The Sunbeam Venezia was a striking collaboration between Rootes Group and the renowned Carrozzeria Touring, known for its elegance and Italian craftsmanship. Designed as a luxury 2+2 saloon for the Italian market, it promised style and comfort but ultimately became a symbol of failure.
Despite its potential, the Venezia struggled with high production costs, limited sales, and shifting priorities. The project contributed to Touring’s financial troubles, leading to its closure in 1966. The Venezia remains a reminder of how ambition, when unbacked by circumstances, can shape the fate of a company.
1959: A Year of Ambition and Promise
By the late 1950s, the Rootes Group was riding high, and the Sunbeam marque was thriving on the European rally circuit, thanks to the Rapier and the talents of legendary drivers like Harper, Jopp, and Hopkirk. In 1959, the launch of the Sunbeam Alpine marked a significant milestone, as it introduced Rootes to the burgeoning sports car market. The Alpine aimed to compete with established favorites like the MGA and Triumph TR2, but with the added appeal of enhanced comfort; a fresh approach for the segment.
At the luxury end of Rootes’ lineup, the Humber Super Snipe had debuted a year earlier with a larger engine than the existing Humber Hawk. Meanwhile, at the more affordable end of the range, the Hillman Minx and its estate variant, the Husky, were maintaining strong sales. Rootes’ recently acquired Singer brand brought the Gazelle to the table; a refined family car with styling reminiscent of the Minx but with more upmarket touches. Confidence was high, and the group’s leader, William Rootes, was honored with a peerage, becoming Lord Rootes.
Rootes excelled at badge engineering, employing a strategic approach to shared components. Many of the company’s models were powered by variations of just a few engines. A versatile 1494 cc four-cylinder engine, for example, powered the Minx, Gazelle, Rapier, and Alpine, with minor tweaks to deliver varying levels of performance. By the end of the decade, this engine had been upgraded to 1592 cc for most applications, while a smaller 1360 cc version continued to power the Husky. Larger vehicles like the Humber Hawk used a 2267 cc four-cylinder engine derived from the Sunbeam 90, while the Super Snipe featured a robust six-cylinder unit based on an Armstrong Siddeley design, initially at 2651 cc but later expanded to 2965 cc.
The company was also looking ahead to a new generation of vehicles. Since 1956, Rootes had been developing a small, innovative car codenamed “Slug.” This project would culminate in the launch of the Hillman Imp in 1963 on which Zagato built its own version called the Zimp. Alongside this radical innovation, a more conventional model range was in the works for the early 1960s. This included the Hillman Super Minx, the Singer Vogue, and an updated Sunbeam Rapier, all set to debut with the 1592cc engine. Interestingly, the existing Rapier’s popularity prompted Rootes to market the new version under the Humber brand as the Sceptre, sold alongside its predecessor.
In 1959, the future seemed bright for Rootes, as the company confidently expanded its lineup and laid the groundwork for ambitious projects that would define the next decade.
Sunbeam Alpine: A Journey from Cannes to Milan
In July 1959, the Sunbeam Alpine made its grand debut to the world’s press in Cannes, France. This sporty newcomer was a bold entry into the competitive roadster market. Behind its ongoing development was Alec Caine, an engineer whose attention to detail and passion for improvement would shape the Alpine’s evolution over the coming years
One of Caine’s early concerns with the Alpine was the limited legroom for the driver. However, the Rootes design department dismissed the issue, believing it was not a problem worth addressing. Undeterred, Caine took matters into his own hands. During a trip to the Turin Salon in October 1959, he presented an Alpine to the prestigious Milanese coachbuilders, Carrozzeria Touring, to explore solutions. Touring responded by lowering the pedals by about an inch—a simple but effective improvement. This modification was later adopted for the Series II Alpine, launched in October 1960.
By the end of 1960, Touring had become increasingly involved in customizing Alpines for Italian customers, particularly through Milan’s Rootes dealership. One enhancement that caught Rootes’ attention was Touring’s solution to the Alpine’s limited boot space. The Milanese firm had relocated the spare wheel to a forward position against the rear of the passenger compartment and replaced the bulky floor-mounted fuel tank with two smaller tanks positioned in the rear wings. Intrigued, Rootes sent Alec Caine back to Milan with an Alpine for further experimentation.
