Latest news with #Delahaye
Motor Trend
23-05-2025
- Automotive
- Motor Trend
Hot Couture: 1951 Saoutchik Delahaye 235 Roadster Drive
[Editor's Note: This article first appeared in the Spring 2011 issue of MotorTrend Classic] Haute Couture is the French term for the handmade designer fashions that drape the world's top fashionistas and populate New York, Paris, and Milan's most important runway shows. The term, loosely translated, means 'high sewing' or 'high dressmaking,' and this voluptuous, hyper-elegant Delahaye certainly qualifies. It's not uncommon for wealthy folks to have their clothing custom designed and handmade. Nor, prior to World War II, was it uncommon for those of means to purchase a chassis from the carmaker of their choice (which could have been Duesenberg, Lincoln, Cadillac, Package, Delage, Delahaye, Alfa Romeo, or Bugatti), then have it delivered to their preferred coachbuilder (a carrosserie in French, or carrozzeria in Italian). 0:00 / 0:00 Among the better-known French carrosseries of the day was owned by Jacques Saoutchik. Having immigrated to France from Russia, Saoutchik was one of too few custom coachbuilders who survived World War II. The notion of made-to-order car bodies waned after the Big War, but it remained an option, particularly in Italy, well into the 1960s. Delahaye, like Delage, was one of France's foremost luxury carmakers and developed its Type 235 chassis as a substantial update of prewar designs. Delahaye constructed 84 Type 235 chassis between 1951 and 1954. This one, chassis number 818005, was destined for a one-off Saoutchik aluminum and steel roadster body, and represented the carrosserie at the October 1951 Paris auto show. The prewar engine was an overhead-valve 3.5-liter inline-six, which received modifications to carburetors and its camshaft profiles, earning a 150-horsepower rating—pretty respectable output in 1951. The Ford flathead V-8 of the day put out about 100 horses, and even Cadillac's new overhead-valve V-8 barely eclipsed the French six with 160. Big American V-8s were of little concern, as the Delahaye 235's prime competition came from relatively luxurious sports cars such as the Jaguar XK120, and some of the larger offerings from Alfa Romeo. Monsieur Saoutchik and company didn't miss a trick when styling this flowing Grand Tourer. Prewar fixtures such as running boards and freestanding headlights were long gone, although classic French touches remain, such as curvaceous, flowing fenderlines; knock-off wire wheels; doors that open suicide-style; and a relatively short split windscreen. The frontal aspect has an almost American flair to it with a large oval grille opening laced with chrome. It's not nearly as flamboyant as some of the Figoni and Falaschi designs, or those of competing carrosserie Franay, but it's oh so French and very tasteful. Among the great pleasures of an upper-crust, coachbuilt machine that's been restored to a very high level are the details. Every fitting and casting is of extremely high quality. The instrumentation is finished like jewelry or an antique clock. Handles, knobs, and buttons are substantial, yet feel delicate. Everything you see or touch has a delightful jewel-like quality. One of the more interesting examples of this coachbuilder's art is the hood louvers. They're arranged in a somewhat arrow-shaped pattern on the hood, meaning that each louver is a slightly different size, necessitating a different tool to stamp each one. The car's current silver over medium-blue color scheme isn't original, but it is period correct and fits the car's character and lines perfectly. No other combination could make it more attractive. Technologically and mechanically, this specially clothed 235 is a fairly straightforward machine. Thumb the starter and the engine lights easily and emits the deep thrum you expect of a well-balanced straight-six. Its most notable 'high tech' trick is its Cotal preselector semi-automatic four-speed gearbox. Unlike modern autoclutch manuals, the Cotal has a clutch pedal, as well as a lever on the floor with which to engage forward or reverse motion. Gear changes are via a small, gated shifter switch mounted on the steering column. It sounds complicated, but couldn't be easier to use. You fire the engine with the clutch pedal depressed. Assuming you wish to drive forward, you make sure the floor lever is set for forward motion. Then, select first gear, feed in a little throttle, then let out the clutch smoothly as you would a conventional manual gearbox. Rev first gear out to around 3000 rpm or so, let off the throttle, and choose second with the gear selector. Little electromagnetic robots do their thing and the trans upshifts with a mild clunk, then it's on through second and the rest of the gears. It's much the same for downshifts. This Cotal was in fine fettle and operated flawlessly during our drive. They have a reputation for being occasionally temperamental, but this one never hesitated. A dyno pull on this very engine shows a corrected torque rating of 225 pound-feet at 2500 rpm, so it