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Maserati 5000 GT

At the end of the 1957 sports season, the organizers of the World Sportscar Championship (FIA), also in the wake of the general consternation caused by the “Guidizzolo tragedy”, to increase safety in competitions limited the maximum displacement of the competing cars to 3,000 cm³.

The sudden elimination of the “Sport 5000 Class” put the Maserati racing department in great difficulty, which, in the previous months, had invested considerable resources to prepare and develop the powerful “450S” model, still in a phase of full evolution.

Following this provision, Adolfo Orsi decided to withdraw Maserati from official competitions, restricting the activity of the racing department to the construction and assistance of cars for the many private drivers supplied by the trident house. Many of these, by force of circumstances, were forced to cancel their orders for the “450S” model, stopping the production of type 54 engines, dozens of which were already finished or awaiting assembly. Some of these were re-weighted to bring the displacements to 5,700 and 6,400 cm³, in order to equip boats destined for motorboat racing competitions.

For the first 5000 GT, internally named with the design code “Type 103”, Eng. Alfieri calculated a dimensional increase on the chassis of the “3500 GT”, both in width and in length, in order to accommodate the bulky V8 and, at the same time, offer the basis for a spacious interior and an imposing appearance. The engine was “tamed” with minimal modifications that consisted of re-boring the cylinders to slightly increase the displacement and decrease the compression ratio, in order to obtain a smoother delivery at low revs at the cost of reducing power by 20%.

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The coupé-type bodywork, in aluminum, was built by Touring, as were the interiors, with luxurious materials. The painting was done in bright blue, with beige leather interiors and many details in pure gold. Curious is the rear light system, designed with two series of three circles, witch gradually reduced its circumferences towards the sides of the tail, whose external lights were operated by a separate command, to indicate the presence of the king on board.

As for the mechanics, the “5000 GT” boasted a V8 engine derived from the 450S with 2 overhead camshafts per bank, 4 Weber DCOE 45 carburetors, double Magneti Marelli ignition, double petrol pump with 4937 cm³ of displacement that developed 340 hp at 5500 rpm coupled to a 4-speed manual gearbox. Traction was obviously rear while the brakes were disc at the front and drum at the rear.

The opportunity for a new automotive use arose the following year, with the visit to the company of the Shah of Persia Mohammad Reza Pahlavi, in search of a sports chassis to be completed with Touring Superleggera bodywork. Given the exclusivity and prestige of the customer, Orsi and Alfieri proposed to prepare a new chassis, derived from the “3500 GT” model and equipped with the racing engine of the “450S”, after having adapted it to the needs of road use. The proposal was immediately accepted by the ruler of Persia, a great fan of sports cars.

The first “5000 GT”, chassis no. AM-103-002, was delivered to the Shah towards the end of 1958 and immediately became famous all over the world, also due to the fact that the illustrious client was at that time in the spotlight of information, due to his divorce with Princess Soraya, who permanently occupied the front pages of the international press. The numerous requests for information about the car by the jet set convinced Orsi to plan a small series production.

About the number of cars built, the sources report numbers of speciments varying between 32 and 34. In reality, the most authoritative historians of the brand agree on the fact that the chassis produced were 32 in all, with chassis numbers ranging from AM-103- 002 and AM-103-066. However, 34 result because two of these were renumbered by Maserati following a complete rebuilding.

Touring Superleggera

103.002: The first Maserati 5000GT car in the Tipo 103 series was the Shah of Persia, delivered to Mohammad Reza Pahlavi, who had been impressed by the Maserati 3500 after a test drive but demanded a more exclusive car for himself.  He commissioned Maserati’s chief engineer Giulio Alfieri to fit a slightly modified 5-litre engine from the Maserati 450S in the 3500GT’s chassis.  Carrozzeria Touring developed the superleggera tubing and aluminum body of the two-seater coupé.

103.004: This speciment was first presented at the 1959 Turin Motor Show. After the exhibition, it was sold to the South African Basil Read, who was the owner of the Kyalami Grand Prix Circuit at the time.

