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Ferrari 250 GT Lusso

Ferrari 250GT Lusso 1963

Возможно сразу Вы этого не вспомните, но именно такой Феррари был в фильме — «Как украсть небоскреб». По сюжету это была машина с кузовом из золота, в которой старый мошенник скрывал свои накопления от ареста и грабежа.

И я помню, как в фильме этот авантюрист говорил, что именно эта — его машина ранее принадлежала культовому в США гонщику, — Стиву Маккуину. Я был реально удивлен, когда узнал, что такой, выпущенный 28-ым в серии, Феррари, действительно был у знаменитого гонщика. А первую машину в серии купила французская актриса, — Милен Демонжо. По словам некоторых, в своей красоте она не уступала Бриджит Бардо.

В свое время Феррари 250ГТ Луссо был одним из быстрейших, Дорожных автомобилей. Ранее мы говорили о 250 GTO , — более приспортивненной модификации 250-ой. Обозреваемая сейчас ГТ, — это комфортабельный для скоростных и дальних поездок, Гранд Туризмо. Кроме этого, это еще и последняя машина в серии 250-ых.

В 63ем купить новенький Ferrari 250GT Lusso можно было за 13 с половиной тысяч долларов. В 2010 — ом такую машину еще можно было купить за 400 — 500 тысяч. Но сегодня стоимость Феррари 250ГТ Луссо составляет как минимум 2 000 000 $. Цена некоторых лотов доходит до 3-ех миллионов. И очень не похоже на то, чтобы эта машина могла подешеветь в будущем.

Да, она не так дорога как 250 GTO , за который просят как минимум 40 миллионов долларов. Но серия этой машины — 351 единица, что существенно больше 39-яти ГТО. Но все — равно, — это один из самых красивых, когда — либо выпущенных Феррари. Многие, богатые люди желают купить именно такую машину, — такие коллекционеры понимают суть и прелесть этой машины.

Давайте посмотрим на фото Ferrari 250GT Lusso 1963 , Вы видите лючок бензобака? Дело в том, что на кузове его здест просто нет. В Pininfarina решили не портить линии кузова этим элементом и разместили его в багажнике. Да, — чтобы залить бензин в ГТ 63-его нужно открыть крышку багажника и только потом Вы сможете открутить пробку. Примечательно еще то, что от пробки к бензобаку идет ничем не прикрытая горловина, — Шестидесятые).

Проспицованные колеса, с одним — центральным центрлоком под ручной хват. Одно это стоит очень много. А как Вам патрубки системы выпуска? — когда Вы на них смотрите, то не видите «банки» системы выхлопа, — это также очень стильно. И Вы не увидите такого на современных Супер — Карах.

Передний бампер здесь состоит как — бы из трех частей, где боковые части — вертикальные ( они размещены под сигналами поворотов). И — да! — согласитесь, — бутафория и имитация различных воздухозаборников, — это как правило прерогатива дешевых, Псевдо Спорт — Каров, но иногда подобные решения встречаются и на очень породистых машинах. Вот посмотрите на воздухозаборник на капоте этого Лусса; — это не воздухозаборик). Это просто горб стилизованный под воздухозаборник, но воздух в него пройти не может.

Как Вам задние фонари этого Феррари? В одном круге вмещем поворотник и стоп, а сам круг обрамлен хромированной окантовкой. — Вы глядит это очень стильно! Также обратите внимание на надпись – Ferrari, — на верхней плоскости крышки багажника.

Также обратите внимание на блестящие затычки в порогах, — они закрывают гнезда для домкрата.

В основном кузов здесь сделан из стали, но дверцы, крыша и капот здесь из алюминия.

Еще примечательно то, что в базе 250-ый ГТ продавался без боковых зеркал. За зеркала нужно было доплачивать. Причем некоторые владельцы покупали машину без них, так как считали, что так машина будет выглядеть еще более привлекательно.

Наверное Вы знаете, или слышали, что салон винтажных автомобилей не редко называют шикарным и изысканным. И это именно тот случай. Дело в том, что Луссо 63-его создавался во времена когда до эры электроники было еще довольно далеко и классность машины определялась ее роскошью.

Деревянный руль и кожа, — это потрясающе. Задняя полка за сиденьями выполнена в виде ромбо — образной прошивки. — и эта фишка Феррари дожила до наших дней.

