Peter Fonda: 'Cliff Vaughs Built Captain America'

File this one under 'better late than never': in a recent letter to Cliff 'Soney' Vaughs, actor Peter Fonda finally gives credit to Vaughs and Ben Hardy for their until-recently unknown contribution to motorcycle history - creating the 'Captain America' and 'Billy' bikes for Easy Rider.  The massive wave of publicity around the sale of the claimed last extant chopper from the film (which made a claimed $1.62M at auction - the most expensive motorcycle ever sold at the time), also seems to have inspired Fonda to properly acknowledge for the first time 'who' created the most famous motorcycles in the world.

I flew Cliff Vaughs to LA last May for a photo and interview session for 'The Chopper: the Real Story' - this was the first moment Cliff had seen this bike since 1968...[Paul d'Orléans]
Here's the letter:

"Hi Cliff,

I wanted to first let you know how grateful I and others are that you knew where to go to buy the LAPD bikes at auction. Dennis and I had no idea. You magically bought 4 bikes at $500. a piece! You again amazed us when you designed and built the bikes for approximately $1250.00 per bike. We were all in awe of yours and Ben Hardy's abilities. You built two Billy Bikes and two Captain America bikes. I remember you and your girlfriend coming to our Pando office to talk about what we were going to shoot in New Orleans.

Unfortunately,the bikes weren't ready when we began filming in New Orleans and there was no way they could have been ready based on what was involved in their design.

A decision was made by Dennis Hooper, Paul Lewis, and Bert Schneider to fire you. Unfortunately, they blamed you for not having the bikes ready after The Mardi Gras parade. Hell, we didn't even have the script ready. This decision was a very bad decision, one of which was beyond my control and I found out about it after the fact. I am very sorry. Neither did I decide to drop the sequence of the black biker gang from the script. Again Dennis's decision not mine. Money was a factor I believe.

 This is a Facebook entry of mine in late September 2014: The final design of the Easy Rider bikes started with this man, Mr. Cliff Vaughs. I gave Cliff a sketch that I had drawn in Toronto Canada on September 27th 1967. It was a rough sketch of the teardrop gas tank, the high sissy bar, the big automobile rear tire, and the same rake that I had on the motorcycle from the Wild Angels. Cliff refined it with the outrageous heavily raked front forks!!! It was a bitch to ride but it looked incredible!!! Thank you Cliff!!!!

It is not too late to give you and Ben Hardy the praise you deserve in designing the iconic bikes in Easy Rider...

All the Best,

Peter Fonda"

'Captain America' by 'wet plate', shot as part of the MotoTintype project, during Cliff's brief reunion with the bike. [MotoTintype]
Not too late indeed, as Cliff is still alive [note: Cliff died in 2016 - ed.], but Ben Hardy never got the credit he deserved for his exceptional work, nor for his enormous contribution to chopper history, before his death in 1994. Vaughs and Hardy are at last acknowledged in print with my latest book, 'The Chopper: the Real Story.'  The book is on the ground in Europe already, and will be distributed in the US within a few weeks (when they arrive from Germany).  Feedback on the book from bike enthusiasts is excellent, and I'm proud of the hard work which went into the book, and how Gestalten laid it out.

'The Chopper: the Real Story', (Gestalten 2014), includes the story of Cliff Vaughs and 'Easy Rider' [Gestalten]
Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

Selling 'Captain America'

It's the most famous motorcycle in the world - everyone knows the bike, even if they know nothing about motorcycles or '60s counterculture. Many times more people recognize the 'Captain America' chopper than ever saw 'Easy Rider', and movie posters of Peter Fonda and Dennis Hopper riding their choppers across America still adorn the walls of college dorms around the world. It's an enduring image, a romantic touchstone from an era when Freedom seemed possible via a cool motorcycle and a groovy outfit.

The iconic image of Peter Fonda and Dennis Hopper in 'Easy Rider'. [Vintagent Archive]
The 'Captain America' and 'Billy' bikes were the brainchild of 'Easy Rider' Associate Producer Cliff Vaughs, and the first pair (the 'hero' or 'A' bikes) were built by Ben Hardy in LA, while a second pair (the substitute or 'B' bikes) were built by mechanic Larry Marcus at his and Cliff Vaugh's house in Santa Monica. The full story of the origin of these remarkable motorcycle will appear in October in my book 'The Chopper: the Real Story' (published by Gestalten, who also published 'The Ride'), and it's a long, complicated, and controversial saga.

