Elegant Finale - In the early 1950s, Europe’s automotive scene stood at a crossroads, caught between pre-war craftsmanship and the pressure to modernize fast. Many luxury marques struggled to stay relevant as mass production and new technologies reshaped expectations. It was within this fragile transition that Delahaye introduced one of its most intriguing final creations: the Delahaye 235M Pillarless Saloon by Ghia, a car that quietly embodied both the ambition and the vulnerability of a fading grand marque.
The Delahaye 235M Pillarless Saloon designed by Mario Felice Boano of Ghia, featured featured flowing, streamlined lines, dramatic proportions, and distinctive hinged wheelhouse fairings. (Picture from: RMW.lv)
The Delahaye 235 was born out of necessity. By 1951, sales of earlier models likethe Type 135 and 175had collapsed to just 77 units, forcing Delahaye to rethink its direction. Working under chief designer Philippe Charbonneaux, and with mechanical development led by Fernand Lacour, the company createdthe Type 235as a more modern evolution of its earlier luxury cars. The most visible change was its wide, full-width ponton-style front end, including a new grille that subtly referenced Delahaye’s distributor, Générale Française Automobile. Although it still relied on proven engineering, the car was meant to signal renewal rather than nostalgia.
The Delahaye 235M Pillarless Saloon by Ghia, a car that quietly embodied both the ambition and the vulnerability of a fading grand marque. (Picture from: RouteVehcchie.org)
Under the long hood sat a familiar but thoroughly refined 3.6-liter inline-six engine, derived from the 135MS. Equipped with three downdraught Solex carburetors, higher compression, and a revised camshaft, it produced around 152 horsepower and pushed the 235 to roughly 170 km/h, with some early prototypes exceeding that mark. Buyers could choose between a synchronized four-speed manual gearbox or the advanced Cotal pre-selector unit, reflecting Delahaye’s attempt to blend traditional craftsmanship with contemporary driving comfort. On paper, the performance matched its elite positioning, even if rivals offered similar speed at lower cost.
The Delahaye 235M Pillarless Saloon by Ghia features a cabin that reflects refined yet understated luxury, prioritizing craftsmanship over excess. (Picture from: RMW.lv)
What truly defined the Delahaye 235M Pillarless Saloon, however, was its bodywork. Delahaye sold the car primarily as a rolling chassis, leaving styling to Europe’s most respected coachbuilders. While many examples wore bodies by Chapron, Antem, or Letourneur et Marchand, the Ghia-built pillarless saloon stood apart. Designed by Mario Felice Boano, it featured flowing, streamlined lines, dramatic proportions, and distinctive hinged wheelhouse fairings. The absence of a central door pillar gave the car an open, elegant profile, emphasizing lightness and motion even at rest. Inside, the cabin echoed this philosophy with a refined yet understated luxury, favoring craftsmanship over excess.
The Delahaye 235M Pillarless Saloon by Ghia is powered by a refined 3.6-liter inline-six engine derived from the 135MS, equipped with triple Solex carburetors and delivering around 152 horsepower with a top speed of approximately 170 km/h. (Picture from: RMW.lv)
Despite technical competence and visual flair, the 235 arrived too late. Critics at the time noted its resemblance to earlier Delahayes and questioned its weight, price, and reliance on aging mechanical concepts. Even Delahaye’s bold promotional efforts—such as driving an aluminum-bodied prototype from Cape Town to Algiers in just over ten days—failed to revive demand. Between 1951 and 1954, only about 85 examples were built, including prototypes. By the summer of 1954, Delahaye was absorbed by Hotchkiss, and the brand quietly disappeared from the automotive world.