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103.010: This is chassis was the third Touring built car. Originally bodyworked in 1961 by Frua, which was restamped and rebodied in 1965 with the n. 103.090 for the Saudi royal house.

Allemano

The first Allemano bodied 5000 GT, designed by Giovanni Michelotti, was displayed at the Turin Motor Show in 1961 and became known as the ‘Indianapolis’ in honour of Maserati’s victories at the ‘Indy 500’ in 1939 and 1940. This car is important as it was the basis for the ‘production’ 5000 GTs. The first Allemano 5000 GT was built in October 1961, one of four built that year. In the following year, the 5000 GT’s most productive, 12 cars were built, a further 4 cars in 1963 and another 2 cars in 1964.

Photo courtesy of RM Sotheby's

Pininfarina

103.008: Pininfarina, the most successful Italian coachbuilder, in the 1950s who was closely associated with Ferrari, did not manufacture its own version of the Maserati 5000GT. Nevertheless, a Pininfarina body was mounted on a 5000 GT chassis. The trigger was the Italian industrialist Giovanni “Gianni” Agnelli, long-time managing partner of the automobile manufacturer Fiat. Among other things, Agnelli privately drove a Ferrari 400 Superamerica, which was equipped with an individual body from Pininfarina. The structure, generally perceived as strict, had a front panoramic window, a high front section and a large radiator opening. In 1961 Agnelli had the Pininfarina body of his Ferrari built on to the chassis of the Maserati 5000 GT. The car drove without any branding in the following years.

Monterosa

103.006: Red painted, it was originally sold to F1 racing driver Perdisa in 1960. Now in the ownership of an american car collector.

103.012: Grey painted, sold to tennis player Filippo Montanari.

Photo courtesy of Sport Car Digest
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Michelotti

103.016: Race driver Biggs Cunningham requested that his 5000 GT resemble, as much as possible, the 450 S upon which its engineering had been based. As so often happens, in translation this became something different but equally wonderful. Michelotti’s design has a trace of 450 S in the rounded curves of its fenders, but was otherwise a fully and remarkably modern creation. With a glassy linear greenhouse, ventilation scoops with decorative chrome “strakes” tucked behind the front wheel arches, and a semi-tapered rear deck, it was reminiscent of a Ferrari 330 GTC. Hidden headlamps, flanking a relatively small oval grille opening, helped to preserve the car’s aerodynamics. The muscular, menacing side exhaust is subtly visible, peeking out behind the wheels. It may not resemble a road-going Le Mans car, but if performance was what Cunningham was after, and it usually was, then Maserati and Michelotti delivered. Reportedly this was the most aerodynamic 5000 GT built, thanks to its lines having been developed in the wind tunnel at Università degli Studi di Torino, and arguably it was the fastest, as well. Cunningham insisted on test-driving it prior to delivery at Monza, presumably ensuring that its speed was up to his standards. He then used it to commute between various European race tracks at which his team was competing.

Photo courtesy of Darin Schnabel for RM Sotheby's

Ghia

103.018: This 5000 GT, was completed in July 1961 for industrialist Ferdinando Innocenti and was the ninth example built. Most 5000 GTs were built with understated bodies by Allemano, but 018 was the only example coachbuilt by Ghia. Sergio Sartorelli, head of the style prototyping department at Ghia, created its stunning one-off design incorporating cutting-edge styling elements of the time, many of which were later seen on other Ghia designs. Ghia displayed 018 on their stand at the 1961 Turin Auto Show, finished in its original color combination of silver over black. Innocenti later sold the car, and after being owned by a few people in Italy, it found its way to Saudi Arabia, where it was long thought to have been lost. Sold For $533,000 by RM Sotheby’s in 2019, the car was not in its best shape, looking forward to be restored.

Photo courtest of RM Sotheby's

Bertone

104.004: Unveiled at the 1961 Turin Auto Show,  designed by Giorgetto Giugiaro, it is considered the most beautiful of all 5000GT. Now part of a private collection based in the Netherlands.

