. A long chassis carfound in France in 2011 proved that this was not the case. The French find had the correct engine andchassis numbers and paperwork leading back to Zethrin.

I believe the long chassis car in Florida was the second car that Zehtrin assembled. In addition toassembling the three cars, Zethrin came up with modifications that improved engine reliability.

“JB 8776”

In September of 1935, Squire was able, for the first time, to offer a complete car for less than 1,000pounds. Squire had Markham of Reading supply a short chassis body quite similar to the body builtfor Sherman Stonor.

The car was registered to the Squire Car Manufacturing Co., and was used as the factorydemonstrator.

After World War II, the car shows up in the ownership of A.G. “Bert” Smith. Smith also had the longchassis car originally delivered to Sir James Walker.

I could find very little written history of the car before its time in the Smith collection. There was avery nice write-up on the car in 1989, in Supercar Classics magazine.

In my illustration, I wanted to show both of the “Skimpy” bodied cars. Sherman Stonor’s car, UD6784, was already shown in its original configuration in the picture I did for the Classic Carmagazine feature.

“CXL 353”

Shortly after Val Zethrin’s purchase of his long chassis car, an order for another long chassis wasreceived. The purchaser of this car was Sir James Walker, a well-known jeweler. Walker’s car wasfitted with coachwork by Vanden Plas. This was in fact the last sale of a brand new Squire.

Sir James briefly replaced Reginald Slay on the board of directors on the manufacturing side of thecompany. Prices were lowered drastically, and the company tried to struggle on. The firm, however,went under in July of 1936.

In my illustration, I am showing Walker’s car outside a pub, which I have appropriately dubbed TheLost Cause.

Total factory production was only seven cars, not counting the three cars later assembled by Zethrin.The number is tiny, but their impact was great. Over the years, Squires have always been consideredamong the most innovative and beautiful cars of this era.

“1st Squire of Zethrin”

This was the first of the three cars assembled by Val Zethrin and crew. Coachwork was by Corsica.Unfortunately, the body did not seem to fit the chassis. The one-piece rear hinged hood enclosed thegrille and covered the radiator cap (see photo).

The car passed through several owners in this form, and in 1995, it was bought by the late Pat Hart.Hart felt something had to be done to improve the looks of the car. He enlisted Don Vogelsang ofSeattle, Washington, for the project. The result is an amazing transformation. A section of about 2"was removed from the body, and a new hood and windscreen were fabricated. The beautiful finishedcar has gone on to win several show awards.

“2nd Zethrin Long Chassis”

This is apparently the second car assembled by Val Zethrin. For years, it was thought to be the carZethrin bought new in 1936. When I saw the car in Florida in 1973, it even carried the Britishregistration tag, CLO 5. A car found in France in 2011, however, has the provenance to show it is the1936 car.

I have included a photo I took in 1973. You can see the nonstandard nose and the fender treatment thatis different from Zethrin’s original car. The third car assembled was sold without a finished body andwas reportedly bodied as a Vanden Plas roadster.

CHAPTER 4

California Dreaming

I arrived in Los Angeles in the spring of 1955 to attend class at The Art Center School, then locatedon West 3rd Street. California was the land of dreams: Hollywood, hotrods, exotic cars and people—they were all there. During the brief time I was there, my life was changed forever. This chapter is alook back in time.

“32 Highboy”

Hotrods were a southern California phenomenon. In the years before World War II, a new type ofracecar was taking shape. Cars stripped down to their bare essentials with modified stock engineswere running on the dry lakebeds north of Los Angeles. Admittedly, some racing took place on theotherwise quiet streets at night.

The term hotrod didn’t come into use until sometime around 1945–46. Hotrods come in a lot ofvariations, but the 1932 Ford Roadster is usually thought to be the classic hotrod.

Even in its stripped-down form, the great proportions and lines are there. The name Highboy refers tothe stock body height being retained. Some 32 roadsters have been channeled, the body droppedbelow the frame.

My illustration is of a typical 32 Highboy with a modified flathead V8 and later model disc wheels.

“Mirage on Sunset”

This is really going to show my age. This nostalgic drawing goes back to my mid–1950s time in L.A.The car is one I knew well, since I spent a fair amount of time with its designer/owner, Peter Brock.Pete and I were students at the Art Center then.

Before his time at the GM styling center, and before designing the Cobra Daytona Coupe, there was“El Mirage.” Pete rumbled in and out of the Art Center’s parking lot and cruised L.A. in his customFordillac. Pete designed the car and did a lot of the prep work and sanding. The Ford convertiblewas chopped, channeled and sectioned. The fenders were reshaped and a custom hood and nose wereformed from aluminum. A padded Carson top was fitted to the cropped windshield. With dark blueracing stripes over pearl white paint, the finished product was outstanding. Power from the Cadillacengine was delivered through a LaSalle floor shift transmission. Pete christened the car “El Mirage,”after the dry lakebed the hotrods ran on.

I was at school studying illustration but most of my spare time was spent studying the L.A. auto scene.

“Mirage on Sunset” shows Pete and “El Mirage” outside of Ernie McAfee’s shop on SunsetBoulevard in 1955.

“Hollywood Speedster”

What do you get when you combine the eccentric car enthusiast Tommy Lee with the car buildingskills of Frank Kurtis and a one-of-a-kind 318 cubic inch Offenhauser racing engine? You get theLee/Kurtis Boattail Speedster, of course.

Tommy Lee was the son of Don Lee, Cadillac distributor for most of California and early radio andTV entrepreneur. Frank Kurtis, later known for his Indy winning Kurtis Kraft race cars, ran Lee’scustom body works division of the Cadillac empire.

Tommy had a mouthwatering stable of high performance European sports cars. He wanted a uniquecar, though, to compete with the L.A. hotrods he was street racing.

Frank Kurtis built the great looking speedster body utilizing reworked Cord fenders and mounted thison a 1936 Ford chassis. Tommy persuaded Offenhauser to build the 318 engine and the car wascomplete. The results were mixed; the car looked quite stunning with its hand formed boattail body,but the racing engine ran rough and was hardly suited for street use.

The car was set aside and went into decline over the years but was found, lovingly restored, and isnow enjoyed again by all who see it.

“What If”

Overton “Bunny” Phillips was the undisputed Bugatti guru of the West Coast. In the late 1930s, heacquired the overhead cam V8 engine from one of Harry Miller’s two four-wheel-drive racers.

Phillips shoehorned the engine into his 1927 Type 35 Bugatti and went racing. He kept the originalBugatti body from cowl to tail and had a new enveloping nose and hood fabricated.

What if Harry Miller, Bunny Phillips and Ettore Bugatti had been together on a sunny L.A. day in frontof Phillips’ shop? Harry Miller checks out the engine installation as Bugatti makes a point withPhillips. What an interesting discussion it might have been.