The Delahaye 235M Pillarless Saloon by Ghia was produced in limited numbers between 1951 and 1954, with only about 85 examples built, including prototypes. (Picture from: RMW.lv)
Today, the Delahaye 235M Pillarless Saloon by Ghia feels less like a commercial failure and more like a closing statement written in metal and glass. It captures a moment when elegance still mattered more than efficiency, and when individuality came from artisans rather than assembly lines. As modern collectors and enthusiasts revisit this car, it stands not as a relic, but as a reminder of how bold design and quiet confidence once defined luxury—even at the very end of an era. *** [EKA | FROM VARIOUS SOURCES | RMW.LV | SUPERCARS.NET | RUOTEVECCHIE.ORG | CLASSICDRIVER | RMSOTHEBYS | CRAIG'S CAR CORNER IN FACEBOOK ]
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Fiberglass Maverick - In the golden age of handcrafted sports cars, when ambition often outweighed budget and fiberglass promised freedom from steel’s limitations, a handful of daring builders created machines that blurred the line between dream and driveway. Among them was a striking American coupe that quietly defied convention: the Fiberfab Caribee. Rare, unconventional, and shaped by both creativity and circumstance, it remains one of the most intriguing footnotes in 1960s automotive history.
The Fiberfab Caribee is thought to have been produced in only approximately 12 examples, making it one of the company’s lowest-production models. (Picture from: Silodrome)
The Caribeefirst took shape in the mid-1960s under the direction of designers Russell and Chris Beebe. Originally, the car was meant to carry a more dramatic name—“Banshee.” That plan changed when General Motors stepped in and acquired the rights to the Banshee name for a concept project of its own, the stillborn Pontiac Banshee. Forced to rebrand, the Beebes’ creation emerged asthe Caribeeinstead. The name may have shifted, but the ambition behind the car did not. Only around twelve examples were reportedly built, instantly placing it among the rarest American sports cars of its era.
The Fiberfab Caribee was originally called the Banshee, but General Motors purchased the name for its own Banshee concept car; image courtesy of Fiberfab. (Picture from: Silodrome)
To understand the Caribee, it helps to look at the company behind it. Fiberfab was founded in 1964 in Palo Alto, California, by Warren “Bud” Goodwin and John Hebler. Goodwin had already been involved in a prior venture known as Sports Car Engineering, and Fiberfab grew out of that entrepreneurial spirit. The company specialized in fiberglass body kits and replacement panels, offering enthusiasts the chance to transform familiar models—Corvettes, Mustangs, and Jaguars among them—into something more exotic. The Caribeebecame one of Fiberfab’s most ambitious projects, conceived not as a complete factory-built car, but as a fiberglass grand touring body designed to sit atop an existing chassis.
The Fiberfab Caribee stands out primarily for its gullwing doors, a relatively uncommon feature in the 1960s. (Picture from: Silodrome)
At its core, the Caribeewas a front-engined GT coupe with proportions that invited comparison to icons such asthe Shelby Daytona and the Ferrari 250 GTO—though the resemblance required a bit of imagination. Its most dramatic feature was a pair of gullwing doors, a bold design choice that gave the compact coupe a theatrical presence. The front end tilted forward as a single clamshell section, granting unusually easy access to the engine, suspension, and brakes. This practical touch reflected the car’s kit-based philosophy: it was meant to be worked on, adjusted, and personalized by its owner.
The Fiberfab Caribee often exhibited wide variations in interior trim, panel alignment, and overall finish, making each surviving example a unique reflection of its builder’s craftsmanship. (Picture from: Silodrome)
Unlike traditional production cars, the Caribee could be built on a variety of donor platforms, provided the wheelbase matched. British sports cars were the usual foundation, including the Austin-Healey 3000, the MGA, and the Triumph TR3. Builders would remove the original steel body and replace it with Fiberfab’s lightweight fiberglass shell. The result could be transformative. Even without engine modifications, shedding weight often made these already lively roadsters quicker and more responsive.