Frua

103.060: Built for prince Aga Khan, it was ordered by him through french Maserati importer Ets. It won the 2nd price in its class at the Pebble Beach Concours d’Elegance.

103.048 (renumbered 103.064): Prince Majid-Ben-Saud of Saudi Arabia has brought the car to Egypt for his Father, the exiled King. He imported it as “diplomatic baggage” to avoid the usual custom procedures.

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103.100: Delivered in 1966 to Auto König, Munich and sold to German architect Engelhardt, which is said, that he was working for Aga Khan.

Photo courtesy of Tim Scott for RM Sotheby's

Touring Superleggera Sciàdipersia

In 2018 at the Geneva Motor Show, Touring Superleggera unveiled the Sciàdipersia which recalls the 5000 GT, a limited series based on the Maserati Granturismo.

Sources:

  • Maurizio Tabucchi, Nel segno del Tridente, Giorgio Nada Editore, 2003
  • Elvio Deganello: Maserati 5000 GT, Ruoteclassiche, n. 53, 1992.
  • Furio Oldaniː Ferrari 400 Superamerica e Maserati 5000 GT, Ruoteclassiche, n. 108, 1997.
  • Alfredo Albertini, Maserati 5000 GT, Ruoteclassiche, n. 305, 2014
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PP90
PP90
3 years ago

The the Ghia and Bertone versions are the best looking ones

Prince Skyline Sport Allemano

The end of World War II left Japan in a difficult position, having to transition its industries from military production to civilian use. This challenge was particularly tough since Japan, like Germany and Italy, was a defeated nation. However, Japan’s ability to adapt would set the stage for one of the most exciting collaborations in automotive history.

Among the companies responsible for this transformation were Tachikawa and Nakajima, two of Japan’s leading aviation companies. Tasked with shifting to civilian production, Tachikawa (later known as Tokyo Electric Cars) began building electric cars in 1947. Their first model, the Tama, was followed by a slightly larger Junior, and eventually, the Senior.

In the early 1950s, Japan’s evolving automotive landscape saw a shift from electric-powered cars to gasoline engines. By the end of 1951, the Tama Senior was fitted with a 1.5-liter petrol engine, a shift that led to the creation of the Prince Sedan in 1952. This was the beginning of Prince Motor Company, which was named in honor of the official investiture of Crown Prince Akihito.

In 1954, Fuji Precision Machinery (formerly Nakajima) acquired Prince Motor Company and embarked on producing automobiles under the Prince brand. This marked the beginning of a new chapter in Japan’s automotive history.

The Birth of the Skyline and the Search for European Inspiration

By the late 1950s, Prince Motor Company had gained recognition in Japan for its innovative vehicles, such as the Prince Sedan and the Skyline (introduced in 1957). However, the company sought to take their vehicles to a new level—focusing on luxury, performance, and innovation. To do so, they looked westward, to Europe, for inspiration.

Europe was home to some of the most prestigious automotive brands, and Fuji Precision Machinery executives wanted a vehicle that could rival the best of Europe. This aspiration led them to Italy, where they arranged a pivotal meeting at the Salone dell’Automobile (Turin Motor Show) with Carrozzeria Allemano, a respected coachbuilder with ties to Italian designer Giovanni Michelotti.

The collaboration between Japan and Italy led to the creation of the Prince Skyline Sport, a car that would redefine the trajectory of Japan’s automotive design. This groundbreaking partnership merged Japanese engineering with Italian artistry, setting a new standard for style and innovation. The success of this collaboration inspired other Japanese manufacturers to partner with Italy’s legendary design houses, creating some of the most iconic vehicles of the 1960s.

Mazda, for example, worked with Bertone, enlisting the renowned Giorgetto Giugiaro to design the Familia, a compact car that skillfully blended European elegance with Japanese practicality. In 1963, Daihatsu teamed up with Vignale to produce the Compagno, along with its sporty variants: the Sport Spider and Coupé; which reflected a uniquely Italian flair. The following year, Pininfarina collaborated with Datsun to craft a sleek new look for the Bluebird, a move that helped the car gain global recognition. By 1965, Isuzu joined forces with Ghia to design the Bellett II, a concept car that showcased bold and forward-thinking design elements.