I had been wanting to do a picture like this for some time but did not have a good reference picture ofthe new front end. After digging trough a thick file folder of Bugatti articles and pictures I had filedover the years, I found what I needed. The pretty much straight on view revealed the Bugatti frameirons and crossbar through the grille. With this information, I was able to proceed with the illustrationyou see here.

“Arriving in Style”

The car is the Mercedes 540K Special Coupe from the 1936 Paris auto show. The setting is the

famous Chasen’s restaurant in Hollywood.

What do we mean, “Arriving in Style?” One of Webster’s definitions of style reads, “A mode ofliving, as with respect to expense or display: elegant or fashionable mode of living.”

In this picture, I wanted to show not just a beautiful car, but a way of living during the time it wasbuilt. In our fast-paced modern world of high-tech gadgets, we seem to have lost a sense of eleganceand style.

So, step back into a time when gentlemen and ladies dressed “to the nines” for an evening on thetown. Automobiles were more than appliances to get from point A to point B. There were glamorousdestinations to arrive at and depart from.

The gentleman waits as his lady friend sweeps from the Mercedes coupe to truly arrive in style.

CHAPTER 5

American Iron

This is a look at the American automobile. From the cars bootleggers drove to chauffeur-drivenlimousines, these are some cars that caught my attention, and the stories that go with them.

“Derham Cadillac”

On May 8, 2004, I was at my vendor space for the British Car Day event at the Chateau Élan winery.A gentleman stopped by and spent some time studying the illustrations I had on display. He explainedthat he wanted a painting of his 1952 Cadillac Derham limousine. He hadn’t been able to find an artistwho combined cars and people to his satisfaction. We exchanged cards and he went on his way. Thefollowing week, I received a letter from that gentleman, Dr. Freeman. He commissioned me to do apainting, and we arranged a meeting so that I could see his car.

Dr. Freeman’s car was a very handsome Derham custom bodied limousine. The car had the well-known Derham padded top, which eliminated the rear quarter windows. Dr. Freeman went over thedetails that he wanted in the picture and this is the finished result.

Dr. Freeman, who lived close to the Chateau Élan, just happened to be there during British Car Day,by happy chance.

“57 Bel Air”

For me, this is the classic 1950s Chevrolet. In 1955, the all-new small block V8 was introduced. Thisengine, along with all new styling, ended the image of Chevrolet as the older man’s car. The ’55 wasadvertised as “The Hot One.”

The styling of the ’55 was good, but I think the ’57 really got it right. The tasteful fins with the ribbedbrushed aluminum inserts are a great feature of the Bel Air.

Doing this illustration of the ’57 Bel Air turned out to be a good move on my part. From January 2005until October of 2008, I worked for a picture framing shop near my home. The lady who owned theshop kindly let me use a small wall space to display my artwork. This picture of the ’57 Bel Air wasthe first piece of my artwork purchased by a framing customer.

“Guns, Girls & Bootleg Booze”

In the years just before World War II, the cars most moonshine runners drove were 1938 through 1940Ford V8 Coupes. The solid axle, transverse sprung cars just out-handled most softly sprung cars withindependent front suspension.

I had been thinking about doing a picture of a bootlegger’s coupe for a long while. I just needed agood story idea.

One day, I was sitting on a stool at my favorite bar when a woman walked by wearing a long whiteOld West duster. Her name was Stacy, and she was perfect for the picture that was taking shape in myhead.

So while Stacy stands guard, the white lightning is unloaded—here is “Guns, Girls & BootlegBooze.”

“Custom Cadillac”

As the years before World War II were running out, some interesting designs were taking shape. The1939–41 Lincoln Continentals came on the market, and Howard “Dutch” Darrin’s custom Packardconvertibles were the talk of Hollywood.

Bohman & Schwartz was a full service coachbuilding facility in Pasadena. The shop did everythingon site: metal forming, paint, upholstery—the works. In this ideal setting, the design for the twocustom Cadillacs took shape. The starting point was the purchase of two series ’62 Cadillac Coupes.The tops were removed, the bodies were mildly sectioned, and the wide doors were cut down frontto back. A hand formed, raked, two-piece windshield completed the long, low look.

In the late summer of 2001, my youngest son, Geoff, suggested listing a few illustrations on eBay. TheCadillac was one of these. As sometimes happens, everything fell into place. While surfing the net,Christian Bohman’s grandson, Jim, spotted the Cadillac illustration and purchased it right away!

CHAPTER 6

Heroes and Their Cars

These are some of the people and their cars that caught my attention during the early stages of my autoaddiction. They included writers, artists, television personalities and race drivers. All of them weretalented, highly individualistic men that excelled at whatever they took on.

“Ralph at Zumbach’s”

In the late 1940s, before the car magazines we have today, I would look forward each month to theamusing and informative articles Ralph Stein wrote for Argosy magazine.

Ralph owned several Alfa Romeos and other interesting cars prior to World War II. During the war,he was able to buy the 1934 4.5 liter low chassis Invicta.

In several books that Stein wrote, he refers to Zumbach’s shop in New York. Stein said, “Zumbach’swas more than a mere repair facility, it was a gathering place for those with an interest in unusualhigh performance automobiles.”

In my illustration, Stein (in top coat) stands outside the shop with the Invicta. Charles Zumbach (ingrease-stained shop coat) presides over the machine shop on the second floor, while JacquesSchaerley (in suit and cap) takes care of the car owners in the shop on the first level.

Of all the cars he owned, the Invicta was one of Ralph’s favorites.

“Ken”

Ken Purdy was arguably the finest automotive writer of the mid–20th century. His first book, TheKings of the Road, was published in 1952. This book was, for a lot of us, our first introduction to theworld of automobiles. Prior to this book, Ken had written several articles for True magazine, andlater became its editor.

Over the years, Ken owned and drove many interesting cars. He was very much into Bugattis and alsoowned a Morgan three-wheeler and a Frazer Nash. I always associate Ken with his MercerRaceabout. One of the first articles I read was about his acquiring the Mercer.

Ken wrote an article for True and mentioned how sought after Raceabouts were with collectors. Hethen received a letter from a Mr. Brown who lived in a small town in Alberta, Canada. Brown ownedwhat was probably the last undiscovered Mercer Raceabout. The car escaped the scrap drive duringthe war, hidden in an orchard. After months of correspondence, Ken got the car and had it restored.

Tragically, we lost Ken in 1972 when he took his own life.

“Garroway’s Jag”

In the early 1950s, you could usually find Dave Garroway in front of a television camera or at thewheel of his SS-100 Jaguar.

Dave had an innovative television show from Chicago, Garroway at Large, and went on to becomethe first host of the Today Show.

Dave was an active participant at the early Bridgehampton and Watkins Glen races. He loved theclassic lines of his Jag but wanted a little more power for racing.

Garroway tried installing a supercharger on the pushrod six, but had little success. Dave then becamethe first buyer of a new twin overhead cam XK-120 engine, ready to install. Along with the newengine, Dave added some more special touches. New steel fenders were made to replace the originalaluminum ones. Fender parking lights were deleted, and Lucas P-100 headlamps were installed. Theseats were re-covered with alligator hide. All in all, it was a unique classic.