The Fiberfab Caribee was designed for British sports car chassis like Austin-Healey, Triumph, or MG, and featured gullwing doors with a forward-tilting clamshell front for easy mechanical access. (Picture from: Silodrome)
Yet because eachCaribeedepended on the skill of its assembler, no two cars were exactly alike. Interior trim, panel alignment, and overall finish varied widely, making every surviving example a unique reflection of its builder’s craftsmanship. Today, the exact number of survivingCaribeesremains uncertain. At least half a dozen are believed to exist, and the resilience of fiberglass—immune to the rust that claims so many steel-bodied classics—suggests that more could resurface over time. | LXIGBcb1_vo |
In a modern automotive world dominated by digital design and mass production, the Fiberfab Caribee stands as a reminder of a more hands-on era. It represents a time when enthusiasts could quite literally reshape their cars, blending British mechanical bones with American fiberglass flair, and drive something that almost no one else on the road had ever seen. *** [EKA | FROM VARIOUS SOURCES | SILODROME ]
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Camberwell Contender - Motorsport in the 1960s was a fertile ground for bold ideas, where small manufacturers could still challenge established names through ingenuity rather than sheer scale. In that vibrant era, Britain became a hotspot for compact, clever racing machines that punched well above their weight. One of the most intriguing examples to emerge from this scene was the Diva GT, a car that quietly carved out its place in racing history while reflecting the experimental spirit of its time.
The Diva GT 1300 Type C Prototype with an aluminum body and has an extensive racing history with even an entry in the 1964 Le Mans 24 Hours race. (Picture from: RitzSite.nl)
The Diva GTwas conceived and developed by British designer Don Sim, whose background lay in single-seater construction and Formula Junior projects at Yimkin, a company he co-founded. Established in the early 1960s, Diva Cars began as part of Tunex Conversions in South London before becoming Diva Cars Ltd in 1966. Between 1962 and 1966, the company produced just 65 GT cars, nearly all intended for competition. Built in Camberwell, these cars were never about mass production; they were precision tools designed for racers who valued lightweight engineering and mechanical honesty.
The 1964 Diva GT 1300 Type C powered by by a Cosworth-tuned reverse-flow 1.3-liter Ford Kent four driving the rears through a Hewland 5-speed, the car was reportedly originally delivered to F1 driver Jackie Oliver who intended to campaign it in the 1964 24 Hours of Le Mans.(Picture from: BringAtrailer)
Visually and structurally, the Diva GT embodied the minimalist efficiency of its era. The car featured a compact sports coupé silhouette wrapped in a glassfibre-reinforced plastic body produced by Heron Plastics. Beneath that skin sat a finely constructed tubular steel spaceframe chassis with independent suspension all around, an advanced feature for its class at the time. Disc brakes at the front added further credibility, making the Diva GT a technically serious contender rather than a garage-built curiosity. Interior appointments were sparse, focused entirely on the driver and the demands of racing, reinforcing its purpose-built character.
The 1964 Diva GT 1300 Type C ex Jackie Oliver was built
around a finely constructed tubular steel spaceframe chassis with fully
independent suspension, an advanced feature for its class at the time.(Picture from: Pinterest)
Power came from a range of four-cylinder Ford engines, typically the Kent unit, with displacements from just under one litre up to 1.6 litres, allowing the car to be tailored to different racing classes. Although a road-capable version could be specified on paper, every Diva GTproduced ultimately went to the track. Variants such as the B, C, and D Typeswere designed exclusively for competition, while the slightly more road-orientedDiva 10Ffeatured thicker fibreglass and a more flexibly mounted engine. Even then, practicality remained secondary to performance and durability.
The Diva GT 1300 Type C ex Jacky Oliver is the third of just 13 Type-C models–most were constructed of fiberglass over a tubular steel spaceframe chassis, but this features aluminum bodywork with wider front and rear fenders and an extended Kamm tail. (Picture from: BringAtrailer)
On the circuit, the Diva GTproved its worth. It achieved notable success in British national GT racing and made its mark internationally, including a class win at the 1964 Nürburgring 1000 km race in the under-1000 cc prototype category. Drivers associated with the marque read like a snapshot of future motorsport talent, including John Miles, Jackie Oliver, Peter Gethin, Brian Redman, and Alain de Cadenet. One particular example even earned an entry at the 1964 24 Hours of Le Mans, underlining how far this small British manufacturer managed to reach.
