Il classic car market it is experiencing a moment of great interest to the point that it seems to look more like a fashionable investment with attractive returns if considered in the long term (after 3 – 5 years) and not in the short term. Just consider that the trend records a +111% (2011 - 2016) and is continued growth of over 20% annually. Collecting has passed from buyers of a certain age to those aged between 45 and 55, precisely due to the fact that it is a question of fashion but also a different way of investing, given that from a 10-year perspective it can be considered an excellent safe haven.
The favorite cars of collectors from all over the world – but also more expensive – they are Porsche and Ferrari and especially the Spiders with reclining hoods. But there is no shortage of more historic cars such as the Talbot-Lago T150-C SS Teardrop Cabriolet by Figoni et Falaschi, whose history, although known to vintage car collectors, becomes interesting to rediscover and remember that event (RM Sotheby's Auction 2013) in which it was awarded for over 7 million dollars. And 8 years after the sale, what will its value be today?
His own story.
There is no question that the exuberant French coachwork of the late 30s prompted a monumental change in automotive design. Gone were the largely functional shapes of the 20s and early 30s, as they were replaced by the imaginative curves and sensual lines that ushered in the age of the automobile as art. While others were adept at the style of the era to one degree or another, it was the Paris firm of Figoni et Falaschi that is widely regarded as the innovator of the new look.
Figoni's early work was rather conservative, probably reflecting the wishes of his wealthy clientele. However, his early designs displayed a sophisticated sense of line and proportion. Far from being extravagant, these early cars were like a well-tailored suit: impeccable craftsmanship combined with just enough flair to stand out from the ordinary.
By the turn of the decade, Figoni had begun earning commissions for racing cars and these improbable orders began to shift the coachbuilder's image and reputation in a sportier direction. Alfa Romeos, Lancias, Bugattis and other sports brands began appearing more prominently in his store. These years also saw the birth of Figoni's aeronautical-inspired projects. The coachbuilder's workshop was located near an airport, and was a daily witness of aerodynamic efficiency. The curved shapes of the aircraft would become a major source of inspiration in Figoni's creations.
In 1935, several pivotal events occurred for Figoni and French automobile design. In May of that year, Giuseppe Figoni hired a partner. Ovid Falaschi, a successful Italian businessman, was to provide working capital and business expertise. By all accounts, the partnership was a success, with both men making substantial contributions.
The second event was the development of the Delahaye 135 in 1935 and 1936. The 135 introduced a lower radiator and independent suspension, which not only greatly improved the car's handling, but also lowered the chassis. These innovations created the canvas on which Figoni designed the 1936 Paris Auto Show car.
It was during the second half of the 30s that Figoni turned his attention to Talbot-Lago, whose mission was to build the best French cars of the time. Few will disagree that the coachbuilder's partnership with that manufacturer achieved this ambitious goal. Talbot-Lago's reliable, new 140-horsepower engine would provide the basis for a powerful new chassis, and the glory of Talbot-Lago's racing record (the company's competitors placed 1st, 2nd, 3rd and 5th at the 1937 French Grand Prix) provide the perfect image to attract wealthy and powerful new clients to his order book.
Talbot's biggest success was the T150-C chassis. The “C” stood for competition, which was a reference to the car's racing success. Two versions of the race-derived chassis were offered. The first of these is designated "SS" and denoted by a 901 comprising the first three digits of the chassis number. It refers to a short wheelbase chassis of 2,65 metres, designed for elegant two- or three-seater bodies. As the shortest and lightest frame, it was generally the one used as the foundation for the company's racing efforts.
When considering the Talbot-Lago automotive masterpieces that were crafted by Figoni & Falaschi, there is no word more appropriate, or more frequently used, than the term “fluid”. The designs were defined by their elegant appearance and almost appeared to be liquids caught in a moment of solidity. When the automotive press started using the term goutte d'eau, or "teardrop", to describe these automobiles, the word and its meaning were immediately adopted as a symbol of the era of automotive rationalization. The best-known examples of this genre were a small series of about 16 coupés, after which Figoni happily responded to the request for a bodywork, which would allow its occupants to enjoy the warm open-air tour.