Garroway must have had a lot of fun with this car. Over the years, I have driven a couple of standardSS-100s, but I have always wondered what Garroway’s SS-100/120 must have been like.

“Westhampton ’66”

This illustration depicts Charles Addams, the New Yorker cartoonist, with his 1933 Aston Martin LeMans. The background is Addams’ house in Westhampton. AMD 547 previously belonged to myfriend, Charles Turner. In the fall of 1965, Charlie and I towed the ’33 behind an Aston DB MK III toInskip’s in New York. Charlie traded both cars for a standard DB-4 with a GT engine (twelve-plughead and three Webers). Subsequently, Addams bought the ’33 Le Mans from Inskip’s.

Fast forward to 1980, on the way home from the fall antique auto club meet at Hershey, Pennsylvania.Charlie and I stopped at an Aston club meet in Valley Forge. The meet was at Bobs (his first namewas Roberts, so we called him “Bobs” for short) Harrison’s farm. The Harrisons had CharlesAddams as a weekend guest. I was thrilled to meet Addams and told him I had all of the bookscollecting his New Yorker cartoons. We planned that next year, I would bring my books for him to

sign. However, the next year my wife, Carole, was in the hospital for cancer surgery and I didn’tmake it. Instead, Charlie took boxed-up books for me. Addams graciously did an original drawing ineach one. I treasure the books and memories still.

“Miles and Friend”

In the pre–World War II years, naming of cars was a popular tradition, especially in Great Britain.Miles Collier christened his MG Special “Leonidis.” Leonidis began life as one of a three-car teamthe factory ran at Le Mans in 1935. Later in the year, engine size was increased to 939 cc and the carstook part in British trials. In October the cars were then sold to private owners. Before takingdelivery, Miles had the factory install a large Marshall supercharger.

In early 1937, an accident with a New York City cab left the MG with a totaled body. Luckily, John

Oliveau of Grumman Aircraft Co. was available to construct new, lightweight bodywork. Leonidis, inthis new form, was raced by Collier in the ARAC races of the 1930s. In 1939, Collier took Leonidisback to Le Mans with Leroy Cramer, Jr., as co-driver. They were easily leading their class when asplit fuel tank ended the race for them.

Miles raced Leonidis one last time in 1950 at Bridgehampton, N.Y., coming from last on the grid towin. This illustration shows them at the finish.

“Smokey and the Bandito”

Phil Hill went from being an amateur club racer to become the first American to win the worlddriving championship. Phil started out racing MGs and an XK-120 Jaguar. In 1950, the 2.9 AlfaRomeo, part of Tommy Lee’s stable of cars, became available after Tommy’s death. This car was oneof four that the factory built for the 1938 Mille Miglia in Italy. Phil felt that the 13-year-old racer wasstill competitive and had a successful season with it.

Pebble Beach was the premier race at that time on the West Coast. In 1951, Phil and the Alfa handilywon the preliminary Del Monte handicap race. Race fans expected a repeat performance in the mainevent, the Pebble Beach Cup. The Alfa, however, was beginning to show its age and a thirst for oil.Hill was running in the top three until a late race pit stop for oil and water forced him to settle forfourth place.

One of the new cars Hill had to contend with was the Jim Kimberly’s little Ferrari 166 M Barchetta.This illustration shows the badly smoking Alfa battling the little Italian challenger. “Smokey and theBandito.”

CHAPTER 7

Bugatti Girl Series

Ettore Bugatti created wonderful, beautiful automobiles.

God created wonderful, beautiful women.

I did my best to combine the two in a series of illustrations that just keeps growing. I hope you likethe results.

“Beauty and the Bugatti”

Little did I know that this illustration would be the start of a series that is up to five so far.

The car is a Type 57 Bugatti, with coachwork by Gangloff. This car was in Atlanta in the early 1970sas part of the growing collection of Jim Southard. Jim Southard was a transplanted New Yorkstockbroker who became a dealer in classic cars. Southard was in the process of having a 16-cargarage built behind his home on fashionable Riverside Drive. While waiting for the garage’scompletion he was short of space. The Bugatti wound up spending some time in my carport. I washappy to keep the car exercised by taking it out for short drives. I first did a commissioned illustrationof the car for Southard in 1970. In 2004, I came across a copy of the earlier picture and decided topaint it again and add the dark haired girl as a background. “Beauty and the Bugatti” became the firstof the series.

“Bugatti Girl II”

In 1937, Colonel G.M. Giles was well known as one of England’s most rabid Bugatti enthusiasts. TheColonel owned at least 18 Bugattis between 1920 and 1948. When the new Type 57 S chassis becameavailable, he just had to have one. At this time, he already had a Type 57 with coachwork designed byhis brother Eric and built by Corsica Coachworks in North London. The 57 S chassis, shorter andlower than the 57, was a perfect platform for a two-seat roadster.

On this second design, Eric completely outdid himself. From the teardrop front fenders to the accentspear that ends at the low-cut doors, it is a treat to behold. The car was totally restored over a three-year period, beginning in 1995. The interior, which had been replaced with leather during an earlierrebuild, was put back to original using crocodile skins.

In composing the illustration, I may have exaggerated the lady’s bosom a bit, but I’m sure you willforgive this artistic license.

“Bugatti Girl III”

This car must have been an absolute showstopper when it was unveiled in 1935. The Aérolithe wasthe prototype for the three Type 57S Atlantic Coupes which followed.

Ettore Bugatti’s son, Jean, was the designer/coordinator of the project.

The distinct riveted seams were necessary because of the light alloy material used for the body.Elektron is an alloy of aluminum, tin and magnesium, and is highly flammable. Standard weldingtechniques were just too dangerous.

The Atlantic Coupes that followed were ordinary aluminum. The riveted seams were retained,however, as part of the design package.The Aérolithe was first shown at the Paris Auto Show inSeptember/October of 1935. The car was then shown briefly in London at Olympia, October 17–26.

The Aérolithe body was later scrapped by the factory, and a few parts were used on the first Atlanticbuilt for Rothschild. All three Atlantic Coupes exist to this day.

“Bugatti Girl IV”

Some cars, like the proverbial cat, seem to have nine lives. That is surely the case with this rebodiedBugatti Type 54 Grand Prix.

Prince George Christian Lobkowitz was an up-and-coming amateur racing driver. The young Czechdriver had raced three other Bugattis before the Type 54. Lobkowitz entered his newly acquiredracecar in the 1932 German Grand Prix at Berlin’s AVUS track. Lobkowitz fatally crashed the carduring the race.

The remains of the car passed to Lobkowitz’s close friend, Zdenek Pohl. Pohl had a little-known

Czech coachbuilder, O. Uhlik, supply the almost English style roadster body seen here. At some point,a subsequent owner had the car rebuilt once again as a Type 54 Grand Prix car. Now the roadsterbody has again been fitted to a Grand Prix chassis, albeit a different one.