Усевшись в сиденье с низкой спинкой, Вы можете заметить, что здесь нет ремней безопасности). — да, в базе их не было, и не все их заказывали). Обратите внимание, что тахометр и спидометр размещены по средине передней панели. Перед водителем установлены остальные приборы, среди которых есть и часы. Немного странное решение, — неужели водителю важнее знать время, чем скорость? — тем более, что это дорожная, а не трековая машина. К тому — же, — включая поворотники, индикатор загорется как — раз в спидометре, — и на это нужно отвлекаться, — слегка поворачивая голову.

Обратите внимание на 7-ем крутилок под спидометром и тахометром. Они все — одинаковые, и они не подписаны. Примечательно то, что одна из них отключает бензонасос)), — думаю никто не хотел бы перепутать этот переключатель со стеклоомывателями. Кстати, здесь очень интересно работает опрыскиватель стекла; — он активируется большой кнопкой расположенной левее от педали — сцепления. И нажимать на нее нужно не рукой, а ногой).

Еще с водиетльского места Вы можете заметить, что капот здесь открывается рычажком который не как обычно сдвинут — максимально левее, а расположен практически по средине оси руля.

Для того чтобы завести двигатель Луссо, нужно не просто повернуть ключ, но еще и вдавить его после проворота.

Динамические Характеристики Феррари 250ГТ Луссо 1963 обусловлены атмосферным, трехлитровым, V12. Это была одна из самых быстрых, дорожных машин своего времени. Двигатель Феррари питался с трех карбюраторов — Weber 36DLS. При мощности в 247л.с, Луссо мог сорваться до 100км за 7.5с, что и сегодня является показателем достойным быстрого автомобиля, а ведь уже прошло более 50-яти лет. Максимальная скорость в 240км так — же весьма достойна.

По фото, Вы можете заметить — пакет, а не бачок системы омыва лобового стекла. В те года это было весьма распространенное решение на машинах из Маранелло. Данное решение имеет гоночные корни и по замыслу оно экономит массу. По фото этого уже не увидеть, но на корпусе помпы здесь указан порядок работы цилиндров, что напоминает о высоком статусе этого автомобиля.

Это потрясающий авто. Конечно по современным меркам он уже не так быстр, но сегодня 250ГТ ценится совершенно за другое. Эта машина дает особенный опыт вождения, которого не получить ни от одного, современного СуперКара. Кроме этого, это еще и хорошее вложение денег. Которое позволит не только сохранить, но и возможно даже приумножить свое богатство.

Road Test: 1963 Ferrari 250 GT Lusso

In the early 1960s, while the Beatles and Cliff Richard were topping the charts in Britain, and Elvis was threatening to become America’s best-known export, Ferrari were crafting some of the most beautiful cars ever to turn a wheel.

The Ferrari 250 came in many guises and became the generic term for a whole range of Ferrari Grand Touring cars. With 15 different models spanning the years 1953 to 1963, the 250 Series encompassed a decade of elegant sports cars designed for both road and track.

In a history spanning just over half a century, Ferrari has produced cars with a wide range of styling from beautiful and elegant to purposeful and even brutal. The most famous of the 250 series cars are undoubtedly the 250GT SWB and the incredible 250GTO, both racing legends and purposeful looking with it. But amongst the road cars the 250GT Lusso has the most beautiful lines of all, and is arguably the most elegant road going Ferrari of all time.

This is of course a subjective judgement, a gut reaction to a design that looks right from every angle. But in design, what looks right normally is, and when you stand back and consider the Lusso’s styling objectively, it becomes apparent that its basic proportions obey all the fundamental rules of good design.

At the core of this ‘rightness’ in proportion is the long front, which conveys a sense of power and speed, while the rear tapers to a Kamm tail, the aerodynamically most efficient way to finish a car. In between, the proportion of roof to body and its shape and position in relation to the wheelbase is also visual perfection.

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The slim roof pillars and glasshouse create a feeling of light and space both inside and out, resulting in a car that appears powerful yet graceful. This is exactly the sort of look that made the Supermarine Spitfire, another lithe and curvaceous design, the aviation classic that it is.