The Diva 10F was the only car designed for road use and was a version of the GT cars with thicker fibreglass bodywork and a more flexibly mounted engine. (Picture from: BringAtrailer)
Although Diva Cars ceased production after a change of ownership in 1967, the Diva GT’s story did not end there. Many cars continued racing for decades, finding new life in historic championships across Europe well into the 21st century. Today, the Diva GT stands as a reminder of a time when creativity, craftsmanship, and determination could still level the playing field. Its legacy feels especially relevant now, as modern enthusiasts rediscover the appeal of lightweight design and authentic engineering in an increasingly complex automotive world. *** [EKA | FROM VARIOUS SOURCES | CARS-BONHAM | BRINGATRILER | AUTA5P.EU | RITZSITE.NL | SPECIALCARSPHOTOS | HYDE1841 | WIKIPEDIA ]
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Fearless Prototype - In the golden era of small-displacement racing machines, when innovation often came from compact workshops rather than giant manufacturers, certain cars emerged with stories far bigger than their size. Among them stands the De Sanctis SP1000, a lightweight Italian sport prototype born from ambition, rivalry, and pure racing instinct. Built in the early 1960s in Rome, this rare machine was not just another entry in the crowded paddock—it was a focused response to the growing dominance of lightweight British sports racers on European circuits.
The De Sanctis Ford SP1000. (Picture from: Poeschloncars)
The project began at the end of 1963 under the direction of Gino De Sanctis and his son Lucio, both deeply rooted in motorsport. Their goal was clear: create a competitive sport prototype capable of challengingthe agile Lotus 23powered by Giannini engines. The first rolling chassis appeared in late 1963, signaling that De Sanctis was ready to step beyond single-seater formulas and into the fiercely contested 1000cc sport category. Only three examples would ever be built, making the SP1000 an exceptionally rare chapter in Italian racing history.
Visually, the SP 1000 carried a distinct personality. Its aluminum body, shaped by Carrozzeria Filacchione in Rome, flowed in a slender and aerodynamic form. The front hood featured six signature air intakes—a recognizable De Sanctis hallmark—while hidden headlights complied with racing regulations of the period. Slim side intakes fed fresh air into the rear-mounted engine bay, reinforcing its mid-engine layout. Painted initially in racing red, the car looked modern and purposeful, balancing elegance with mechanical aggression. Inside, the cockpit was minimalist and driver-focused, with repositioned instruments in some chassis to accommodate different driving styles, including a less reclined seating position requested by experienced racers.
Mechanically, the SP1000 evolved constantly. Early versions ran a dry-sump Ford 109E 1092cc four-cylinder producing around 85 horsepower, paired with a Colotti-Dauphine five-speed gearbox. Other chassis experimented with OSCA engines, and later developments included twin-cam Ford-Lotus units delivering up to 115 horsepower. Weighing roughly 442 kilograms in certain configurations, the car’s featherweight construction made every horsepower count. Suspension refinements, inspired by De Sanctis’ Formula 3 experience, further sharpened its handling, especially in later competition years. | vvD078K97UU |
The car debuted in March 1964 at the Coppa Gallenga, where it immediately proved competitive with a class podium finish. Over the next seasons, the SP1000competed in circuit races and hill climbs across Italy, including Mugello, Campagnano, and the prestigious Targa Florio. Despite strong performances—including class victories and podium finishes—the 1964 1000 Sport championship ultimately went to Cesare Toppetti’s Lotus-Giannini. Still, the De Sanctis demonstrated that a small Roman constructor could stand toe-to-toe with established names.
The De Sanctis SP1000 Coupe by Drogo. (Picture from: Poeschloncars)
One of the most fascinating transformations occurred after a 1967 accident during the Cesana-Sestriere hill climb. The damaged chassis 002 was sent to Modena, where Piero Drogo of Carrozzeria Sports Cars reimagined it. Drawing inspiration from his work on Ferrari icons like the Ferrari 250 GTO and the Ferrari Dino 206 SP, Drogo reshapedthe SP1000into a closed berlinetta. The new aluminum coupe body featured a taller glass windshield and a more dramatic silhouette. Although visually captivating, the added weight compromised engine cooling and performance, leading to further revisions.