The Bugatti is part of the Mullin Museum’s collection, and I saw it when I was there in 2012.

“Bugatti Girl V”

While not as exotic as its sister cars, the Atlantic Coupes, the Atalante is a beautiful car in its ownright. In all, there were 17 Atalante Coupes built on the Type 57S short chassis. The Atalante wasintroduced at the 1936 Paris Salon. This was the first Bugatti model to have the V-shape radiator. Ifyou see an Atalante Coupe in profile, you will recognize it as the inspiration for the XK-120 JaguarCoupe built many years later.

The coupe in my illustration was part of the Harrah collection in Reno. When Harrah got the car in1961, he had Bugatti expert “Bunny” Phillips handle the chassis restoration. The chassis went tostorage for a while at Harrah’s until the car was reassembled in time for Pebble Beach in 1978. The

Atalante took first in its class and best of show.

I found the two-tone color scheme very attractive and thoroughly enjoyed doing the illustration.

CHAPTER 8

Others

Collected in this chapter are various cars, planes and boats that didn’t quite fit under the headings ofany other chapters but deserved to be included. They are a diverse group of sports cars and othersubjects.

“Summer Thrill”

In 2012 a new bartender came to work at the Vintage Tavern in Smyrna, near to my home. I soonlearned her name, Summer Barfield. After we got to know each other, Summer agreed to pose for anew picture I had in mind.

Up to this point, I had never done an illustration of a Pegaso. In the early 1950s, the Spanishgovernment decided to produce a luxurious GT car that would demonstrate Spain’s technical abilitiesand open new markets for Spanish products. Thus, the Pegaso Z-102 was born. The car wasacclaimed for its technical innovations, but not so much for its bodywork.

Wilfredo Ricart, the man responsible for Pegaso, approached his old friend, Carlo Anderloni, head ofCarrozzeria Touring in Italy. The first Touring bodied Pegaso was shown at the Paris auto show in1952. Pegaso wanted something really spectacular for the 1953 Turin auto show. The Pegaso Thrillwas the answer. The car almost stole the show.

So, you guessed it—the combination of the girl and the car became the “Summer Thrill.”

“River Run”

I was very pleased and happy when art director Larry Crane ran my artwork in the “Non Sequitur”section of Automobile Magazine. Included in the September ’98 issue was my illustration titled“River Run.” The wooden boat in the picture is the 1920s Gold Cup Winner Baby Bootlegger,designed by George Crouch. Probably the most beautiful racing boat ever, Baby was certainly aninfluence on automotive design. The stern was not the usual flat surface, but a graceful tapered tail.The Auburn Boattail Speedster I put in the picture mimics the boat’s rear shape.

Mark Mason, who lives and restores boats in Laconia, New Hampshire, is the one who tracked downand rebuilt the boat. Mark’s location on Lake Winnipesaukee provides a perfect place to exerciseBaby and her World War I Hispano aircraft engine.

As fortune would have it, Mark picked up a copy of Automobile and saw my illustration. Hecontacted me and bought the original illustration, which now hangs in his home, near the boat thatinspired the painting.

“Double Buehrig on the Rocks”

Gordon Buehrig is well known for his design of the front wheel drive coffin-nosed Cord 810 and 812of 1936–1937. The Cord is a well-established classic. He is less remembered for designing theTASCO (an acronym for The American Sportscar Company).

In 1948, a group of sports car enthusiasts operating out of Hartford, Connecticut, approached Gordonwith the idea of designing an American sports car to compete with the British and European carsbeing imported following World War II. Gordon proposed the idea of a closed cockpit design, alongthe lines of a private aircraft cabin. The result was a striking vehicle that incorporated design featureslater used on production cars. Various problems kept the car from going into production and only onewas built. I thought the two designs, one prewar and one postwar, would make an interesting contrast.I put the two cars on a cobblestone surface with a cityscape backdrop, thus “Double Buehrig on theRocks.”

“Phantom by Moonlight”

In 1938, young Rust Heinz dreamed of putting his extravagant design, the Phantom Corsair, intolimited production. Rust’s death in an auto accident ended any hope of this happening. The oneprototype constructed by Bohman & Schwartz on a Cord 810 chassis exists for us to study today. Hisdesign, besides its very futuristic look, incorporated interior safety features, including the firstpadded dash. The Phantom truly was a vision of tomorrow.

Its exciting new look even got the Phantom a movie role. It appears in the movie Young at Heart,starring Paulette Goddard and Douglas Fairbanks. The Phantom was later owned by televisionpersonality Herb Shriner. Shriner unfortunately had some body modifications carried out. AfterShriner’s death in 1970, the car became part of Harrah’s automobile collection. A careful andaccurate restoration returned the car to its original 1938 configuration.

In my illustration, I decided to show the Phantom as a creature of the night: “Phantom by Moonlight.”

“At 10/10s”

The small independent company started in 1924 by Archie Frazer-Nash continued to builduncompromising sports cars until the late 1930s. The Frazer Nash cars (no hyphen), with stubborntraditionalism, retained chain drive and external hand brake and shift levers. The radiator is set wellback from the exposed front axle. The steering is extremely quick, under one turn lock-to-lock. Whenyou corner in the wet, the rear end slides. There is no differential, just a straight chain drive axle.When you want to corner quickly, in dry conditions, you induce the slide yourself.

From 1924 to 1938, about 348 cars were built. Owners of the remaining cars today cherish them asBritish national treasures.

In the 1930s, the company became the exclusive distributor for BMW in England. The cars weremarketed as BMW–Frazer Nash. After World War II, the company continued for some years using amodified version of the BMW engine.

With their solid rear axle and quick steering, I always picture the cars driving flat out at the limit—“At 10/10s.”

“Just Plane Bored”

Whenever I saw pictures of a Gee Bee, I thought to myself, what a neat little plane. The Gee Bee,designed and built by the Granville brothers, looks almost like a cartoon airplane. The short, stubbyfuselage has an 800 HP Pratt & Whitney radial engine up front. The cockpit is located just before thetail, with little in between. The R-1 Gee Bee won the 1932 Thompson Trophy race, piloted by JimmyDoolittle.

The automobile is a 1930 front wheel drive Ruxton. Engineered by William Muller, the front wheeldrive layout allowed for a very low body profile. The unusual Woodlite headlights add to the car’sunique appearance. Among the investors backing the new car was one William Ruxton. It was

decided that Ruxton sounded like a good name for a car, and so it came to be.

I thought a black and yellow color scheme on both the plane and car worked well and I went with it.While the daring pilot and his dedicated mechanic carry on a lively conversation, the lady is “JustPlane Bored.”

“Doc’s Healey”

In the 1940s, the late Dr. Floyd McRae was a respected neurosurgeon at Piedmont Hospital inAtlanta. Dr. McRae was also a long-time car enthusiast.