If the Lusso looks like a simple shape at first glance, the way its body panels are formed in 3D belies that simplicity. The wings and door panels feature complex compound curves, a panel beaters nightmare, and in plan view, the Lusso tapers gently towards each extremity. If it were a living, breathing thing, it would surely be a dolphin!

Overlaid on this masterful shape is some quite exquisite detailing of the kind you will never find on a mass produced car. From the neat three-piece chromed front bumpers and the handcrafted air intake grille on the bonnet scoop to the chromed covers for the jacking points that celebrate rather than attempt to hide such a utilitarian function, the Lusso is a feast for the appreciative eye.

And then you open the bonnet. Nestled snugly in the middle of the engine bay is the fabulous Columbo-designed alloy-block, twin-cam, triple Weber-carburettor, 60-degree V12 with its black crackle painted cam covers. Known as the Type 168, this is essentially the same motor as installed in the road going 250GT SWB. Producing 240 bhp at 7,500rpm, it gave the Lusso an 8.0 sec 0-60mph time and a 150mph top speed.

The interior is simple and functional in the typical Italian style of the era. But if there is one criticism of the car then it is the disposition of the instruments with the speedometer and rev counter offset to the centreline of the dashboard. It is a major distraction to look away from the road when you are driving quickly, and ironically, this triumph of style over practicality was repeated by BMW with their Z8 roadster in 2000.

That apart, the detailing in the cabin is quite delightful. Every individual item from the elegant wood-rimmed steering wheel to the chromed hinges of the sun visors has been thoughtfully designed and crafted.

For people used to modern cars with their power assisted controls, a drive in a car from this period can come as either a rude shock or a breath of fresh air depending on your perspective.

The 250 Lusso falls into the latter category and genuinely surprises you at how ‘modern’ it feels, even on pockmarked English country roads. This is particularly so with respect to the ride, which is taut in a sporting GT way, yet very comfortable thanks to well chosen spring and damper rates and relatively long wheel travel.

I have driven a number of Ferrari 250 cars including the redoubtable 250GT SWB, which is possessed of light and incredibly communicative steering, and a really delightful four-speed gearbox. This car just begs to be drifted through the bends on a racetrack.

However, although these two Ferraris share many mechanical parts, they are actually quite different to drive. The Lusso has a fine tiller too, but one that feels a bit heavier and about 20 percent more insulated from the road.

The 250GT SWB I drove was Clive Beecham’s RHD car that Sir Stirling Moss used to win the 1962 Tourist Trophy, and it had a really slick gearbox. Although it uses the same gearbox, the ratios of this LHD Lusso’s gearbox do not seem willing to slot in quite so easily.

Then in a flash I realised what was happening. The race-bred 250GT SWB comes with a perfectly sized alloy ball gearknob, whereas the road-going Lusso’s equally long lever is capped by a tall, thin black plastic knob.

A round knob allows perfect operation from any angle, which is an important trait in the cut and thrust of motorsport. The plastic designer knob on the other hand, despite its thoughtful moulded finger-shaped indents, forces your hand and wrist muscles to adopt a comparatively tense position, making it harder to negotiate the spring-loaded gate as instinctively. When will stylists ever learn about simple ergonomics? Co-incidentally, some photos of Lusso interiors show cars with the alloy knob from the 250GT SWB, and it is likely that individual owners changed the knob.

When I had become familiar enough with the car to begin pushing it along briskly, it rose to the occasion, showing off a lovely poise and fluidity through fast sweeping turns.

The other pleasant surprise was the strong and responsive servo-assisted disc brakes, which felt well up to the car’s performance, even by today’s standards. In that respect, the Lusso is a very well balanced car compared to the heavier and more powerful Daytona I once owned, which had blinding straight-line performance without quite the brakes to match.

The only area where the Lusso requires a deeper well of situational awareness than is possessed by today’s average driver is in the area of low speed tractability.

Unlike the 4.4 litre four-cam Daytona, which has stump-pulling low speed torque and will happy pull third gear around town, the Lusso’s 3.0 litre V12 simply runs out of answers below 1,500rpm in a high gear and fluffs badly. Thus, when negotiating slow turns or T-junctions, use of second and sometimes even first gear is mandatory.

Once on cam however, the free-revving V12 is simply magnificent, the sound of its triple carbs overlaying the distinctive thrash of the timing chains and the bark of the twin exhausts. Life near the top end of the rev counter is what this engine was designed for!

