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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
2 years ago

The the Ghia and Bertone versions are the best looking ones

One of the subtle pleasures that the study of history offers is the discovery of the debatability of a common belief, of a consideration accepted supinely out of mental habit.

Italy witnessed the emergence of a wide variety of automotive companies, especially between Turin and Milan, at the beginning of the last century. However, over the following decades, these companies gradually disappeared, culminating in recent years with all surviving brands converging under a single entity: Fiat. This phenomenon has seldom been compared to another, equally significant but fundamentally different occurrence, namely the proliferation of automotive coachbuilders. Unlike the automotive companies, the coachbuilders did not experience a similar disappearance, but rather a gradual consolidation, with some even transforming their operations into robust industrial entities.

From Flourishing Diversity to Consolidated Excellence

As the onset of the First World War loomed, approximately fifty coachbuilders emerged in the bustling regions between Turin and Milan. Similarly, another fifty establishments emerged during the interwar period, followed by an additional twenty-five from the post-war era up to the 1960s. Today, only a handful of names remain, predominantly acquired by foreign funds or companies such as Italdesign, Pininfarina, Touring Superleggera, Zagato, and the new Ares Design from Modena, all of whom continue to champion the legacy of Italian design excellence.

What accounts for this discrepancy, particularly within the same timeframe and geographic area, namely the Turin region? One would logically assume that the same forces driving the emergence and subsequent decline of numerous automotive factories would also impact the birth and closure of many coachbuilders.

In the 1930s, as the aftershocks of the American economic crisis led to the downfall of illustrious automotive brands unable to compete with Fiat’s dominance, Garavini, a modest artisanal coachbuilder, unveiled the breathtaking Fiat 508 Cabriolet. This cabriolet by Garavini swiftly became emblematic of sportiness, elegance, charm, grace, and affordability. Carrozzeria Garavini’s craftsmanship extended beyond Fiat vehicles; they collaborated with Lancia, Alfa Romeo, Itala, Bugatti, Delahaye, Citroen, boasting clientele including the King of Belgium, Menelik, Emperor of Ethiopia, and even a Maharaja, for whom they crafted an Isotta Fraschini featuring an ivory steering wheel and a gold-plated engine.

Garavini was not alone; numerous other coachbuilders thrived during the golden age of Italian coachbuilding, from Stabilimenti Farina to Castagna, from Balbo to Touring, Allemano, Vignale, Zagato, Francis Lombardi, Fissore, Savio, Boneschi, Boano, and beyond.

Fiat's Paradox: The Lifeline for Italian Coachbuilders

Only Italian coachbuilders seemed to flourish, while foreign counterparts – some renowned names like Labourdette, Saoutchik, Figoni and Falaschi, Chapron, Van den Plas, Mulliner, Fleetwood, Le Baron, Rollston, Graber – mostly faded away by the 1950s.

Hence, the explanation must lie within Italy itself, specifically with Fiat. Despite often being associated with the decline of numerous automotive manufacturers, Fiat paradoxically played a crucial role in the survival of many coachbuilders.

Towards the end of the 1930s, most car manufacturers ceased producing chassis, a vital component for coachbuilders, opting instead for monocoque construction. This shift significantly increased costs for coachbuilders, leading many to struggle.

However, Fiat continued to offer chassis, even when it became economically burdensome. This availability allowed Italian coachbuilders to remain operational. As the automotive industry moved towards monocoque designs, coachbuilders survived only where there was a partnership with a factory willing to supply mechanized platforms and support sales.

The importance of this partnership cannot be overstated. While competing automotive brands required independent sales networks, coachbuilders benefited from utilizing the factory’s sales channels. This unique dynamic turned what would have been a differentiation challenge in a competitive market into a unifying and economically beneficial relationship between factory and coachbuilder.

Evolution of Italian Coachbuilding: Creativity in the Face of Industrialization

Of course, nothing unfolds arbitrarily. At the core lies the ingenious inventiveness and creativity of Italian coachbuilders, alongside distinct historical and economic conditions. In the early automotive era, Italy, though not a frontrunner, kept stride with other European automobile-producing nations like France, Germany, and Great Britain. However, as automobiles transitioned from elite novelties to industrial products, Italy lagged behind. Its market resembled that of a less affluent nation, unprepared for such costly commodities. Meanwhile, other countries, including the United States, recognized the vast commercial potential of motor vehicles and geared up to offer comprehensive products.

In this shift, the aesthetic intricacies of automobile design took a backseat to factors like reliability, affordability, and mass production. The skilled artisan coachbuilder, proficient in various crafts like saddle-making, bodywork, painting, and upholstery, was gradually supplanted by efficient machinery capable of mass-producing car parts in a fraction of the time. While industrialization adopted a pace akin to Charlie Chaplin’s “Modern Times,” automobiles became commonplace commodities.

In contrast, Italy retained a relatively underdeveloped motorization landscape, which, while presenting challenges, also served to preserve the craft of coachbuilding. Despite Italy’s slower adoption of automobiles on a mass scale, its coachbuilders continued to cater to discerning clients with their exquisite and refined products, largely undeterred by the changing industrial landscape.