In 1948, at the New York auto show he saw and had to have a Healey Elliott sedan. Dr. McRaebought the car and drove it back to Atlanta, where I saw it in 1951.

Most people connect Donald Healey with the Austin-Healey sports cars of the 1950s and 1960s. Assoon as possible after the war, Healey was building cars to be sold in the U.S. This Healey of Dr.McRae’s was sent to New York as a possible car for Healey and his son to drive cross-country to setup dealers. A Healey roadster was also sent, and the Healeys took it as their tour car.

The Healey was part of a stable of cars maintained by Dr. McRae. He also had an early Jaguar XK-120 roadster, a Mercedes 300S coupe, a Cunningham coupe, and a Lancia.

The Healey was one of my favorite cars from my early years in cars. I show the car in downtownAtlanta with the good doctor at the wheel and a trackless trolley in the background.

“L1 Allard”

You don’t see many Allards in the Atlanta area. I had never seen an early L1 four-passenger Tourer. In2002, I attended British Car Day and there it was, an L1 Allard. I was intrigued and took somephotos. This being an early car (1948), it had a standard flathead Ford V8. Later Allards usually hadbig overhead valve Cadillac or Oldsmobile engines.

Sydney Allard operated a successful British Ford dealership purchased by his father in the early1930s. Sydney built his first special from parts he acquired from two wrecked cars. A Ford V8roadster and a Bugatti racer contributed what he needed. From the Ford came the frame and most ofthe running gear. The Bugatti supplied the body and the steering gear. He was interested in running inhill climbs and trials so he set the engine well back in the frame to improve weight distribution. Thiscar was such a winner that Allard was persuaded to build two more trial specials.

After the war, Allard went into small-scale production and built some cars that were winners at manyvenues.

“But Officer”

The car is a 2.9 8C 2900 Alfa Romeo. This model, considered to be Alfa’s finest, was built in thelate 1930s. Some people consider it the best sports car ever built. According to those who know, the2.9 drives like a post–World War II car, not a prewar.

The 2.9 liter engine is made up of two 4-cylinder blocks with a one-piece cylinder head andoverhead camshafts. Two superchargers pressurize the fuel-air mixture. The engine is mounted in achassis with independent suspension, front and rear. This combination is capable of speeds of 125mph or better.

The first road race at Watkins Glen in 1948 was won by a 2.9 coupe driven by Frank Griswold. PhilHill, the first American world champion driver, raced a 2.9 Mille Miglia roadster early in his career.

In my illustration, the lady in the 2.9 tries to use her charms to get out of the ticket, for parking next tothe obvious fire hydrant. The officer seems to be considering his options.

“MG Autumn”

What could be better on a sunny day in the fall than a ride in your MG? With the top and windshielddown, this couple is getting the full wind in the hair, bugs in the teeth experience.

The MG-TC shown here was virtually the same car that was being built in 1939 when the war shutcar production down. The TC was the car that introduced most Americans to the sports cars. This isthe car that showed us that cars could be more than just an appliance to move us from point A to pointB.

The TC sits low to the ground, with tall 19" wire wheels with knockoff hubs. The steering wheel ison the right; no export models were built until the TD went into production. The engine is a four-cylinder pushrod overhead valve unit. Horsepower produced is only 54. The car weighs in at slightlyover 1,800 pounds. With good use of the four-speed gearbox, performance is satisfactory.

With an open road and the wind rushing by, nothing offers more motoring enjoyment.

“Road Test Report”

The very rare British Alta was the result of one man’s vision and passion to bring it to fruition. Thefirst Alta was built in a stable in 1927. Geoffrey Taylor, in his spare time with limited funds, wasdetermined to build his dream car. Taylor designed the engine, made his own wooden patterns, andfarmed them out to local foundries. He hacksawed the crankshaft and connecting rods from solidbillets. Legend states that he kept a copy of War and Peace open to read as he sawed away. He drovehis first car hard in long distance trials and was quite successful.

Taylor set up a small factory and began limited production between engineering jobs.

The car in my illustration is one of the 2-liter, supercharged models built just prior to World War II.Taylor produced 18 sports cars and several single-seat racing cars. I’ve pictured Taylor standing bythe car as a pleased driver reports on his road test.

The Alta is a great example of the sports cars built by small manufacturers in England between thewars.

“Targa Jamaica”

When I went to Jamaica in 2004 for my niece Happy’s wedding, I had no plans to do a picture likethis. I soon found out her new husband Matt was an avid Porsche admirer. His all time favorite wasthe 1968 911 Targa.

Both Matt and Happy love the island and chose to be married there at Roundhill Plantation. I began tothink a picture combining Matt’s Porsche interest with the beauty of the island might make a nicewedding gift. The wonderful tree was next to a walking path I used each morning I was there. Sincemy middle name is McPherson, the picnic blanket is McPherson dress plaid.

The 911 Targa was Porsche’s way around anticipated anti-convertible laws, with the wide bar behindthe removable roof panel acting as a roll bar. Previously the 911, introduced in 1964, had beenavailable only as a coupe.

CHAPTER 9

Strictly Black and White

While most of my illustrations are done in color, there are times when black line drawings are calledfor. Here is a selection of six, four of which were done as Christmas cards. Two were for the AstonMartin Owners Club and two for a friend’s shop that does a lot of Aston work.

“LM-22”

In the fall of 1976, the Aston Martin Owners Club put out the call to members interested in doingartwork for the club’s Christmas card that year. I had decided to do a drawing of LM-22, the lastfactory team-racing car built before World War II. LM-22, built in 1936, was a 2-liter car that cameafter the very successful 1.5 liter Ulsters raced by the factory. I was familiar with LM-22, which atthe time was owned by the late Roberts Harrison of Valley Forge, Pennsylvania. The card was wellreceived and the club was pleased by the number of orders from members.

“DB4 GT”

After the success of the LM-22 Christmas card, the Aston Martin Owners Club contacted me to do afollow-up for the following year. They wanted to feature a post-war car and requested that I draw aDB4 GT. The GT version of the DB4 featured a shorter wheelbase and a hotter engine. The sixcylinder engine had a special cylinder head with 12 10mm sparkplugs and twin distributors. Thevalves were so large in the twin cam head that standard 14mm sparkplugs would not fit betweenthem. The smaller 10mm plugs were used instead on either side of the valve openings. The finishingtouch was three Weber 2-barrel carburetors. The performance was outstanding.

“What, No Sleigh?”

After seeing my cars for the Aston Club, my friends Charlie Turner and Toby Bergin wanted cards fortheir shop. Import Service and Restoration did quite a bit of Aston work, hence the choice of an AstonDB6. This particular Aston is a DB6 shooting brake (station wagon to us yanks). I thought Santa andthe elves would appreciate the front skis, so I went with it!