takes little throttle to pull away from a stop in first gear. Not a lot of revs are required, but exploring the upper-middle portion of the tachometer is an enjoyable pursuit. The engine revs smoothly and the carbs suck air hungrily, and this fine French motor will move out. It's content to potter around with upshifts at around 3000 rpm, but is a lot more fun when run out to 3500-4000 and will comfortably run freeway speeds all day long in fourth. In spite of the relatively large steering wheel, the steering is heavy. There's lots of feel, and it's accurate, with no bump steer and little worry about freeway grooves or undulations. But it takes some muscle to work through low-speed turns and U-turns. The big drum brakes are no more than adequate, and ask for a fair amount of right leg. Corners are best taken at moderate speeds, as the narrow-section tires don't serve up tremendous grip. But it matters little; this is an elegant, continental Grand Tourer, not a knife-edged sports car. It's very sporty, but its primary mission is elegance and comfortable road-eating. It would be completely at home ferrying you and a special guest across Europe or pulling up to the finest restaurant in Paris or to the casino in Monte Carlo. You as the owner/driver will be regarded as a person of considerable taste and means at any of those tony locales. The car's current owners, Merle and Peter Mullin, are exactly that. They have long sought, collected, restored, shared, and enjoyed the world's finest French and other Art Deco-era automobiles and are the benefactors and founders of the newly opened Mullin Automotive Museum in Oxnard, California, which occupies the recently remodeled building that formerly housed the collection of Otis Chandler, the late owner and publisher of the Los Angeles Times. If you're ever in the area, this collection of cars, furnishings, sculpture, and art is a must-see. Like this wonderful Delahaye, the Mullin Museum is an elegantly restrained—but utterly fabulous—display. The car had previously been owned by a French collector, who kept it in dry storage in France. It was acquired in original but non-running condition by the late Jacques 'Frenchy' Harguindeguy, a serious player in this arena and a welcome entrant at Pebble Beach and other fine concours around the world. Harguindeguy bought the Saoutchik Delahaye in 2006, brought it to the United States, ordered a modest mechanical recommissioning, and got it running. It was purchased by the Mullins in 2007 and treated to the comprehensive mechanical and physical restoration that yielded what you see here. What's it worth these days? That's a question that could be answered only by a willing buyer and willing sellers, but it's not for sale. Based on recent sales of mildly similar cars, $800,000-$900,000 wouldn't be unreasonable, considering its provenance, condition, rarity, and successful award-winning appearances at Pebble Beach and other top concours. It is breathtaking in every sense of the word. Neither Delahaye nor Saoutchik survived the 1950s, but 818005 stands as elegant testimony to their greatness. Ask the Man Who Owns One Peter Mullin, chairman emeritus of Mullin TBG and founder and chairman of M Financial, is an insurance executive and pioneer in the areas of reinsurance and executive compensation. 'Growing up in Southern California, I've had a lifelong love of cars and have principally focused my collecting on French art and automobiles from the 1920s and '30s. Like many of the cars in the Mullin Automotive Museum, the Delahaye 235 was subject to a comprehensive professional restoration, in this case by Brad Hoyt at Perfect Reflections." Why I like it: 'This one-off Delahaye Cabriolet is a thrill to drive and very special. It epitomized all the qualities Delahaye sought to project in the postwar era. It was elegant, powerful, and luxurious—the best of the coachbuilt era with a modern twist.' Why it's collectible: This car's collectibility is principally derived from its rarity and beauty. Delahaye produced only 84 of these exclusive chassis, and none was more elegant than this example. The Delahaye 235 was an expensive sports car and exuded the luxury of prewar handcraftsmanship combined with postwar technological innovation. This was one of only four such cars clothed by Jacques Saoutchik and is the only unique design of the four. Restoring/Maintaining: Finding parts for classic cars is a challenge that can occasion the machining of otherwise unavailable parts. Luckily, that was not necessary during the restoration here, as the vehicle was intact with less than 50,000 original miles and was driven less than 100 miles in the 45 years prior to acquisition. Beware: This car has been a joy to show and drive on tour. However, never forget you are driving a 60-year-old machine and that, back then, they didn't make brakes like they do today. Vintage cars can be a delight, but should be driven with care and consideration. Our thanks: Mr. and Mrs. Peter Mullin and Andrew Reilly, deputy director and chief curator of the Mullin Automotive Museum.