The 'Captain America' chopper as photographed on Mulholland drive in March 2014 by Troy Critchlow. [Vintagent Archive]
That story isn't quite over, as what's claimed as an authentic survivor 'Captain America' is coming up for auction October 18th at the Profiles in History auction house. Owner Michael Eisenberg purchased the chopper from the National Motorcycle Museum in Anamosa, Iowa earlier this year, and has decided to sell the machine, "It was with much deliberation and trepidation that I decided to sell it...When I came to the realization of what I actually had just sitting in my warehouse I felt it would be better served if it could once again be on public display. I also decided that a portion of the proceeds should benefit some charities, the American Humane Association and the National Motorcycle Museum in Anamosa Iowa so that they can continue to educate the public on the history of the motorcycle."

This is the MotoTintype 'wet plate' photograph of the very machine at auction, from an hour spent at a roadside parking lot on Mulholland Drive in LA taking photos of the machine in company with its creator, Cliff Vaughs. Visit MotoTintype.com for more images. [Susan McLaughlin and Paul d'Orleans]
The machine at auction was apparently built from the remains of the 'B' Captain America bike by Dan Haggerty, who was the 'chopper handler' for 'Easy Rider' after Associate Producer Cliff Vaughs, along with most of the initial crew on the film (including this bike's builder, Larry Marcus), was fired as Columbia Pictures took control of the film's budget and production. The 'B' bike was partially destroyed at the end of the film, and Haggerty apparently kept the parts. The remaining 3 film bikes were stolen before the end of production, and never recovered, although pieces of these bikes have circulated through the bike collector crowd (and the rumor mill) in the 46 years since the film was made.

Press releases about the 'Captain America' sale are quoting estimates of $1Million, which seems cheap when one considers the astronomical price of far less famous Ferraris, and the rumored $1.1M sale price of the Rollie Free/'bathing suit' Vincent 3 years ago, which is also among the most famous machines in history, along with TE Lawrence's 'fatal' Brough Superior SS100 - which was offered for £2M several years ago.


Behind the Scenes at the 2014 Villa d'Este Concorso

Concours d'Elegance are marvelously silly things. Lining up a bunch of expensive cars and bikes seems at times an exercise in pride (of ownership) and envy (of same), with a dressing of greed (the value bump from a win); deadly sins all. Owners sweat while judges - and who anointed them? - pronounce 'winners' and 'best of show' over a display of obsolete industrial design. I was one of those judges at the Concorso di Villa d'Este; so why did I readily accept the inviation? It was equally silly for me to fly to Italy from San Francisco for a long weekend, especially as I was scheduled to fly right back to Europe 10 days later, to show my MotoTintype photography at Wheels+Waves in France. So again, why do it?

The lineup of 1929-37 World Speed Record machines; Henne's 1937 BMW streamliner ('Henne's Egg') with the 1937 Gilera Rondine streamliner behind. The BMW provided Henne's retirement ride, and it held the record for 15 years, until broken by competitor NSU. [Paul d'Orleans]
The best concorsi are curated as exhibitions, with much thought given to the classes and categories, which vehicle goes next to the other and the story thus told. In the best case, the public is enlightened by the mix, discovering connections and influences, observing the movement of history, delivering a few 'aha' moments with the inevitable 'ahh's. They provide an opportunity to see ultra-rare machinery in the metal, and on the grass, albeit in a no-touch environment, which is understandable but frustrating at times. Then again, if everyone who so desired was allowed to caress Ernst Henne's original-condition 1929 BMW WR750, it would be worn to a nubbin by now; we all missed our chance to be flying-helmeted Heroic World Record Breakers by not being born in 1900, with prodigious natural riding talent, and in Germany. Henne was the one who did the work, so we must be content to watch; it was the same in '29.

Edgar Heinrichs, Ola Stenegard, and Stefan Schaller - BMW moto in a nutshell, with their prototype hotrod. [Paul d'Orleans]
The concorso in question is sited on one of the world's beauty spots (Lake Como), on the grounds of two fantastic old villas, neighboring Este (for the cars) and Erba (for the bikes), and has a generous benefactor (BMW) who takes care of the details, like building the interesting pavilion for the bikes, plus security, and cars/drivers to get people around, and plane tickets for mugs like me. The organization is excellent, as is the curation of the vehicles, invited according to themes; for 2014 the motorcycles fit categories of 'The Great Gatsby', 'The Elegance of Sidecars', 'First Steps from Japan', 'Sixdays in the Sixties', and 'Top in Class', plus a once-in-a-lifetime display of supercharged World Speed Record motorcycles, who battled each other between 1929 and 1937. That is, when BMW took on the world, and vice-versa, with manufacturers as large as BMW and Gilera or as small as Zenith and OEC building technically brilliant machines. It was the last truly romantic era of pan-European motorcycle speed competition, and between the builder/competitors, the speed wasn't abstract; it was personal. Seeing those 5 bikes together was reason enough to attend the show, and I was happy to do the 'work' which paid for my ticket.