It is always hard to get a true picture of what a classic was like when new since there are so many ropey cars around. The Lusso is no exception, and a car that did not benefit from the right expertise when rebuilt cannot give you a true picture of what this car is really about.

This particular car, Chassis No. 4411GT, was properly restored in 2003 at the behest of John Mayston-Taylor, knowledgeable car enthusiast, successful race driver and owner of Lynx Motors International. Through meticulous attention to detail, it probably drives as well, if not better, than any factory fresh Lusso ever did.

Despite the bumpy country roads that made up the bulk of our test drive, the car did not exhibit a single squeak or rattle, feeling as tight as the proverbial drum. In fact, it was hard to come to terms with the fact that we were driving a 40-year-old car!

4411GT is an early Lusso, 28th of the 350 built between 1962 and 1964, of which just 23 were RHD. The first and last production Lussos were 4103GT and 5955GT respectively. When you consider that the Pininfarina prototype was Chassis No. 3849GT and the Scaglietti prototype bore the Chassis No. 4053, it is apparent that the production numbers did not run sequentially!

Classic Ferraris often had interesting owners. The Superfast can count Peter Sellers and The Aga Khan amongst its owners, and some lucky Lusso owners might discover that James Coburn, Steve McQueen or some other famous personality were past custodians of their cars.

4411GT was first registered on 17th May 1963, having been originally commissioned for the French film actress Mylene Demongeot, whose beauty was on a par with Brigitte Bardot. In fact, she acted alongside BB in the film ‘Futures Vedettes’ and co-starred in other significant period films alongside Alain Delon, Jean-Paul Belmondo and even Roger Moore, whose career had not taken off at that point.

For whatever reason, Demongeot did not take delivery of the Lusso and its first owner was Clemente Setbon, who used it regularly both in Paris and to commute to his second home in Menton, near Monaco where he is now retired. In fact, he did this for around 20 years before putting the Lusso into storage in his underground garage in Paris.

Another decade passed before Setbon entered the frame of mind to sell his car. Advertised for sale in 1996, 4411GT was purchased by Paul Baber, the London based classic Ferrari enthusiast and dealer, who kept it for nearly six years. Baber sold it in May 2002, but the Lusso only left his care for six months, and becoming his property again in October.

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John Mayston-Taylor became the fourth owner of 4411GT in December of that year. By then, the car had done the equivalent of 35,000 miles and was rather tired, so the highly skilled technicians at Lynx began a painstaking rebuild of all the components that required attention.

With fresh Rosso Rubino (Code 106 R7) paintwork and Tan interior, the Lusso looks magnificent, but what is important to note is the sympathetic restoration retains the original hand-built asymmetrical character of the car.

Many classic Ferraris have been over-restored and look too perfect. John was ever conscious of this, so while the car was fresh and pristine after its restoration, it still retained the character and maturity that comes with a life well lived.

This obvious patina no doubt influenced the judges in the significant concours events the Lusso was entered in during the course of 2003. In May, 4411GT won the Associate Class in the UK Aston Martin Owners’ Club Spring Concours and drew many admiring glances despite not being an Aston Martin!

Two months later, the Lusso won her class, and came second overall in the Ferrari Owners’ Club UK National Concours, losing by just two points out of a possible 400 to a Dino that had been painstakingly prepared as a concours winner. Placed in the Newcomers Class, the Lusso was also the oldest car in the whole event!

The Louis Vuitton Concours held at Saint Cloud, Paris in early September is an invitation-only event for entrants, and 4411GT was on this prestigious list. As John had a race entry at the Goodwood Revival in an original GT40 that same weekend, it fell to his wife, Susan to attend the event with the Lusso. The car created quite a stir and won the Prix de l’Elegance. As perfect as the Lusso was in isolation, it’s original French connection and Susan’s in-depth knowledge of its history no doubt helped to clinch this prestigious award.

Many classic Ferraris end up seldom being driven, which is a shame as they are so very tactile compared to modern cars. But John believes in exercising his charges, and following its success in Paris, 4411GT participated in the 2003 Italia Classica event in the Puglia region of Italy in late September. There it joined many other significant Ferraris, and ran faultlessly on this five-day invitation-only private road driving event organised by Luca Grandori and sponsored by TAG Heuer.