Yahoo
06-03-2025
- Automotive
- Yahoo
Florida's Hidden Gems: Auto museum in Naples tops in state, among best in U.S., world
Many car museums will focus on a certain era or type of vehicle. What makes the Revs Institute in Naples so special is its collection that covers the gamut on the history of the automobile. Sure, there's gorgeous and rare cars but this almost hidden museum is a must-see for anyone who loves and appreciates four-wheeled vehicles' long and fascinating history. The collection is so unique that Auto Trader ― an automotive online marketplace ― in 2024 rated Revs the No. 5 best auto museum in the world and No. 1 in Florida. The Revs Institute houses more than 100 cars — built between 1896 and 1995 — that show the evolution of the automobile. There's the French 1896 Panhard et Levassor Wagonette; the 1934 Chrysler Airflow Imperial CV‑8 Coupe, the first full-size U.S. production car to incorporate streamlining in its design to minimize air resistance; and the 1974 powder blue Jorgensen Eagle 7400 USAC that won the 1975 Indianapolis 500. Revs in 2008 was the creation of Miles Collier, whose grandfather was Barron Collier, a national advertising mogul and real estate developer who founded Collier County 100 years ago. The museum ― a low, gray, fire-proof structure that looks like a military building ― also houses one of the largest specialized automotive libraries in the world and recently acquired the Van Bever Photography Archive. André Van Bever was a photographer who chronicled motor racing history after World War II, and his archive comprises nearly 29,000 photographs. What some may not know if that Revs allows its autos to travel so others can enjoy them. Anyone who's visited the Amelia Concours d'Elegance on Amelia Island probably saw up close Revs vehicles in recent years. A few also showed up in 2024 at Monterey Car Week on the California coast. Mercedes-Benz 1929 Sport Model SSK: Some have described the sound of this car's aptly named 'elephant blower' as a 'Valkyrie's cry' or a 'banshee's wail.' Only 31 SSKs were built over three years. Delahaye, 1937 Type 135 MS Special Roadster: Parisian automaker Delahaye entered the luxury-car field with this glamorous vehicle. Delahaye made the chassis, but Parisian coachbuilders Figoni et Falaschi designed and built its distinctive body. The car resembles a ghost, especially when it's gliding along the highway. Mors, 1902 Type Z: European company Mors was known for its electrical products before it started building cars and winning races at the turn of the 20th century. The 60-horsepower Type Z features pneumatic shock absorbers for better handling and a spidery, ultra-light chassis. Drivers wore goggles while racing in the open-air car. Ferrari, 1948 166 Spyder Corsa: This was the first Ferrari to win a major race and also the first racing Ferrari to arrive in the United States. "History is littered with significant Ferraris," the Revs website says. "None as more import than the car before you." Fast cars: Fast cars: Pony Pedigree is exhibit at Rev Institute in Naples Location: 2500 Horseshoe Drive S., Naples, FL 34104. The museum is about a 15-minute drive from Interstate 75, tucked away and adjacent to Naples Airport. Cost: General admission $20 for adults, $15 for students, military and educators; docent-led tours $30 adults, $20 students, military and educators; children 4 and younger are free. Good to know: All visitors must purchase tickets online for specific dates and times in advance, with admission available every half-hour from 10 a.m. to 2 p.m. Hours: Open 10 a.m.-4 p.m. Tuesday, Saturday and Thursday Information: (239) 687-7387 and Dave Osborn is the regional features editor of the Naples Daily News and The News-Press. Have any news tips? Questions? Contact him at dosborn@ and follow him on Instagram @lacrossewriter. This article originally appeared on Naples Daily News: Revs Institute a hidden gem, among world's best auto museums
Yahoo
20-02-2025
- Automotive
- Yahoo
Better Act Fast if You Want Part of the Fabled Mullin Collection