“Built to Scale”

On my second card for Import Service, I’ve shown Santa at work. St. Nick is putting the finishingtouch on a scale model of an Aston DB3S coupe. The very rare 3S coupe was the closed version ofthe factory’s open DB3S racing cars. I had fun doing the cards and feel they are a good example of myblack and white artwork.

“Leonidis”

This car and its owner, Miles Collier, appeared in another section, Heroes and Their Cars. Thisdrawing shows the car as it appeared at Le Mans in 1939. The body was bare aluminum at this time.The only color was a small American flag on the hood. The picture shows a young Miles Collierproudly posing with his unique MG Special. I have always liked this little car and felt a black andwhite drawing would show it to full advantage.

“Cadillac Allard”

Number 14 was the first Allard to be powered by a Cadillac V8 engine. Tommy Cole, an Englishmanliving in the U.S., felt the flathead Ford engine in the early Allards was underpowered. Coleproceeded to order a J2 Allard without an engine to be delivered to Frick-Tappet motors in LongIsland. Cole then waded through the bureaucracy at GM to get a new V8 Cadillac engine. With theCadillac engine installed, Cole began winning races right away. After this, it became standardpractice to buy Allards sans engine and install a big American V8.

CHAPTER 10

Preliminary Drawings

I felt readers might enjoy more information on the early work that goes into my illustrations. Thischapter shows first full-size roughs and then finished pencil drawings.

Most appear in final form elsewhere in the book, in the order shown here.

Just Imagine

Ken

Ralph at Zumbach’s

Summer Thrill

1st Squire of Zethrin

West Hampton 66

Custom Cadillac

Beauty and the Bugatti

Guns, Girls and Bootleg Booze

Road Test Report

French Curves

An Evening at Ciro’s

Phantom by Moonlight

Gullwing

CHAPTER 11

Building a Picture

An illustration is a contrived picture. The picture may be a historical event or pure fiction. The artistcomes up with an idea. Research is done and reference is gathered. Pictures usually start as a smallthumbnail sketch. Next comes a larger rough sketch. I most often use newsprint pads at this stage. Ithen do a finished pencil drawing that I transfer to watercolor board. The medium I use is colored ink.The following pages trace a picture from thumbnail to printed piece.

CHAPTER 12

My Cars

Because my direct experience with cars has always inspired and informed my art, I have devoted thischapter to sharing the stories of my own cars of interest. It begins with my first car at age sixteen andends with the sale of my last MG in 1999. Over the years, cars came and went. The following aresome of the adventures along the way.

The Yellow TC and Other Tales

In Atlanta, Georgia, in 1951, used MGs were as rare as hen’s teeth. In late summer, the impossiblehappened. On the lot at Import Motors there appeared a 1948 MG-TC for sale at an affordable price—affordable because of a promise my father made when I was thirteen. He told me if I worked parttime jobs and saved my money, he would match what I saved. So, for $1,200 plus Georgia sales tax($36), I had my first car. The TC was black with green leather and matching green grille slats. To asixteen year old boy, this was a rather dowdy color combination, so I talked my dad into having thepaint shop at his Dodge dealership go to work on the car. The color I chose was, to put it mildly, ashocking bright yellow. Ordinary citizens and the local law could spot me a mile away. My drivingstyle at the time consisted of two speeds, standing still and flat out! By going around most cornerssideways, I once wore out a set of tires in a thousand miles. This resulted in some stern parentaladvice and recommendations. Alas, my first car affair was short and sweet.

I was next smitten with a British Singer open four-passenger tourer. The main attraction of this carwas the ability to carry more than one of my friends as passengers. The Singer certainly did not havethe dashing looks of the TC, nor did it have much dash. When fully loaded with four people, it wasquite underpowered. The Singer and I parted ways when a used MG-TD came onto the market.

The TD had about the same performance as the TC, with admittedly advanced suspension and steeringimprovements. This is the car I had when I became the youngest Atlanta member of the Sports CarClub of America, at age seventeen. With a letter of parental consent, I was allowed to compete in anupcoming hill climb at Burnt Mountain. The mountain, near Jasper, Georgia, in the north Georgiamountains, had a dirt road from base to summit. To the best of my recollection, some twenty or morecars competed, and I finished about midway in the field. My time with the TD ended when I foolishlyloaned the car to a friend who promptly hit a fire hydrant while trying to corner at way too high aspeed.

After the demise of the TD, along came a very special TC. This car had been owned by the lateLindsey Hopkins, owner of Import Motors. Built during the final year of TC production, the car had

smaller, sealed beam headlights and full bumpers with small overriders. The TC was ordered fromthe factory with 16 inch Rudge Whitworth wire wheels. This made for wider tires on the ground andbetter acceleration. In this car, I competed in my second Sports Car Club competition, the “TateTrials.” Stevie Tate was a Georgia state senator who had considerable land holdings near thecommunity of Tate in the mountains of north Georgia. Tate’s property had two entrances, one at thehighest elevations of his land and the other at the lowest. Between the two entrances, on one side, rana straight stretch of county highway. On Tate’s property, there was a series of winding gravel roads.The challenge was making a roughly five-mile circuit. The answer was having the local sheriff closethe county road for a couple of hours so Tate and his crazy friends could run one car at a time againstthe clock.

Being all of eighteen years old, and having no fear of death or dismemberment, I drove like a maniacand finished third overall. I was beaten by a Jaguar and a well-driven MG-TD MKII.

My first Jaguar followed and it was a lovely car indeed. It was an early (1950?) alloy bodied XK-120 and supposedly had been shown in the Miami, Florida, auto show. It was finished in a very nicetwo-tone paint job in red and black. This car was a huge step up in power and speed from the MGs Ihad grown used to driving. I liked everything the Jaguar had to offer, but it just wasn’t as much fun todrive as the MGs.

I traded the alloy bodied XK-120 for a pampered one-owner TC finished in British racing green withtan interior. The green TC’s time with me ended when I left for art school in California witheverything packed into a 1951 Plymouth coupe from my Dad’s used car lot.

At this point, we get into some of my marital history. At age 20, while attending art school, I met anAustralian girl who I was sure was the love of my life. With a year of school finished, we ran off toYuma, Arizona, and got married. After a little disagreement with my new mother-in-law, we came toAtlanta and I went to work.

Along with two wonderful daughters, of course a car entered the picture. At an emporium known asSoutheastern Sports Car, Inc., I found my next adventure. Into a nice stock white MG-TC someone hadinstalled a sixty horse Ford V8. Unfortunately, this particular installation was not well thought out orexecuted. Instead of using a Ford transmission to go with the engine swap, the MG gearbox wasretained. The Ford engine was equipped for a six-volt electrical system while the MG was twelve-volt. Someone sought to solve this by installing two six-volt batteries instead of the twelve-volt thatcame with the car. The hope seemed to be that the engine electrics would run off one of the six-voltbatteries and the rest of the electronics off of the two batteries combined. This was doomed to failureand constant electrical problems ensued. The end of my time with this car pretty much coincided withthe end of my first marriage!