When John bought the Lusso, he was lucky enough to find the period registration number 4411 RU on the internet. ‘RU’ was a Bournemouth issue, and a common registration numbers on the 250 series cars owned by Colonel Ronnie Hoare, the UK Ferrari importer at the time. In combination with the Lusso’s chassis number, this made for a wholly appropriate licence plate, and went down well with the cognoscenti.

The latest chapter of 4411GT’s illustrious history began in the spring of 2004 when an existing Lynx customer in Connecticut, who wanted to add the Lusso to his private collection, approached John. A deal was struck, and with 59,000 kms on the clock, 4411GT began the long journey to America, once again proudly wearing her original Parisian licence plate, 5801 NR 75.

1964 Ferrari 250 GT Lusso

P roduction of the 250 Series began in 1954 and continued on through the early part of the 1960’s. There were numerous variations of the 250 and would ultimately become Ferrari’s most successful line of vehicles to date. The 250 is also recognized as the first Ferrari to ever receive disc brakes. This did not take place until the end of the 1950’s. Also, the 250 was the first four-seater.

Ferrari’s were custom built cars. They were not mass-produced. Ferrari provided the engine and chassis while Italian coach builders provided the body. This meant the specifications varied. Engines also varied in horsepower rating, torque, and displacement. This was no different for the 250 GT which saw many different variations in body style and body types.

Ferrari built the road-going Ferrari’s to fuel his passion for racing. Many of the vehicles he built for the road had a competition model. That is, a modified version of the road-going model. An example of this was the 1959 short-wheel base (SWB) Berlinetta (Berlinetta which means coupe) and given an aluminum body. It was debuted in October 1959 at the Paris Salon. GT cars were road-legal vehicles that could also be taken to the track and compete without the need for modifications. Although this was their purpose, Ferrari realized that many customers would not race their vehicle, but rather wanted the power and performance that sports cars offered. To comply, Ferrari built these cars to be powerful and luxurious. The vehicles could still be run on the track, mostly on requiring the adoption of stickers and complying with any safety requirements.

The 250 road-going vehicles mostly shared two wheelbase sizes, a 2400 mm and 2600 mm. The 2400 wheelbase were referred to as the SWB (Short wheel base) while the other was the LWB (long wheel base).

The base engine was a Colombo 60-degree, single-over-head cam, ‘vee’ type 12-cylinder, with aluminum alloy block and heads, and cast-iron cylinder liners. The displacement was 180 cubic inch (2953 cc). Horsepower production was around 220-260. The front suspension was independent with double wishbones and coil springs. The rear suspension was a live axle.

The first 250 introduced was the 250S and available in either berlinetta or spider configuration. Introduced in 1952, they were powered by a 3-liter Colombo engine producing about 230 horsepower.

At the 1953 Paris Motor Show, Ferrari introduced the 250 Europa and Export. These were the only models in the series that were powered by a Lampredi v-12 engine also seen in Formula 1. The 250 Export had a 2400 MM wheelbase, similar tot he 250 MM. The 250 Europa had a larger, 2800 mm wheelbase which allowed more interior room. During their short production lifespan, only 18 examples were produced. Pininfarina and Vignale were tasked with creating the coachwork.

In 1954 four specialty built 250 Monza were built for racing. They shared many similarities with the 750 Monza’s, but were equipped with the 3-liter Colombo engine.

At the 1957 Geneva auto show, Ferrari displayed their 250 GT Cabriolet. Coachwork was courtesy of Pininfarina; the wheelbase was 2600 mm in size. In 1959 the second in the 250 GT Cabriolet series production began after only 36 examples being produced.

From 1957 through 1959 Ferrari produced the 250 GT Berlinetta ‘Tour de France’ (TdF). The name had been given for the 10-day automobile race. Originally the engine produced 240 horsepower but was later modified to 260 horsepower. Carrozzeria Scaglietti was responsible for creating the bodies based on Pinin Farina’s design.

Scaglietti was responsible for constructing the 1957 250 GT California Spyder. These sat atop a long, 2600 mm chassis and aluminum was used throughout the body in efforts to reduce the overall weight. In total, around 45 examples were created before they were replaced by the SWB version in 1960.