Peter and Merle Mullin amassed what has to be the greatest and most beautiful collection of French cars of the 1930s ever. In its own way the Mullin Automotive Museum even surpassed the Schlumph Collection in Mulhouse, France, in its curation and wide-ranging items, not just the cars. The museum was known for its beautiful Bugattis, Delages, and Delahayes—cars that routinely win Best of Show at Pebble Beach and at other concours around the world. The Mullins won Best of Show at Pebble in 2011 with a uniquely stunning 1934 Voisin C-25 Aerodyne. But the Mullins' taste extended beyond cars. There were also works of art in the museum from all members of the Bugatti family, including furniture and sculptures from not only Bugatti family members but from all manner of Art Deco artists. And now, two years after the passing of Peter Mullin, what may be the last of that great collection is up for auction online. 'Abell Auction Co. is honored to present The Mullin Automotive Collection: Bugatti and the Art of the Automobile on March 4, featuring rare French automobiles, paintings, décor and artifacts from the legendary Mullin Automotive Museum,' the 109-year-old auction house said in a release. 'Curated by the prominent American businessman and philanthropist Peter Mullin (1941-2023), the collection reflects his lifelong passion for automotive excellence, French artistry and Art Deco design.' Live bidding for the online sale, featuring nearly 350 lots, has started. Buyers may place absentee bids with Abell directly, bid via telephone or bid online at or Just to be clear, all of the Bugatti and Delahaye full-size cars were auctioned off or donated last year. Four of the Mullin Museum's most iconic vehicles were donated to the Petersen Automotive Museum, of which Peter Mullin had been chairman: the 1937 Talbot-Lago T150 CS 'Teardrop,' the 1938 Hispano-Suiza H6B Dubonnet Xenia, the 1939 Delahaye 165, and the 1938 Delahaye 145. Much of the remaining collection was auctioned off by Gooding & Co., which drove 115 lots over the ramp April 26 at the former Mullin Automotive Museum in Oxnard, California, and Bonhams. What is left for this online auction concluding March 4 will be everything from hood ornaments ('mascots' to you pedantics), paintings, prints, sculptures, furniture, and even some car parts. Want a Bugatti grille from the 1930s? There are two. Want an 18-foot-tall Eiffel Tower with the name CITROEN on it just like the original advertisement from 1925-1936? It's expected to go for $2,000 to $3,000. A Carlo Bugatti wooden bench is expected to bring $7,000 to $10,000. A three-foot-long Delahaye with what looks like Peter and Merle Mullin riding happily inside is bid at $200 as of presstime. Two Pebble Beach Concours d'Elegance First in Class Trophies are currently at $25. A Bugatti oil can requires a starting bid of just $25 and no one has signed up yet. A Bugatti transaxle is expected to go for $600 to $800. This may be your best and only chance to own a Bugatti (part)! There are two cars on the docket but, as we said, they're not particularly impressive, at least compared to the great rolling sculptures that once populated the museum. They are a 1931 Citroën C4G Type A (Production No. 1, for $8,000 to $12,000) and a 1949 Simca 8 Berline ($15,000 to $20,000). Other auction highlights, with their expected sale prices, include: Original Italian walnut, pewter, and copper bench by Carlo Bugatti ($7,000-$10,000) 1930 Ettore Bugatti shop press ($2,500-$3,500) Full-scale bronze depicting the 1929 Monaco Grand Prix winning Bugatti Type 35B ($4,000-$6,000) Signed Lidia Bugatti watercolor and ink on paper: Leaping Panther Hood Mascot ($3,000-$5,000) Signed Francois Vanaret oil on canvas: Renault Phaeton Landaulet Type JV 1922 ($800-$1,200) Array of Bugatti signage and workshop fixtures ($300-$2,000) Historically significant automobile and racing awards, including first-place 2005 USA Bugatti Grand Prix trophy ($100-$1,000) and 2012 Rolex Monterey Motorsports Reunion trophy by Posson ($1,000-$2,000) 'The Mullin Automotive Museum was a testament to Peter Mullin's deep appreciation for hand-crafted details, luxurious design, and innovative engineering,' said Abell Auction Co. Director of Appraisals and Trust Services Max Zellman. 'We are delighted to offer this rare opportunity to acquire an extraordinary piece of automotive history and honor his rich legacy.' Abell invites interested buyers to register in advance and preview auction items at Auction previews will be held at that location on February 26-29 and March 3 from 10 a.m. to 2 p.m. Just don't buy the oil can. I want that.