The Fiat Carrozzerie Speciali Department

Within the rich collaboration between Fiat and coachbuilders lies a lesser-known period spanning from 1910 to 1931. During this time, a “Fiat Bodywork Department” (Carrozzerie Speciali) operated from its headquarters on Via Madama Cristina in Turin. This department housed sections for body framing, metalworking, finishing, and notably produced elegant and sophisticated body styles with grandiose names of foreign origin: Run-about Courreuse, Gun boats, Double Phaeton Embouti, Landaulet Limousine, Coupé Berlina, Char à Bancs. Adorning the establishment’s façade was the name “Carrozzeria Italiana J. Rothschild & Fils” – a French coachbuilder that had established a presence in Turin.

However, this department’s history merely represents a temporary yet illustrious phase in the ongoing dialogue between Fiat and coachbuilders since the company’s inception. Until 1903, Fiat primarily relied on Carrozzeria Alessio, a licensee of the Weymar patent, for its bodywork needs.

Carrozzeria Alessio

Marcello Alessio embarked on his career as a laborer at Locati & Torretta, quickly surpassing his mentor in skill and knowledge. Recognizing the burgeoning potential of the automotive market, he ventured out on his own, establishing a small coachworks factory at Via Dell’Orto Botanico 19 (now Via Cesare Lombroso). With immense passion and innovative construction methods, Alessio swiftly rose to prominence, attracting prestigious clientele and earning a reputation as one of Turin’s foremost coachbuilders.

His renown extended beyond serving wealthy private customers, as several new car manufacturers sought his expertise in crafting coachworks. Alessio collaborated with Michele Lanza, producing the Welleyes for Ceirano and crafting bodies for early Fiat models. Additionally, he worked on chassis from various other brands, including Darracq, De Dion-Bouton, Panhard, Mors, and Renault, among others.

Alessio’s success led him to represent French Kriéger and Rochet-Schneider cars, as well as German Mercedes, importing bare chassis and adding his bespoke coach-built bodies. This venture created tension with Fiat, prompting the automaker to shift its body orders to G. Lanza.

Navigating Turbulence: Fiat, Carrozzeria Alessio, and the Carrozzerie Speciali Department

The dynamic between Fiat and Carrozzeria Alessio wasn’t devoid of hurdles. At a pivotal Board of Directors meeting on January 17, plans for the establishment of Carrozzeria Industriale G. Lanza e C. were unveiled by Agnelli. This venture aimed at manufacturing automobile bodies, with Fiat proposed as a key participant to expedite bodywork tasks.

The proposal was met with mixed reactions among board members, with some interpreting it as a retaliatory measure against Alessio’s actions. In response, Agnelli passionately defended Fiat’s stance, highlighting instances where Alessio had diverted potential clients away from Fiat. He argued vehemently against facilitating competitors’ profitability, emphasizing the need to safeguard Fiat’s interests amidst a competitive market landscape.

Despite initial reservations, Fiat’s involvement in Carrozzeria Industriale was solidified, signifying a strategic move to streamline production processes and assert Fiat’s influence in the automobile industry. However, managing this partnership presented its own set of challenges.

Within a year, signs of strain began to emerge. Racca, tasked with supervising Carrozzeria Industriale, resigned from his position, citing issues regarding the autonomy of the managerial role. This development underscored the complexities inherent in navigating partnerships within the automotive sector, where competition and collaboration often intertwine.

In the wake of Racca’s departure, Carrozzeria Rothschild & Fils emerged as a significant player, acquiring Lanza’s operations and establishing a new branch at Via Madama Cristina 147. This transition marked a pivotal moment in the evolving landscape of Turin’s automotive industry.

By 1910, Fiat made a strategic decision to absorb Rothschild, effectively integrating its operations and resources. Consequently, Fiat’s bodywork department underwent a rapid transformation, emerging as a fully functional entity capable of catering to diverse demands.

Initially serving as Fiat’s primary client, the department gradually expanded its clientele to include external firms such as Lancia. This strategic pivot underscored Fiat’s commitment to innovation and adaptability in navigating the evolving automotive landscape.

Despite undergoing various transformations over the years, the bodywork department remained a cornerstone of Fiat’s operations. Its legacy endured through the establishment of the Carrozzerie del Lingotto in the late 1940s, symbolizing Fiat’s enduring legacy and influence in the automotive realm.

Conclusion

In conclusion, thus ended an important chapter in Fiat’s history. However, as we have seen, the productive and diverse relationship between Fiat and numerous coachbuilders continued to thrive, delighting our eyes and celebrating Italian creativity. This collaboration persisted over time, evoking admiration and showcasing the Italian flair for design. Fiat’s adaptability and willingness to collaborate helped keep alive the legacy of Italian coachbuilders, fostering an ongoing blossoming of automotive design. This underscores the crucial role that creativity and innovation play in the Italian automotive landscape.