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The Maserati A6-GCS/53 Berlinetta by Pininfarina

After WW2, Maserati introduced a new race car based on the prewar 6CM model, named A6 after Alfieri, one of the Maserati brothers, and its Straight-6 engine layout. In 1947 a 2-seater version with a 2-Liter engine was developed called GCS which stands for Ghisa (the Italian for cast iron, referring to its cylinder block), Corsa & Sport. Later a new version of the GCS was developed to take part in the 1st FIA World Sportscar Championship series going to start in 1953, which was bodied as a Spyder designed by Fantuzzi and Fiandri and coded with its birth date: A6-GCS/53.

The 1953 Mille Miglia was disturbed with heavy rain, so a hardtop coachwork wouldn’t be a bad idea. Pininfarina was asked for a Berlinetta body but there was a problem: Pininfarina had just signed a contract with Ferrari and was assigned as the main coachbuilder of the company, which forbade them to have any official contract with other companies. So Guglielmo Dei, a Maserati dealer in Rome acquired 6 chassis and sent 4 of them to Pininfarina as a private commissioner. The beautiful Berlinetta coachwork was designed by Aldo Brovarone and the 1st example was completed in late 1953.

Chassis 2056

The 1st Maserati A6 GCS Berlinetta, on chassis no.2056, was crashed in 1954 during the Giro di Sicilia race by Count Paolo Gravina di Catania and the co-driver was killed. It was sent back to Maserati to be repaired but got abandoned until 1991 when it was sent to Carrozzeria Campana to be restored, and was sold afterwards to Umberto Panini in 1996.

Chassis 2057

The 2nd Maserati A6 GCS, no.2057, was displayed at the 1954 Turin Motor Show which also won the Concorso Internazionale di Eleganza title in Rome. It featured a 2-piece windshield, a light blue low roof and a dark blue body color. Because of the less interest in hardtop race cars, excessive noise & heat inside and in order to reduce the weight, the car was later rebodied as a Fantuzzi Spyder for the Scuderia Centro-Sud team and the chassis renumbered to 2086. Its original body was purchased by Corrado Cupellini, then by Franco Lombardi and mounted on another no.2070 chassis which was originally a spyder.

Chassis: 2057 - 1954 Turin Auto Show

Chassis 2059

The 3rd Maserati A6 GCS with chassis no.2059, finished in red with white stripes and displayed at the 1954 Paris Motor Show was purchased by Count Alberto Magi Dilligenti and repainted white. Later it was painted in red, delivered to the U.S, sold to Stan Nowak and later to David Sydorick who displayed it at Pebble Beach in its original and restored condition in 1999 & 2000 respectively. This example is known as the most original Berlinetta.

Chassis: 2059 - Photo courtesy of Classic-Car.TV

Chassis 2060

The last one, no.2060 painted red with a blue stripe, was purchased by the Centro-Sud team. The original body was changed with a Spyder and mounted on another chassis no.2089. Later in 1970, the car was purchased by Count Hubertus von Doenhoff who wanted its berlinetta body back. Unable to retrieve the original body, or the one initially belonging to no.2057, he had a new replica built by Church Green Engineering of England in a silver paint job. It was displayed at the 2010 Goodwood Festival of Speed and won the Best of Show title in the Cartier Style et Luxe.

Tecnical specifications

Maserati A6 GCS had a naturally aspirated dry-sump straight-6 engine with DOHC 2Valves/Cyl layout, a bore/stroke of 76.5/72mm, a compression ratio of 8.75/1 and a total displacement of 1986cc. Using double Marelli ignition and being fed by 3 Weber 40DC03 Carburetors, it could produce 170hp of power at 7300rpm and 194Nm of torque at 5600rpm. The power was transmitted through a 4-Speed gearbox to the rear wheels which could propel the car to a top speed of about 235km/h. The car featured a race ladder type chassis with a wheelbase of 2310mm built by Gilco, a tubular frame and an amazingly lightweight construction, since the race CGS/53 weighed 740kg and the berlinetta around 100kg more. Its suspension was Double Wishbones with coil spring in the front, and rigid axle with radius arms and coil springs in the rear. It also used Drum brakes on all 4 wheels.

Rebuilts

Chassis 2070
Chassis 2070 Originally fitted with a Fantuzzi Spyder body, this A6GCS/53 was acquired new by Anna Maria Peduzzi. No contemporary competition history of this chassis is known. It was eventually acquired by Franco Lombardi, who at that time also owned the original Pininfarina Berlinetta body from chassis 2057. It was this body that Count Hubertus von Doenhoff tried to acquire for many years for his chassis 2060. In 1997, Lombardi commissioned Giardanego from Italy to rebuild chassis 2070 with the striking low-roof Pininfarina body from 2057. Finished in the original two-tone blue livery, it was shown at the 2010 Goodwood Festival of Speed where it won Best of Show in the Cartier Style & Luxe concours d’elegance.

Chassis 2089
Chassis 2089 Acquired new by Francesco Giardini in 1955, this A6GCS/53 was fitted with a ‘standard’ barchetta body like most of its sister cars. He raced the car with considerable success, winning his class at the Mille Miglia and Targa Florio in 1955. He eventually crashed the car and decided to rebuilt the car with the Pinin Farina Berlinetta body from chassis 2060, which he had acquired from Scuderia Centro Sud. Following a brief spell in the United States, it was shown for many years in the fabulous Rosso Bianco Museum near Frankfurt. The current owner acquired the Pinin Farina Berlinetta around the turn of the century and brought it to the 2005 Pebble Beach Concours d’Elegance where Pininfarina’s 75th anniversary was celebrated.

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Carlo Pinin
Carlo Pinin
3 years ago

una delle vetture più belle di sempre. Brovarone ha disegnato forse i modelli più simbolici di Pininfarina. RIP

Stefano
Stefano
3 years ago

Opera d’arte!

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.