Fast-forward to 1960 and the beginning of my second attempt at marriage. I was again looking aboutfor a nice stock MG-TC, and again Southeastern Sports Cars supplied my need for a project. Ipurchased a well-worn TC that needed some tender care. After fixing one little problem after another,I embarked on a total restoration. The pictures show the car and me right after I finished painting theframe bright red. The car was finished in black with red undercarriage and red under the fenders. Therestoration took about a full year. (Side note: Since no new MG mufflers were available in 1960, this

is probably the only TC with a 1960 Plymouth resonator instead of a stock muffler.)

My second wife and I became very interested in running in time, speed and distance rallies. The carwe usually competed in was her XK-120 M roadster; in a picture that follows you see me changingthe speedometer drive gear on the side of the transmission. A pre-rally odometer check revealed a bigdifference between the car that laid out the rally and the Jaguars. Unfortunately, the gear I installedcompounded the problem.

Around this time (1963), I began a longtime friendship with the late Charlie Turner, which led to myacquiring the 1932 Aston Martin Le Mans prototype. Charlie owned a nice 1933 Aston Le Mans andhad purchased the disassembled ’32 Aston as a spare parts car.

Charlie and I were buying later model damaged Astons and rebuilding them for sale. At one time, wewere probably among the few people in Atlanta rebuilding twin overhead cam British cars. Afterfinishing a rebuild on a DB2 MK4 drophead, Charlie had the opportunity to buy LM 20, the famousfactory team car from the mid-thirties! I struck a deal to give up my half of the profit on the DB2 forthe 1932 parts car. I began a slow process of trying to restore the parts car.

In 1968, my second marriage ended in divorce after two more wonderful children. The much-lovedTC was sold, but I managed to hold on to the 1932 Aston restoration project.

In 1970, I was married for the third, and final, time. I met my wife at an American Motors dealershipthat also sold Triumphs and Volvos. I was there in the service department to deal with the Triumphand Volvo owners. The American Motors service manager felt that he could not deal with people whodrove foreign cars. My wife-to-be owned a 1968 navy blue TR4A, a nicely equipped car with wirewheels and electric overdrive. It also had a solid rear axle. Most new Triumphs had independent rearsuspension, which sometimes required universal joint replacement.

In the fifth year of our marriage, my wife was diagnosed with a malignant brain tumor that requiredsurgery and followup treatment. At this time, I sold the unfinished Aston project. Many years andthree owners later, it was crated up and sent to England where it was finally completely restored. Thepicture shows me with the restored car at the 2006 Amelia Island Concours d’Elegance.

During my wife’s long illness, I kept an eye out for a possible bargain on an interesting car. Sometimein the late 1970s, I saw an interesting ad in the classifieds of the Atlanta paper: “Jaguar XK-120coupe in storage several years sold as is $1,400.00.” I made a phone call and arranged to go see thecar.

It was obvious the car had been sitting for some time, located in a downtown Atlanta warehouse. Thepaint was a dull silver, the once leather seats were covered in garish black-and-white naugahyde and,of course, the battery was completely dead. The windshield glass was also missing. I went back tosee the car a second time, now armed with a hot battery and jumper cables. I checked the oil andfound it to be full, but dirty. With some fiddling, I got the engine started. With great optimism, I madean offer and bought the car.

Now, an interesting problem had to be dealt with. The Jaguar had been driven into the warehouse via

a street entrance and parked in the back of the space, well away from that entrance. As the Jag restedin place, some years later the warehouse was divided into two sections with a wall down the middle.The only connecting door was a standard 3 feet wide unit. The only way to remove the car was off arear loading dock platform, several feet above ground level. Remaining optimistic, I rented thelargest Ryder truck available, short of a tractor-trailer. I made a stop at a Home Depot and boughttwo, ten-foot long 2" × 10" boards and threw them all in the truck.

The bed of the truck was about a foot lower than the loading dock. This meant the truck had to besituated several feet away so the boards could rest on the dock and the truck floor. With my heart inmy throat, I managed to drive the Jag into the back of the truck. After that, getting the car off the truckonto my driveway seemed pretty easy.

With a second operation for my wife coming up, I wound up selling the Jag, unfinished, a few monthslater.

In the late 1970s, the recession dried up the need for design work and I was between jobs. Peoplewere investing in antique and classic cars and prices were skyrocketing. I went in with some of mycar friends and started offering long-term loans through a local bank.

This connection allowed me to arrange a nothing down, five-year loan to buy a car myself. The car Ibought was a 1935 MG PB. The PB was the last of the four cylinder, single-overhead cam MGs. Oneof the interesting mechanical features was the drive for the overhead cam. The generator was used asthe drive shaft. The generator was mounted vertically at the front of the engine. A lower gear at thefront of the crankshaft turned the generator. At the top, a flexible thin metal plate joined the generatorshaft to the camshaft drive gear. There were no cooling fans and no drive belts were necessary. Thecar was beautifully finished and the MG octagon was used extensively. The gearshift gate, theinstrument chrome surrounds, and even the front fender parking lights were octagonal! I worked onand drove the PB for about ten years. I was able to sell the PB for just enough to buy back the TC Isold in 1968.

My TC was fresh from a rebuild by a MG restoration shop North Carolina. I was able to enjoy mysecond ownership until 1999. At this time, mounting family medical bills forced the sale of both theTC and the 1968 Triumph my wife had bought new. After my wife’s passing a year later, I relocatedto Smyrna, Georgia, where I currently live. My only car, and my daily transportation, is a nice,presentable 1965 VW Beetle.

Now, if I could just win the lottery, who knows what exciting cars might be out there waiting for me!

This is my first car, purchased at age 16. I had seen pictures of the MG-TC in an article in Fortunemagazine and that was the beginning of my fascination with interesting cars that still continues. I referto it as the yellow TC; I had it painted a very bright yellow soon after its purchase in 1951.

In my first competition drive I ran this MG-TD at a hill climb on Burnt Mountain. This was a timedrun on the dirt road up the mountain. Burnt Mountain is near Jasper, Georgia, in the north Georgiamountains.

I saved this 1952 Sports Car Club of America membership card all these years. I got it at age 17when I first joined the SCCA. I really felt I had arrived. The SCCA and I were just starting anexciting journey.

This 1949 MG-TC had been ordered from the factory with special 16" Rudge Whitworth wirewheels, and was the only TC in Atlanta so equipped. In the picture I am behind the wheel (right handdrive), and in the passenger seat my high-school friend Spencer Godfrey.

This is an early alloy bodied XK-120 Jaguar Roadster that I had in 1954. The Jag had a beautiful

two-tone red and black paint combination. The car supposedly had been on display at the Miami,Florida, annual auto show.

I bought this MG-TC in 1960, and in 1961 I began a body off, frame up restoration. This picture wastaken shortly after I painted the frame and running gear red.