Touring didn’t stop at practical modifications. They cut out the rear fenders, installed a luxurious wooden dashboard, and added a stylish wood-rimmed steering wheel, elevating the Alpine’s elegance. When Caine returned to Coventry with the modified Alpine, Rootes’ design team took inspiration from Touring’s work. They refined several of the modifications, addressing issues such as the rudimentary fuel filler arrangement for the twin tanks.
The result was the Series III Alpine, which featured a significantly larger boot and increased fuel capacity. A new Grand Touring model joined the lineup, boasting a wooden dashboard and a wood-rimmed steering wheel as standard features. However, Touring’s distinctive wing redesign was postponed, eventually appearing on the Series IV Alpine in 1964.
Touring: Craftsmanship Meets Industry
Carlo Felice Bianchi Anderloni, son of Touring’s founder, assumed leadership of Carrozzeria Touring in 1948, steering the company into an era of innovation and acclaim. Throughout the 1950s, Touring gained a reputation for excellence, crafting iconic designs for brands such as Bristol, Pegaso, Alfa Romeo, Ferrari, and the Aston Martin DB4. Central to Touring’s success was its pioneering Superleggera construction method.
The Superleggera System approach involved building a lightweight tubular steel frame mounted on the manufacturer’s chassis, to which aluminum body panels were attached. Crucially, these panels were designed to avoid direct contact with the steel frame, preventing electrolytic corrosion. This method not only delivered sleek, lightweight designs but also exemplified Touring’s technical ingenuity.
As demand for Touring’s expertise grew, the company shifted from artisanal production to industrial-scale manufacturing. To accommodate this expansion, Touring constructed a state-of-the-art factory in Nova Milanese, a northern suburb of Milan. The new facility was built to fulfill contracts with major automakers such as Lancia (for the Flaminia) and Alfa Romeo (for the Spider 2600), while also taking on exciting new projects for Lamborghini and Maserati.
On October 23, 1961, Touring solidified its relationship with Rootes by signing an agreement to produce a maximum of four Alpines and ten Super Minxes per day for the Italian market. This partnership marked another milestone, integrating Touring’s renowned craftsmanship with Rootes’ vision for success in Italy. The arrangement would remain in place until Touring ceased operations.
By 1962, the Nova Milanese factory was fully operational, complete with an assembly line; a significant departure from Touring’s traditional production methods. To meet the demands of this more industrialized process, Touring’s skilled workforce underwent intensive retraining in the preceding months. Despite these changes, the company retained its hallmark flexibility and commitment to individuality. Even with an assembly line in place, Touring’s artisans were capable of tailoring vehicles to meet the unique specifications of discerning customers.
Rootes Italia: The Birthplace of the Venezia
Rootes’ Italian subsidiary, based in Milan, played a pivotal role in the creation of the Sunbeam Venezia, a car designed exclusively for the Italian market. Between 1960 and 1965, the subsidiary was managed by George Carless, whose vision of crafting an elegant sports saloon tailored to Italian tastes sparked the project.
In the spring of 1960, Carless pitched the idea to Brian Rootes, who enthusiastically backed the concept. However, reception back in the UK was less enthusiastic. At the time, British engineers were reluctant to admit that foreign companies might surpass them in car design; a sentiment rooted in the era’s engineering pride.
Undeterred, Carless pursued his plan, turning to Carrozzeria Touring late in 1960. Touring had already worked with Rootes on modifying the Alpine, and Alec Caine’s prior collaborations had established a bridge between the two companies. Touring’s director, Carlo Felice Bianchi Anderloni, saw potential in the idea. With the state-of-the-art factory in Nova Milanese nearing completion, Anderloni viewed the project as an opportunity to make full use of the facility, particularly alongside the agreement to assemble Alpines and Super Minxes for the Italian market.