The resulting convertibles were, and are, simply stunning. One of the most striking aspects of the design's evolution from closed to open is the graceful chrome beltline that sweeps up from the hood line before splitting in two, with one tail continuing the sweeping line and the second arching into the door. This is a classic Figoni detail, and it's the perfect embellishment.
Already in 1938 Figoni & Falaschi burned Paris with beautiful and sumptuous cars. According to the Figoni archives, it was in that year that the factory produced the three convertibles that were to become the epitome of the teardrop style. Frames 90111, 90019 and 90115 were all created for the Talbot-Lago T150-C; although, the first and last were built on a shorter SS chassis. Of these two, the example shown here is the only one to retain the original bodywork.
At Talbot-Lago, Figoni discovered an ideal frame for his distinctive and charismatic teardrop style. Many modern motoring authorities still regard Figoni's T-150-C models as some of the finest convertibles ever built. These three automobiles were the only Talbot-Lago Teardrop Cabriolets ever created by Joseph Figoni.
The first of the three convertibles was this car, chassis 90111 and Figoni factory order number 661; it was a prototype built to be exhibited in a Parisian competition, with the intention of creating interest in Figoni's innovative style. Its Talbot-Lago T150-C SS chassis was topped with a body of gleaming ivory and red fenders, and the car easily caught the eye of all contest entrants.
Il chassis 90111 was first registered in 1938 by Michael Dassonville, from Lille, a young wool merchant with a successful family business and enough resources to become a serious car collector. In 1941, Dassonville had moved to Paris, taking 90111 with him and re-registering it under a Paris number. Although the Germans had occupied France, Dassonville retained its commercial interests. Dassonville was reportedly a double agent who fled to Brazil in 1944 or 1945, leaving 90111 behind.
Probably confiscated by the French government after the abrupt departure of its former owner, chassis 90111 was sold to Lino Fayen, Paris, in 1952, and was driven with the same registration numbers as 90115, also owned by Fayen at the time. era. Fayen reportedly found it more expedient to swap license plates and chassis plates whenever he chose to drive a Talbot-Lago, rather than put up with a French tax system that penalized owners of cars with big-capacity engines. Fayen later sold 90111 to George Leroy, of Montvilliers, who continued to use it under license number 90115, 796 CA76.
In the mid-50s, American Vojta F. Mashek, of Chicago, purchased 90111, along with several other Talbot-Lagos. This car has become an important centerpiece of his 50-car collection. In 1962, he raced at De Wilmot Hills Race Course in rural Chicago. This event was organized by the Vintage Sports Car Club of America and Mr. Mashek won the five lap race.
Although Mr. Mashek died in 1973, he was It was only in 2006 that the car went on sale from his family. It was then purchased in 2008 by a new collector who added it to his collection in the southeastern United States. After careful research, the owner commissioned a full restoration. Restoring an automobile of this caliber and historic significance is almost a sacred trust. It is important to not only restore the car to new mechanical and operational condition but also to ensure that the visual beauty of the original design is carefully restored.
Therefore, the restoration began with a complete inventory and dismantling of the car. In particular, it was noted that each critical component had originally been stamped with the Figoni reference number 661, confirming that it was certainly chassis 90111. Although the car proved to be remarkably complete overall, it was decided that, given the car's rarity and importance, would be taken back to its very foundations and completely rebuilt.
As a result, although most of the original timber structure survives, every joint has been painstakingly stripped down, cleaned, and reassembled; only a few pieces in the lower portions of the doors and sills required replacement with new pieces of seasoned ash. The sheetmetal was also largely intact save for fixing a few older repairs that had been done poorly. Wherever metalwork was required, identical materials and workmanship were used to ensure the faithful restoration of the bodywork that Figoni built all those years ago.
The interior fittings and upholstery are identical in shape and pattern to the originals, the woodwork has been painstakingly repaired and refinished properly, and the carpet, convertible top and upholstery have been meticulously cut and fitted to match the original models. Every instrument has been restored and a new harness was fabricated for the complete car. Every light, frame and lens has been painstakingly rebuilt and reinstalled.
Hundreds of hours were devoted to careful preparation for the painting. The finish, which is a correct shade of creamy white, has been color sanded and buffed to provide a superior sheen and quality finish. Chassis 90111 debuted at the 2012 Pebble Beach Concours d'Elegance, winning First Class; this is a prestigious accolade in what is traditionally one of the most competitive classes.