BBC News
09-02-2025
- BBC News
Pastis: The French cocktail born from a banned spirit
Ever since absinthe was outlawed due to rumours it led to insanity, this simple drink has become the nation's go-to apertif. It's difficult to imagine France without apéro (aperitif hour), that magic moment when time stops, and suddenly, everyone has a drink in hand. In a country so proud of its regional products, it's not surprising that the contents of one's aperitif glass varies, from cassis-scented kir in Burgundy to beer on the Belgian border to cloudy aniseed-infused pastis in Marseille. But despite its strong association with southern France, conjuring images of lazy summer afternoons playing pétanque by the sea, one apéro spirit is omnipresent in France: pastis. Not only do sales of pastis represent one-fifth of all spirits sold nationwide, but it's the default aperitif drink as far north as Picardie. "It's not like some of those other regional aperitifs," said Forest Collins, author of the book Drink Like a Local: Paris. "Pineau de Charentes, you're mainly going to find around Cognac. Pommeau, you're mainly going to find in Normandy. But it's pretty likely that anywhere in France, you might find a bottle of pastis." Yet, pastis didn't become France's go-to aperitif by design. If not for the nation's 1915 ban of absinthe due to its alleged harmful effects and the marketing chops of Marseillais Paul Ricard, the herbal liqueur may never have become France's most famous. Absinthe's quiet conquest of France occurred in the wake of the 19th Century phylloxera epidemic that wiped out nearly half of the country's vineyards. Soon, it supplanted not just wine but beer in the north, cider in Normandy and flavoured wines like quinquina, explained Marie-Claude Delahaye, author of the book L'Absinthe: Histoire de la Fée Verteand founder of the Musée de l'Absinthe in Auvers-sur-Oise. According to Delahaye, absinthe introduced aniseed to the aperitif hour, along with a "playful and convivial ritual" of diluting the 75% ABV liquor with sugar and water. "It was the sprout of what could be an extraordinary success," Delahaye said. Yet, absinthe's rise to fame was stymied in 1915, when it was banned throughout the country following rumours that it led to insanity. Aficionados immediately began clamouring for something to fill the aniseed-scented gap. "If absinthe had continued to be commercialised," explained Delahaye, "pastis never would have appeared." While pastis and absinthe share an aniseed flavour profile, the similarities stop there. Distilled absinthe boasts more complexity than sweetened, macerated pastis, and at 40 to 45% ABV, pastis' alcoholic power pales in comparison. This put pastis at an advantage, according to Collins: absinthe, she said, was seen as "the drink of degenerate artists" (including Edouard Manet, Edgar Degas, Henri de Toulouse Lautrec and Vincent Van Gogh, who even included the spirit in some of his paintings). With pastis, meanwhile, drinkers still got "that nice little buzz, and that nice aniseed flavour" without the negative connotations. "I think that's the effect that pastis had on aperitif culture," Collins said. "It allowed this drinking culture of aniseed to carry on." Order a pastis in most cafes, and it'll be poured from a bottle emblazoned with a bright yellow sun and one name: Ricard. But before there was Ricard, there was Pernod – two Pernods, to be precise. Both Henri-Louis Pernod and the unrelated Jules-Félix Pernod launched anisettes in 1918, merging their companies in 1928. Ricard, meanwhile, only began selling his version in 1932. If Ricard's became the most famous, it's in large part thanks to his marketing chops. He appealed immediately to the French love of terroir, deriving the name of his anisette from the Provençal pastisson(mixture), and attributing his recipe to "a poacher … who knew all of the herbs of the mountains and the garriguesurrounding us". He soon set about disseminating the story – and the local liqueur – by going door to door to bistros and cafes across France. "He used to say, 'Make a friend a day,'" said Gabrielle Arevikian-Xerri, brand director of