At the beginning of a time, speed, and distance rally you can check your odometer reading over ameasured mile to see how close your instrument is to the car that laid out the rally. The Jag was wayoff. In the picture I am changing the speedometer drive gear on the side of the transmission.

I acquired this 1932 Aston Martin LeMans as my payment for work on an Aston DB MK II thatCharlie Turner and I rebuilt and sold. Due to family medical expenses I sold it unfinished in 1976.

At the Amelia Island Concours in 2006, I had the opportunity to see the 1932 Aston I sold in 1976.After it had passed through two owners, the third owner had the unfinished car sent back to Englandfor a complete restoration. It was wonderful to see the car properly finished.

The TR4A was bought new by my late wife Carole in 1968, and remained in the family until 1999.The car was equipped with wire wheels and an electric overdrive unit. The overdrive made it a verygood road car and we took it on many pleasant road trips.

I responded to an ad in the Atlanta newspaper and discovered this XK-120 Jaguar Coupe in adowntown warehouse. I had to drive the car off a loading dock into a rental truck to get it home. I hadplans to restore the car but wound up having to sell it as is.

I owned this 1935 MG-PB for about 10 years and really enjoyed driving and working on it. The caractually was built in October 1935, the month before I was born. I sold the PB in the late 1980s andbought back the TC I had sold in 1968.

List of Names and Terms

Addams, Charles

Alberta, Canada

Albuquerque, New Mexico

Alfa Romeo

Allard

Allard, Sydney

Allis-Chalmers

Alta

Amilcar

Anderloni, Carlo

Anzani

Areolite

Art Center School

Aston Martin

Aston Martin Owners Club

Atlanta

Atlanta Art Institute

Auburn Boat Tailed Speedster

Austin

Austin-Healey

Australia

Automobile magazine

Automobile Racing Club of America

Baby Bootlegger

Bantam Roadster

Barfield, Summer

Barnes, Tom

Battle of Britain

Bergin, Toby

Bith, Andre

BMW

Bohman, Christain

Bohman, Jim

Bohman & Schwartz

Bond, Elaine

Bond, John

Boyle, Mike

Bridgehampton, New York

Brindle, Melbourne

British Car Day

British Empire Trophy

Brock, Peter

Brooklands

Buehrig, Gordon

Bugatti

Bugatti, Ettore

Bugatti, Jean

Burnt Mountain

Cadillac

Cambridge, England

Caniff, Milton

Capetown, South Africa

Carrozzeria

Chase, Horace

Chasen’s Restaurant

Chateau Elan Winery

Chevrolet, 1957 Bel Air

Cobra Daytona Coupe

Cole, Tommy

Collier, Miles

Comer, Bill

Cord

Corsica Coachworks

Cramer, Leroy, Jr.

Crane, Larry

Crosby, Gordon

Cumberford, Robert

Cunningham

Custom Creations

Daigh, Chuck

Darrin, Howard “Dutch”

David, Bill

Davis, Robert

Derham Cadillac

de Villers, Hon. John

Diedt, Emil

Dodge

Dragon Lady

Dreyfus, René

Edinburgh

Elektron

Fairbanks, Douglas

Fawcett, Robert

Ferrari

Figoni and Falaschi

Flying Shingle

Fontes, Luis

Ford

Fordillac

Frazer-Nash, Archie

Frazer Nash Automobile

Freeman, Dr.

Gangloff Coachwork

Garroway, Dave

GeeBee

German Grand Prix

Giles, Eric

Giles, Col. G.M.

Ginther, Ritchie

Goddard, Paulette

Gough Industries

Goutte d’Eau

Granville Brothers

Grayson, Stan

Greenwich, Connecticut

Griswold, Frank

Hagemann, Jack

Hardy, Rex

Harrah’s collection

Harrison, Roberts “Bobs”

Hart, Pat

Healey

Healey, Donald

Healy, E.J.

Heinz, Rust

Hershey, Pennsylvania

Hill, Phil

Hispano

Hopkins, Lindsey

Hutton, Barbara

Import Motors

Indianapolis 500

Inskip’s

Invicta

Jackson, Bill

Jaguar

Jasper, Georgia

Kimberly, Jim

The Kings of the Road (book)

Kurtis, Frank

Lake Winnipesaukee

Lander Motors

Lee, Don

Lee, Tommy

Le Mans

“Leonidis”

Leppanen, Weikko

Lister, Brian

LM 20

Lobkowitz, Prince George Christian

London and North Eastern Railway

London Philharmonic

Lord Rothschild, Victor

Los Angeles

Lucas P-100

Lyons, Dick

Maharaja of Kapurthala

Manby-Colegrave, “Jock”

Marchese, Carl

Marchese, Tudy

Markham of Reading

Marshall Supercharger

Maserati

Mason, Mark

Mason, Nick

McPherson

Mercedes 540K

Mercer Raceabout

Mexico

MG

MG-PB

MG-TC4

MG-TD

MG-TF

Miles, Ken

Mille Miglia

Miller, Harry

“El Mirage”

Muller, William

Mullin, Peter

Mullin Museum

New York

New Yorker (magazine)

Octane (magazine)

Offenhauser

Oglethorpe University

Oliver, Robert

Olson, Warren

Oxnard, California

Pan-American Highway

Pebble Beach

Pegaso Thrill

Phantom Corsair

Phillips, Overton “Bunny”

Pincent, Captain B.H.

Plymouth

Pohl, Zdenek

Porsche 911 Targa

Portugal

Pratt & Whitney

Prescott Hill Climb

Puckett, Alan

Purdy, Ken

Putt, Basil Porter

Ranalah

Reventlow, Lance

Ricart, Wilfredo

Ritz Bar

Riverside Raceway

Road & Track (magazine)

Rothschild

Roundhill Plantation

Ruxton

Ruxton, William

Saalburg, Leslie

San Francisco

Scarab

Schaerley, Jacques

Schell, Laury

Schell, Lucy O’Reilly

Shaw, Wilbur

Shriner, Herb

Silnas, Joe

Singer Tourer

Slay, Reginald

Smith, A.G. “Bert”

Smyrna, Georgia

Southard, Jim

Sports Car Club of America

Squire

Squire, Adrian

Staggerwing Beechcraft

Stein, Ralph

Stonor, Hon. R.R.W. Sherman

Supercar Classics (magazine)

Talbot

Tate, Steve

Tate Trials

Taylor, Geoffrey

Terry and the Pirates

Thanksgiving

Thompson Trophy Races

Triumph

Troutman, Dick

Turin Auto Show

Turner, Charlie

Uihlein, David V.

Valley Forge, Pennsylvania

Vanden Plas

Vogelsang, Don

Volvo

Von Dutch

Von Haugwitz-Reventlow, Count Kurt

VW Beetle

Walker, Sir James

War and Peace (book)

Watkins, Glen

Weaver, George

West Hampton

Williamson, Dr. Peter

Woodlite

Woolworth

World War II

Young at Heart

Yuma, Arizona

Zethrin, Val

Zumbach, Charles