The responsibility for overseeing technical coordination between Rootes and Touring naturally fell to Alec Caine, whose expertise and familiarity with both companies ensured the project would proceed smoothly. Thus, the foundation for the Venezia was laid, blending Rootes’ ambition with Touring’s craftsmanship and Italian flair.
This collaboration would ultimately result in a vehicle that reflected the cultural and stylistic nuances of its target market, showcasing the ingenuity born from cross-border partnerships in the automotive world.
The Sunbeam Venezia Takes Shape
By 1961, Carrozzeria Touring had begun bringing the vision of the Sunbeam Venezia to life, creating a 1:10 scale model that set the tone for the car’s styling. The design bore a strong resemblance to Touring’s other contemporary masterpieces, such as the Lancia Flaminia and Maserati models, featuring signature rear wings, wraparound windscreens, and clean, elegant lines. The Venezia’s distinctive front end included twin headlights with apertures above them and vertical bars on the radiator grille—a touch that would later influence the Alpine’s evolution as its fins were trimmed back for a sleeker look.
Touring’s design ethos was unmistakable. Unlike Bertone or Pininfarina, which often credited individual designers, Touring embraced a collaborative process, with styling coordination personally overseen by Felice Bianchi Anderloni, who inherited the role from his father. Two of Touring’s key draughtsmen, Frederico Formenti and Aquilino Gilardi, played crucial roles in translating the Venezia’s vision into reality, with Gilardi handling the detailed scale drawings. Around this time, George Carless chose the name “Venezia” for the project, adding an Italian flourish that reflected the car’s roots.
Toward the end of 1961, the scale model was presented to Lord Rootes and his team. They were impressed enough to approve the creation of a prototype, which marked a significant milestone. A Hillman Super Minx rolling chassis was shipped to Milan, where Touring built the first prototype with a right-hand-drive body closely mirroring the scale model. A Sunbeam Rapier grille was incorporated, keeping the Sunbeam badge, while apertures above the headlights initially housed indicator lights but were later adapted as fresh air intakes with vertical bar grilles. Other early design elements included a dashboard utilizing gauges from existing Rootes models and specially shaped front seatbacks to enhance rear legroom. However, no engine was installed at this stage.
By mid-1962, the prototype arrived in England for evaluation. Lord Rootes was sufficiently impressed to greenlight production, commissioning Touring to build an initial run of 300 vehicles. These cars would use Humber Sceptre chassis; nearly identical to the Hillman Super Minx platform; and be powered by Rootes’ reliable 1592cc engine. Extensive testing by Rootes engineers followed, leading to refinements: the fresh air intake grilles were simplified, leaving a single vertical bar, and the car was finally fitted with an engine and gearbox.
The prototype was sent back to Italy for further revisions. The fuel filler cap was moved to the side of the right rear wing, and the front seats were redesigned to a more conventional style. Additionally, the door structures and internal mechanisms were updated to improve durability. The dashboard underwent significant changes as well; it was initially simplified into a painted steel version before being reworked again to feature Italian Veglia instrumentation, five clustered warning lights, and a more ergonomic layout for the heater controls and radio. Improvements were also made to the soundproofing, enhancing overall comfort.
Once these refinements were completed, the prototype made another trip to England. It was photographed for the press, now sporting temporary Venezia badges, offering the world its first look at this remarkable Anglo-Italian collaboration.
The Sunbeam Venezia had evolved from an ambitious idea into a tangible reality, blending Rootes’ engineering expertise with Touring’s unmistakable Italian craftsmanship. The result was a car with timeless elegance and a design rooted in the collaboration of two automotive cultures.
The Launch in Venice: A Grand Entrance Meets Early Doubts
On 12 September 1963, the Sunbeam Venezia was launched in Venice in a spectacular display of Anglo-Italian collaboration. Following a private unveiling in Milan just days earlier, the car’s official debut was set in the heart of Venice, attended by the city’s mayor and the British Ambassador. The Venezia made history as the first motor car to enter St. Mark’s Square, having been transported along the canals by gondola. The dramatic entrance, however, nearly turned disastrous when the handbrake was left off and the car began rolling, only to be stopped just in time by a quick-thinking assistant leaning against it.