There were 250 examples of the 250 GT Berlinetta SWB produced. Production began in 1959 and used the shortened, sportier wheelbase. Giotto Bizzarrini, Carlo Chiti, and Mauro Forghieri were responsible for the development. Some were built for racing while others were meant for daily transportation. Horsepower ranged from 240 to 280. Steel or aluminum bodies were used. The steel bodies were suited for the road-going vehicles, also known as Lusso. The racing trim vehicles were powerful and had low weight. They were vary competitive and are regarded as the most important GT racers of its time. In 1961 the SWB Berlinetta captured the GT class of the Constructor’s Championship.

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In 1960 a Scaglietti 250 GT Spyder California SWB was shown at the Geneva Motor Show. Built as a replacement for the LWB and based on the 250 GT SWB, around 55 examples were produced.

The Ferrari 250TR was produced from 1957 through 1958 during which only 19 examples were created. The ‘pontoon’ fender body was designed by Scaglietti and the power was supplied through a Colombo 12-cylinder engine mounted at a sixty-degree angle and outfitted with six Weber 38 DCN carburetors. Power was sent to the rear wheels via a four-speed manual gearbox. With 300 horsepower, the 800 kg vehicle was able to achieve a 168 mph top speed. From 1958 through 1961, the 250 TR was entered in 19 championship races where they emerged victorious ten times.

The 250 in 250 TR represented the unitary displacement while the TR was an acronym meaning Testa Rossa. Testa Rossa translates to ‘red head’ which referred to the color of the engine’s cylinder head.

The 250 TR series was built to capture the world championship which was experience questionable times. During the 1955 24 Hours of Lemans a fatal accident occurred and the Commissione Sportiva Internazionale (CSI) began investigating ways to make the sport safer for the drivers and the spectators. Their efforts were escalated in 1967 when another fatal accident occurred at the 1957 Mille Miglia. The committee decided upon a displacement limit but they were in disagreement on the size; the proposed figures ranged from 3 to around 3.5 liters.

1958 was the introductory year for the new regulations, which had been announced during the later part of 1957. Ferrari had been building, testing, and racing the 250 GT which had performed well during the 1957 Mille Miglia. The Colombo V12 260 horsepower engine received a larger bore, camshaft, and other improvements resulting in a 3.1 liter displacement and 320 horsepower. Testing continued throughout the 1957 season in both body configuration and mechanical components.

Ferrari had anticipated the new engine size regulations and thus had been sufficiently prepared to capture the world championship. Due to the potential of negative publicity caused by the fatal accidents, other manufacturers, such as Aston Martin, Lotus, Cooper and Jaguar, were hesitant to continue racing. Ferrari believed their closest competitor would be the powerful and technologically advanced Maserati 450 S which featured a quad-cam eight-cylinder engine.

Ferrari quickly began capturing victories during the 1958 season. The 250 TR was a solid vehicle thanks to the preparation and testing. The steel tubular ladder frame was of traditional Ferrari construction; a DeDion rear axle was used on the works racers. Customer cars were outfitted with a live axle. Drum brakes were placed on all four corners of the car. The engine had been modified to comply with regulations and to fit in the engine bay. In reality, the vehicle was an outdated car having only the benefit of proper planning and proven technology. Most cars featured disc brakes which provided superior stopping power. The Colombo engine dated back to the beginning of Ferrari and was antiquated in comparison to the modern power-plants.

Nearing the close of the 1958 season, the competition began to rise. Aston Martin had a lethal combination, a 3 liter DBR1 racer and Stirling Moss as the driver. Even though the Aston Martins did score a victory at Nurburgring 1000 KM, Ferrari was able to capture the World Championship. The legendary Phil Hill and Olivier Gendebien easily capture a third victory for Ferrari at the grueling 24 Hours of Lemans. The 250 TR works cars were referred to as TR58, to distinguish them from the customer TRs.

For the 1959 season, the vehicles received slight modifications which made the vehicle lighter and more powerful. The big news was the use of Dunlop disc brakes. The engine received coil valve springs and the horsepower increased slightly to 306. A Colotti designed five speed gearbox replaced the four-speed unit. Pininfarina was tasked with designing a new body and the construction was handled by Fantuzzi. As a result of the improvements, the name was changed to TR59. At their inaugural race, the TR59 finished first and second. This streak did not last and at the end of the season, it was Aston Martin who emerged as the world champion. The TR59 was plagued with reliability issues mostly due to the gearbox. The vehicles were forced to retire early from races, including Le Mans.