Pernod-Ricard. Perhaps Ricard's most successful initiative was merch. An amateur artist, Ricard created branded posters evoking sunny Marseille, not to mention glasses and ashtrays, bucket hats and caps. He released thousands of such objects during the 1948 Tour de France; today, they're omnipresent at French flea markets, where keen collectors track them down. Jacky Roussial is one such collector. Over 39 years, Roussial has amassed no fewer than 3,500 Ricard-branded objects, including 180 different goblets, playing cards and umbrellas. His most prized pastis possession is a pichet tambourin, a 1950s-era pitcher depicting a tambourine player he dubs "the grail of any collector". It goes for about €4,000. These pitchers aren't just trinkets; they're an essential part of serving pastis, a drink that's customisable by design. Each 2cl pour is meant to be diluted with water to taste. Many also sweeten their pastis with syrup: a blend of bright green mint and pastis is called a perroquet (parrot), while the addition of grenadine makes a tomate (tomato). Of them, Arevikian-Xerri said, the mauresque (a blend of pastis and local southern orgeat) is the most popular. More like this:• A Michelin-starred chef's guide to Marseille• The English wine that's rivalling Champagne• The US's ancient, underrated culinary capital In recent years, modern mixologists have been toying with crafting more complex pastis cocktails. Margot Lecarpentier of Paris cocktail bar Combat likes blending it with cachaça to highlight floral notes, while Aurélie Panhelleux, co-founder of CopperBay cocktail bars in both Marseille and Paris, combines it with gin, lemon juice, dill-infused orgeat and citron to create the house Mauresco. But these creations remain anecdotal at best, according to Collins, who said that while there was an attempt to make a pastis-scented play on an Apérol Spritz popular about a decade ago, "it hasn't really happened." "I think the traditional way is the way that pretty much anybody drinks pastis," she said. Even Lecarpentier agrees. "Ninety-five percent of French people will tell you pastis is drunk with a glass of water and ice cubes," she said. "It would be weird to not serve it like that." Pastis does incur a ritual, of sorts, as the drinker dilutes the spirit with water from a branded pitcher until it takes on its cloudy-yellow hue, adding syrup or ice to taste. According to Collins, the relative simplicity of how pastis is served – especially compared to absinthe, which was dripped into a glass through a sugar cube set on a special perforated spoon – is part of the drink's enduring popularity. "Everyone in their house can have a little pitcher, but not everybody is going to go out and get an absinthe fountain and absinthe spoons," she said. Pastis' accessibility has cemented its place as the aperitif to rule all aperitifs. Drunk by men and women, by young and old, pastis is above all, according to Arevikian-Xerri, "for bringing people together. Whatever their background, whatever their social status." But it's not just pastis that remains popular – it's Ricard. Other brands exist, of course, from high-end Henri Bardouin to organic Distillerie de la Plaine. Even Pernod, which merged with its one-time rival in 1975, has stood the test of time. But in 2022, Ricard wasn't just the most-sold pastis in France; it was the most-sold product in French hypermarkets, outranking mineral water, Coca-Cola and Nutella. In the leadup to Christmas 2024, Ricard outsold even Champagne. "Pastis is a question of taste, and often of tradition," said Panhelleux. "In France, it's the only spirit people order by brand." "I don't drink pastis," echoed Roussial. "I drink Ricard." Some of the drink's popularity still stems from the fantasy Ricard constructed. "It's the symbol of sunshine, of holidays, of the Mediterranean, of far niente (the art of doing nothing), of conviviality," said Roussial. But connotations aside, for Collins, its charm comes above all from its omnipresence. "For most people, it's just a way of life. Almost like a [table wine]," she said. -- For more Travel stories from the BBC, follow us on Facebook, X and Instagram.