The Piazza San Marco presentation, complemented by a procession on the Canal Grande, captured the imagination of attendees and left an indelible impression on those who witnessed it. The Venezia’s stunning Italian design and craftsmanship received a warm reception from the press, who praised its elegance and refinement. But even amidst the praise, murmurs of concern arose about its price point—an issue that would haunt the project.
A Question of Value
From the outset, the Sunbeam Venezia faced challenges in justifying its high price. In 1963, it cost nearly as much as the flagship Humber models, and by 1964, it was priced comparably to a Sunbeam Tiger with a Ford V8 engine and even exceeded the cost of a Jaguar MK2 2.4L, both of which offered significantly more power and prestige. For a 2+2 coupe with a modest 1600 cc engine, this pricing created serious headwinds.
Sales teams promoted the Venezia’s undeniable beauty, luxury, and rust-resistant aluminum body as selling points. However, some promotional efforts stretched the truth. Advertising brochures exaggerated the Venezia’s performance, claiming 94 bhp and a top speed of 175 km/h—figures that were optimistic given its use of the same engine as the Humber Sceptre. The actual top speed was only marginally higher than the Sceptre’s, thanks to the Venezia’s lighter weight (50 kg saved through aluminum panels) and more aerodynamic profile. Additionally, features like an oil cooler, typically associated with high-performance cars, were included to enhance its appeal.
Expanding the Market
By late 1963, it became evident that the Venezia couldn’t survive on sales in Italy alone, where the market was dominated by Lancia and Alfa Romeo, which offered competitive models at lower prices. Rootes Italia began expanding sales into other European markets, avoiding Britain due to prohibitive import taxes that would have made the Sunbeam Venezia even more expensive.
However, the car’s high cost, compounded by the inefficiencies of low-volume production, cast a shadow over its future. Rootes Group faced growing challenges that made the Venezia a low-priority project.
A Perfect Storm of Problems
Several factors contributed to the downfall of the Venezia project. The Rootes Group was already struggling with significant challenges when crippling strikes hit in 1961, disrupting production schedules, delaying key projects, and placing a severe strain on the company’s finances. The underperformance of the Hillman Imp project only further drained resources, leaving little room for risky ventures like the Venezia.
At the same time, Carrozzeria Touring faced its own financial troubles. In 1963, a strike at their newly built Nova Milanese factory halted production, deepening the company’s financial difficulties. Large investments in the new plant, combined with a decline in contracts from important clients like Lancia, Maserati, and Lamborghini, left Touring struggling with underutilized facilities and mounting debt. By March 1965, the company entered receivership, officially ceasing operations by the end of 1966.
Additionally, changes in Italian tax laws made cars with larger engines more expensive to own, further complicating Touring’s fragile position in the market. Meanwhile, Chrysler, which had acquired a stake in Rootes, exacerbated the situation by delaying payments to Touring for work completed, eventually halting the supply of CKD kits. This effectively ended the partnership between Rootes and Touring, sealing the Venezia’s fate.
Dwindling Production Goals
The mounting pressures forced both Rootes and Touring to scale back their ambitions. In August 1963, during a visit to Milan, Brian Rootes reduced the Venezia’s production target to 250 units, a reflection of the project’s diminishing prospects.
Despite the fanfare of its Venetian debut, the Sunbeam Venezia quickly became a victim of economic realities and industrial turbulence. While it remains a fascinating example of Anglo-Italian automotive collaboration, its story is also a cautionary tale about the challenges of balancing innovation, market demands, and production costs.
The Sunbeam Venezia: A Commercial Disappointment
The Sunbeam Venezia, despite its striking design and ambitious Anglo-Italian collaboration, ultimately became a commercial flop. Burdened by high costs, shifting priorities, and a lack of competitive evolution, the Venezia’s future was uncertain from the start. Production figures tell the story: based on serial numbers, just over 200 units were likely built, a far cry from the original target of 300.