The De Sanctis SP1000 Coupe by Drogo. (Picture from: Poeschloncars)
By 1970, practicality prevailed. The roof and tail were cut away to reduce weight and improve airflow, returning the car to an open configuration reminiscent ofthe Ferrari 212E Montagnain spirit. Repainted in blue and orange, it continued racing in hill climbs and endurance events. Its competitive life might have ended there, butthe SP 1000found a second calling in the early 1970s as a training car at the Vallelunga driving school run by Henry Morrogh. For a modest fee per lap, aspiring drivers learned heel-and-toe techniques and racing lines behind its wheel—among them future stars such as Elio De Angelis, Eddie Cheever, Teo Fabi, and Andrea De Cesaris.
The De Sanctis SP1000 Coupe by Drogo. (Picture from: Poeschloncars)
Restored in the mid-1980s to its earlier racing specification, the SP1000regained its original proportions and livery. It now carries a Ford engine with Weber carburetors and a Hewland gearbox, along with FIA Historic Technical Passport documentation. Eligible for major historic events such as the Goodwood Revival and the Festival of Speed, it remains a living artifact of a daring era. Small in size yet immense in narrative, the De Sanctis SP1000 captures the spirit of independent Italian racing—restless, adaptive, and forever driven by the pursuit of speed. *** [EKA | FROM VARIOUS SOURCES | COACHBUILD | GULFBLUE.IT | CLASSICDRIVER | FASTESTLAPS | POESCHLONCARS | GOTOTHEGRID | CLASSIC AND RECREATION SPORTSCARS IN FACEBOOK ]
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Future Reverie - The story of automotive progress is often told through production models, but its most revealing chapters live in dream cars—bold experiments that dared to imagine what driving could become. In the optimistic glow of postwar America, concept cars acted as moving forecasts of confidence, speed, and design freedom. Few captured that moment with as much clarity as the 1954 Pontiac Bonneville Special, a GM Motorama show car that still feels strikingly relevant today.
The 1954 Pontiac Bonneville Special conceived under the direction of Harley J. Earl, GM’s legendary Vice President of Styling, and shaped by designers Homer C. LaGassey and Pontiac chief stylist Paul Gillan, the project became Pontiac’s first two-seat sports car prototype, and became Pontiac’s first two-seat sports car prototype. (Picture from: Wikipedia)
Unveiled during the traveling General Motors Motorama in 1954, the Bonneville Specialmarked a decisive shift for Pontiac, a brand long associated with dependable but conservative cars. Conceived under the direction of Harley J. Earl, GM’s legendary Vice President of Styling, and shaped by designers Homer C. LaGassey and Pontiac chief stylist Paul Gillan, the project became Pontiac’s first two-seat sports car prototype. It was a declaration of ambition—proof that Pontiac was ready to explore performance, image, and imagination beyond its established identity.
The 1954 Pontiac Bonneville Special extended its aviation theme inside with bronze leather, chrome trim, a brushed-metal console, aircraft-style gauges, and a three-spoke racing steering wheel inspired by performance design. (Picture from: Motortrend)
Visually, the Bonneville Specialwas unmistakably born of the Jet Age. Only two Pontiac Bonneville Special prototypes were built in 1954: one finished in metallic bronze and the other in emerald green, underscoring how deliberately rare the project was from the start. Its sleek fiberglass body—still wearing its original hand-applied bronze metallic lacquer today—combined aeronautical drama with sculptural restraint. A transparent Plexiglas canopy with gull-wing-style window panels created a cockpit-like atmosphere, while the long, sloping nose echoed early American sports car proportions. Covered headlamps, turbine-inspired wheel covers, and a spare tire shroud shaped like a jet exhaust reinforced the aircraft influence, making the car feel closer to the runway than the roadway.