These partnerships went beyond aesthetics; they helped establish a global identity for Japanese automakers. By working with Italy’s most respected design houses, Japanese manufacturers gained fresh perspectives on styling while enhancing their reputation for innovation and quality. These collaborations not only transformed the appearance of Japanese cars but also elevated their appeal to international markets, leaving a lasting impact on the industry.

A Handcrafted Masterpiece

Under the direction of Giovanni Michelotti, one of Italy’s most respected automotive designers, the Skyline Sport would be an example of high-end craftsmanship. Initially, the first series of prototypes were built by Carrozzeria Allemano, known for its hand-built bodies. Later, a second series of production would be completed by Carrozzeria Michelotti, adding the final touch to this luxury vehicle.

The Skyline Sport was designed as a two-door coupe with sleek, flowing lines and a sporty yet elegant appearance. Michelotti’s design incorporated canted headlights, angled downward at the inside corners—a feature seen in other high-end vehicles like the Lincoln Continental and Buick during the late 1950s and early 1960s.

At the heart of the Skyline Sport was a 1.9-liter GB-4 engine that generated 94 horsepower, giving it a top speed of 150 km/h. Despite weighing in at 1,350 kg, the car’s handling was remarkably smooth, thanks to a double-wishbone front suspension and a De Dion rear axle, technologies that were innovative for its time.

The Prince Skyline Sport: A Bold Statement

The Skyline Sport debuted at the 1960 Turin Motor Show, where it garnered international attention for its bold design and luxury features. Available in both a coupe and a convertible version, it was a striking example of Italian design combined with Japanese engineering. Its clean lines, striking front grille, and eye-catching details made it a standout at the show.

But its beauty was more than skin deep. The Skyline Sport was a car that delivered in terms of both aesthetics and performance. With its meticulously crafted body, luxurious interior, and advanced suspension, the car offered an exceptional driving experience that rivaled the finest European vehicles of the era.

The Prince Skyline Sport made its official appearance in Japan at the 1962 Tokyo Motor Show, where it was met with great enthusiasm due to its elegant lines and striking design. With its sleek coupe and convertible versions, the car showcased a perfect blend of Italian craftsmanship and Japanese engineering, captivating the crowd with its sophisticated aesthetic. However, the Skyline Sport came with a hefty price tag of 1.85 million yen, more than twice the cost of a standard sedan. This steep price limited its appeal in Japan’s domestic market, making it a rare and exclusive collector’s item. Despite its high price, the car gained significant exposure through its prominent feature in Toho films, strategically marketed to heighten its status as a luxury icon.

A Historic Collaboration and Legacy

The Prince Skyline Sport is historically significant as the first collaboration between an Italian designer and a Japanese automaker, setting a precedent for future cross-cultural partnerships in the automotive world. It was a testament to the universal appeal of Italian design and the skill of Michelotti and Carrozzeria Allemano. The Skyline Sport bridged cultural and geographical boundaries, bringing together the best of both worlds to create a truly exceptional car.

Though the Skyline Sport never achieved high sales numbers, with only 60 to 200 units produced, its impact on the automotive industry cannot be overstated. It paved the way for later models like the Skyline GT-R and helped establish the Prince Laurel, another model that would become iconic in Japan.

The Skyline Sport also marked the beginning of Prince Motor Company’s shift toward luxury vehicles. This emphasis on quality and refinement would continue after Nissan’s acquisition of Prince Motors in 1966, with the Skyline Sport serving as a precursor to future generations of luxury cars from Japan.

The Prince Skyline Sport was more than just a car—it was a statement of innovation, craftsmanship, and the power of international collaboration. The partnership between Giovanni Michelotti, Carrozzeria Allemano, and Prince Motor Company created a vehicle that showcased the best of both Italian design and Japanese engineering.

Though limited in production and availability, the Skyline Sport remains an important part of automotive history. It stands as a symbol of the potential for global partnerships to create groundbreaking designs, and its legacy continues to inspire the automotive world today.