Rootes’ hesitancy to commit fully to the project is evident. Records show that the company sent only 145 Humber Sceptre chassis to Touring’s Milan factory. The remaining vehicles were likely built on floorpans intended for the Italian Super Minxes, which Touring also produced between 1962 and 1966. Since the Super Minx and Sceptre shared the same chassis, this substitution made no difference mechanically, but it highlights the contrasting priorities of the two companies: Rootes sought to limit Venezia production, while Touring needed higher volumes to bring unit costs down.
Touring's Alpine and Venezia Efforts
In parallel with the Venezia, Touring also built Sunbeam Alpines for Rootes starting in June 1963, continuing until December 1966. Touring’s designers demonstrated their forward-thinking approach by showcasing an Alpine with clipped rear wings at the 1963 Turin Motor Show, months ahead of the official introduction of the English Series IV Alpine, which adopted similar modifications.
However, the Venezia lacked this spirit of evolution. No major updates were introduced during its short production life. It never received the all-synchromesh gearbox or the more powerful 1725 cc engine that became standard in other Rootes cars by mid-1965. Ironically, Touring installed the 1725 cc engine in Milan-built Alpines and Super Minxes, but the Venezia was left behind, stagnant in its original specification.
The End of the Line
The Sunbeam Venezia faced stiff competition in showrooms and at major European motor shows. Its pricing, which had been a concern from the outset, became even harder to justify as newer, more advanced models entered the market. By 1965, Rootes Italia had slashed prices by as much as 25%, but this wasn’t enough to revive interest.
Though its elegant lines remained a draw for some, the Venezia increasingly appeared outdated next to rivals. A small number of cars lingered in dealerships, selling as late as 1968, but at steeply discounted prices. About ten units were exported to Spain; these were the final Venezias produced.
The Venezia’s failure stemmed from a mix of factors: high production costs, a lack of meaningful updates, and poor market positioning. Touring’s struggles and Rootes’ reluctance to fully back the project sealed its fate. What began as a bold vision for a luxury Anglo-Italian sports saloon ended as a rare, underappreciated curiosity; a testament to both the challenges and artistry of niche automotive ventures in the 1960s.
Attempts to Save the Venezia: A Lost Opportunity
Efforts were made to salvage the Sunbeam Venezia, but none gained enough momentum to change its fate. One intriguing proposal was to replace the ageing Sunbeam Rapier with the Venezia. The two cars shared a familial resemblance; particularly when viewed from the rear; and the Venezia’s more modern styling could have breathed fresh life into the Rapier’s lineup. However, financial constraints at Rootes meant the Rapier soldiered on with incremental updates until it was replaced in 1967 by the fastback version.
Another ambitious idea involved fitting the Venezia with a Ford V8 engine, positioning it alongside other V8-powered grand tourers like the Gordon-Keeble, Jensen, Bristol, Iso, and Facel-Vega. This wasn’t as far-fetched as it seemed: Rootes already had an agreement with Ford and Carroll Shelby to power the Sunbeam Alpine with a V8, leading to the successful yet problematic Sunbeam Tiger.
In 1964, Rootes engineers began experimenting with V8 engines, including Chrysler units, in models like the Humber Super Snipe and Sceptre. A Sceptre V8 prototype was even built. However, Chrysler’s increasing control over Rootes and their preference for larger engines meant these experimental projects were soon shelved.
One lingering rumor persists that Brian Rootes himself owned a Venezia equipped with a Ford V8 engine. While this remains unverified, it adds an air of mystery to the car’s story.
Beauty Lost in Circumstance
The Sunbeam Venezia was doomed by circumstances long before production began. It was a car that embodied elegance and potential but fell victim to financial challenges, shifting priorities, and an automotive landscape that demanded higher volumes and competitive pricing.
The aftermath was equally bittersweet. The companies and individuals behind the Venezia’s creation eventually disappeared along with the car itself. Touring shuttered its doors in December 1966, while Rootes was absorbed into Chrysler by 1969. Carlo Felice Bianchi Anderloni went on to become Alfa Romeo’s styling director, Alec Caine retired, and George Carless took up a new role as managing director of Rootes Motors in the Bahamas. Even the Sunbeam name faded into history, disappearing in 1976 (or 1978 in some markets).