The 1954 Pontiac Bonneville Special combined a transparent Plexiglas canopy, gull-wing-style window panels, covered headlamps, and turbine-inspired accents into a sleek, jet-age silhouette that felt closer to an aircraft than a conventional road car. (Picture from: Wikipedia)
The exterior detailing supported that futuristic narrative without excess. Pontiac’s signature Silver Streaks were reinterpreted as twin chrome ribs flowing over the hood, suggesting motion rather than ornament. Minimal body-side trim, oil-cooler-style accents, and thin bumper elements kept the design clean and purposeful. At the rear, bladed fenders rose and tapered like wings, housing round taillamps that subtly anchored the car to Pontiac’s lineage while still projecting a forward-looking stance. | hG46UJfyTv4 |
Inside, the Bonneville Specialcontinued its aviation-inspired logic. The bronze leather upholstery and chrome-trimmed surfaces have mellowed gracefully over time, preserving authenticity rather than showing age. Bucket seats flank a full-length brushed-metal center console holding the automatic shifter, ignition, and controls. Ahead of the driver, a large central speedometer is paired with aircraft-style gauges stretching across the dashboard, while a three-spoke racing steering wheel foreshadowed designs that would soon appear on performance-oriented production cars.
One of only two 1954 Pontiac Bonneville Special prototypes ever built, originally finished in striking emerald green. (Picture from: SportscarMarket)
Despite its role as a showpiece, the Bonneville Specialwas fully functional. Pontiac had intended to showcase a new V-8 engine, but when it was not ready in time, engineers extensively modified the division’s straight-eight. Equipped with four side-draft carburetors, a long-duration camshaft, and extensive chrome detailing, the engine was claimed to produce around 230 horsepower—making it the most powerful engine Pontiac had ever installed at the time. Paired with a four-speed Hydra-Matic transmission, it reinforced the idea that Motorama cars were meant to move, not merely rotate under lights.
The 1954 Pontiac Bonneville Special was originally intended to debut a new V-8, but instead ran a heavily modified straight-eight with four side-draft carburetors and a performance camshaft, producing a claimed 230 horsepower—the most powerful Pontiac engine of its time. (Picture from: GMAuthority)
Nearly seven decades later, the Bonneville Special stands as more than a preserved artifact. Its design language flowed directly into later Pontiacs, from revived Silver Streaks to a broader embrace of performance-driven identity that reshaped the brand. Today, the car is displayed at the Petersen Automotive Museum as part of “GM’s Marvelous Motorama: Dream Cars from the Joe Bortz Collection,”where it appears alongside five other landmark GM show cars—the 1953 Pontiac Parisienne, 1953 Buick Wildcat, 1955 Chevrolet Biscayne, and both the 1955 LaSalle II Roadster and Sedan. Seen in this context, the Bonneville Special remains a rare moment frozen in motion, when Pontiac briefly stepped ahead of its time and gave the future a physical form. *** [EKA | FROM VARIOUS SOURCES | GMAUTHORITY | OLDCARWEEKLY | MOTORTREND | SPORTSCARMARKET | WIKIPEDIA ]
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Supersonic Legacy - Innovation in the automotive world has always thrived at the edges—where experimentation meets imagination and where discarded parts are given a second life. In the early 1950s, when America was obsessed with chrome, speed, and optimism, one extraordinary machine emerged from unlikely beginnings. That car was the Fageol Pataray, a singular custom roadster born not from a corporate design studio, but from resourcefulness, family legacy, and the bold creativity of a young enthusiast determined to make his mark.
The 1952 Fageol Pataray Rodster, a singular custom roadster born not from a corporate design studio, but from resourcefulness, family legacy, and the bold creativity of a young enthusiast determined to make his mark. (Picture from: Hemmings)
The story of the Pataray is inseparable from the Fageol family, a name associated with buses and commercial vehicles rather than flashy show cars. Lou Fageol had previously createdthe striking Fageol Supersonic, a streamlined coupe designed to promote his company’s propane-powered buses. Its sleek, futuristic body caught attention—so much so that in 1952, Hudson Motorcar Company requestedthe Supersonic’sbody to mount on a Hornet chassis for promotional use. Oncethe Supersonic’sbody was removed, what remained was an unusual rolling chassis—a Lincoln frame paired with a Packard rear axle—quietly stored on the Fageol family farm in Ravenna, Ohio. What looked like leftover hardware to some became a canvas of possibility to others.