For the 1960 season, the TR was modified slightly to comply with new regulations and to rectify the transmission issues. These vehicles are commonly referred to as the TR59/60. Aston Martin had withdrawn from the championship which left no factory opposition for Ferrari. Porsche and Maserati provided competition, especially at Targa Florio and the Nurburgring 1000 km where they scored victories. At Le Mans, Ferrari finished first and second and captured the word championship, beating Porsche by only four points.

For the 1961 season, Ferrari introduced the mid-engined 246 SP. The TRI61 was given a new spaceframe chassis and was able to capture victories at Sebring 12 Hours and Le Mans. With victories between the 246 SP and the TRI61, Ferrari once again captured the world championship.

The CSI implemented stricter rules for the 1962 season which meant the TR was unable to score points for the factory. It was still allowed to race for the overall victory.

By Daniel Vaughan | Feb 2007

1963 Ferrari 250 GT Lusso/ «Как украсть небоскреб» (2011)

Красный FERRARI 250 GT LUSSO 1963 года (на самом деле реплика) — автомобиль, вокруг которого закручена изрядная часть интриги в фильме режиссера Бретта Рэтнера «Как украсть небоскреб» 2011 года.

По сюжету это Ferrari самого Стива МакКуина — легендарного акера и гонщика-энтузиаста. А на самом деле — старый Volvo модели 1800, превращенное Эриком Шульцем из компании Picture Car Warehouse в Ferrari Стива МакКуина. Вот только с цветом авто не угадали. В фильме машина была красного цвета, в то время как легандарный актер и гонщик Стивен МакКуин владел автомобитлем, окрашенным в каштановый металлик.

Создатели фильма сочли, что старенький Вольво легко стерпит подобное обращение

А вот лупить клюшкой для гольфа по Ferrari, принадлежавшем когда-то самому Стиву МакКуину… Вы можете себе такое представить?

Ну а теперь более предметно о Ferrari 250 GTL также известном как Lusso.

Подробнее о Ferrari 250 GT Lusso

Ferrari 250 GT Lusso — один из ярчайших представителей автомобилей класса GT эпохи 60-х. Является одной из модификаций легендарной серии 250 GT. Автомобиль также известен под названиями Ferrari 250 GT/L Berlinetta, Ferrari 250 GTL или просто Lusso.

Автомобиль оснащался двигателем V12 объемом в 2,9 литра с тремя карбюраторами Weber 36DCS, который развивал мощность в 250 л.с. Максимальный крутящий момент составлял 242 Н⋅м при 5500 оборотах в минуту. Максимальная скорость авто составляла 240 км.ч., что делало Ferrari 250 GT Lusso самым быстрым легковым автомобилем своего времени.

Ferrari 250 GT Lusso оснащался четырехступенчатой коробкой передач, первые две передачи были довольно длинные чтобы увеличить скорость разгона до первойц сотни, а она составляла в пределах 7-8 секунд.

Одна из неприятных особенностей этого автомобиля заключалась в значительным выбросе дыма при акселоерации, что однажды очень рассердило Стива МакКуина и видимо стало одной из причин, почему он охладел к своему Ferrari 250 GTL.

Автомобиль имел неподвижные спинки сидений, из-за чего позиционировался как машина рекомендуемая преимущественно для молодых и гибких людей.

Интересные факты

Всего было произведена 351 единица Ferrari 250 GT Lusso.

В 1963-1964 году цена Ferrari 250 GT Lusso составляла $13,375. Очень дорогой автомобиль, если учесть, что вышедший в 1964 году Ford Mustang в США можно было приобрести за $2500 когда автомобиль появился в продаже.

Из знаменитых личностей Ferrari 250 GT Lusso владели Эрик Клэптон, и Стив МакКуин. Кстати, экземпляр, ранее принадлежавший Стиву МакКуину был продан 16 августа 2007 года за 2,3 миллиона долларов.

В 2004 году журнал Sports Car International присвоил этой машине десятое место в списке лучших спортивных автомобилей 1960-х годов.

Номера

Номерная табличка, которая красовалась на корме реплики Ferrari 250 GT Lusso в фильме «Как украсть небоскреб» читаются как «IFC 007».

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