The 1952 Fageol Pataray Roadster was adorned with a dramatic long-nosed design that felt equally like a raw hot rod and a finely crafted rolling sculpture, blending aggression with artistic flair. (Picture from: JalopyJournal)
That opportunity was seized by Ray Fageol, Lou’s son and a student at Kent State University at the time. With his father’s blessing, Rayset out to design and build an entirely new body for the abandoned chassis. He enlisted skilled metal craftsmen Frankie Stoer, who shaped aluminum components, and Dave Rankin, who worked with steel. Together, they crafted a dramatic long-nosed roadster that felt equal parts hot rod and rolling sculpture. The design blended elements from multiple sources: a Chevrolet grille and front fenders, rear quarters and taillights froman Oldsmobile 88, and even a tapered tail section salvaged froma crashed 1946 Indy Special. Rather than hiding these varied origins, the Pataray embraced them, forming a cohesive yet daring automotive collage.
The 1952 Fageol Pataray Roadster blended components from various sources, including a Chevrolet grille and front fenders, Oldsmobile 88 rear quarters and taillights, and a tapered tail from a crashed 1946 Indy Special. (Picture from: JalopyJournal)
Visually, the Pataray was impossible to ignore. Its extended nose gave it an aggressive, forward-thrusting stance, while the sculpted rear tapered elegantly, hinting at speed even when parked. The engine hood, reportedly fashioned from a steel tank cut in half, added to its handcrafted character. Inside, the cockpit retained unexpected touches, including a bus seat and a Miller Ford racing speedometer—details that spoke to both its utilitarian roots and performance ambitions. The exterior was finished in a bold blue and yellow two-tone paint scheme, amplifying its show-stopping presence. Under the hood sat a 300-horsepower Fageol inline-six bus engine, an unconventional choice that reinforced the car’s identity: part industrial powerhouse, part custom dream machine.
The 1952 Fageol Pataray Roadster featured a distinctive rear design highlighted by a gracefully tapered tail section salvaged from a crashed 1946 Indy Special, giving the car a dramatic and race-inspired finish. (Picture from: JalopyJournal)
Recognition came quickly. In May 1953, the Patarayappeared on the cover of Mechanics Illustrated, introducing it to a national audience fascinated by innovation and custom car culture. It was also displayed at the prestigious Pebble Beach Concours d’Elegance, a remarkable achievement for a vehicle built from repurposed parts and personal passion. The name “Pataray” itself blended Ray’s name with that of his wife, Pats, giving the car a personal dimension that went beyond metal and horsepower. Yet life moved forward. After the birth of his son, Ray relocated to the West Coast and sold the car, setting the stage for a long and unpredictable journey. | 2ryA09BDBpU |
Decades later, the Patarayresurfaced in the 1990s under the ownership of San Diego dealer Don Tonyto. In a twist that feels almost cinematic, Ray unexpectedly encountered his old creation at a dealership but was unable to reclaim it before it was stolen. Following Tonyto’s tragic death in 2000, the car was eventually tracked down in a Palm Springs warehouse by a private investigator and acquired by its current owner. Today, the Fageol Pataraystands not merely as a rare custom roadster, but as a living chapter of American automotive history—an artifact of postwar ingenuity, youthful ambition, and the enduring belief that something extraordinary can rise from what others leave behind. *** [EKA | FROM VARIOUS SOURCES | SPORTSCARDIGEST | CONCEPTCARZ | SUPERCARS.NET | JALOPYJOURNAL | HEMMINGS ]
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Today, the Delahaye 235M Pillarless Saloon by Ghia feels less like a commercial failure and more like a closing statement written in metal and glass. It captures a moment when elegance still mattered more than efficiency, and when individuality came from artisans rather than assembly lines. As modern collectors and enthusiasts revisit this car, it stands not as a relic, but as a reminder of how bold design and quiet confidence once defined luxury—even at the very end of an era. *** [EKA | FROM VARIOUS SOURCES | RMW.LV | SUPERCARS.NET | RUOTEVECCHIE.ORG | CLASSICDRIVER | RMSOTHEBYS | CRAIG'S CAR CORNER IN FACEBOOK ]