Dinner with friends at Villa d'Este; entrants, judges, and BMW brass...[Paul d'Orleans]
A four-day trip to Italy leaves no time for jetlag, and I arrived Friday morning for a judge's meeting with my esteemed comrades at Villa Erba, headed up by the immortal Carlo Perelli (and here's hoping - he started working for Motociclismo in 1947!), with English journalist Mick Duckworth, BMW's head of moto-design Edgar Heinrichs, French journalist Francois-Marie Dumas, and Italian TV star Lucca Bizzarri.

The 1922 Beardmore-Precision with sleeve-valve Barr+Stroud engine (350cc) and full leaf-springing front and rear - plus that fabulous 'trout' sidecar in original condition. A technically fascinating motorcycle...[Paul d'Orleans]
I've judged with Carlo before (this was my 3rd go at the Villa), and knew my other colleagues personally, barring our celebrity judge, who was the only one of us hounded by autograph-seekers. Our proceedings were overseen by author Stefan Knittel, the mastermind behind the concorso di moto, plus our master of ceremonies Roberto Rasia dal Polo. After our jury pow-wow, it was cocktail time at Villa d'Este proper, to mingle amongst the beautiful, fabulous, and rich involved with the automobile concorso.

The fabulous 1929 Opel Motoclub with sidecar owned by Matthias Hühn. [Paul d'Orleans]
It's also BMW's moment to unveil their prototypes for the year; perfectly understandable given they've paid for the venue (and our drinks). If you've ever hankered for an electric convertible Mini, the little blue cutie which crunched silently up the gravel path was for you. The prototype two-wheeled BMW hotrod which Ola Stenegard and Edgar Heinrich cobbled up in their workshop was equally silent, although it wasn't electric - an aftermarket micro-switch had been left on overnight, and the battery was flat. So much for dramatic flourishes, but the bike looked great, and we got plenty of chance to hear it the next day.

The fantastic supercharged 1930 Zenith-JAP world record holder, from the 'scandal at Cork'...read about the scandal here. [Paul d'Orleans]
The motorcycle crowd separated off to a gigantic green chandeliered dining room afterwards, the judges and entrants and BMW's motorcycle design and museum heavyweights. I had the good fortune to sit beside Stefan Schaller, head of BMW motorrad, who asked my opinion - what did I think BMW should do next? Ever the diplomat, I replied, in a nutshell, 'Less R&D, more RSD...and where's your electric motorcycle?' I'm not sure he was pleased, but he got what he asked for...

"where's your electric motorcycle?"

Saturday morning was open to the public at Villa Erba (for the first time - and quite a crowd had queued up), while judges scanned the bikes, a less formal process than at other shows. It's expected all the bikes run, and they do, so there's no moment of tension for owners as 5 guys in blue blazers (the bikies don't wear them, but the car guys do) stand around and watch you work up a sweat. The focus of this Concorso is 'eleganza' and 'best of theme' with no points system; less subjective than it sounds, and our discussion in the judge's chamber mid-afternoon was enlightening. In a first for me, it was suggested one bike was 'too shiny' to be a winner, and that a gorgeous Brough SS100 shouldn't win because it isn't American, in the 'Great Gatsby' class (I've been overruled at a show when the chief judge simply assumed a Brough should win for Brough-ness itself, and so it did).


The Concorso at Villa d'Este; no bad angles, no bad viewpoints...
[Paul d'Orleans]
Sorting through the 'Elegance of Sidecar' class was the most difficult, as they were all brilliant, and a passionate discussion arose regarding the 'fish', a Beardmore-Precision with sleeve-vale Barr+Stroud engine with a trout for a chair! It was my opinion the sidecar outshone the condition of the bike, which was very badly faux-patinated, but then again, the bike itself was the most technically interesting machine of our judged classes (the watercooled, supercharged, DOHC, four-cylinder Gilera record-breaker wasn't judged...and besides, one already made 'Best in Show').

Daniel Kessler with his 1933 Universal-JAP 680 with groovy sports sidecar. [Paul d'Orleans]
Our judge's panel had collectively around 250 years' intensive/professional experience with motorcycles - let that sink in for a moment - and the round-table talk while sorting out winners is the real reason I come here; it's the most stimulating discussion of the year, men (yes, gents only this time) with a lifetime of passionate motorcycle study, discussing bike history, culture, and preservation in a closed room with no interruptions. It's brief (2 hrs max), heady, and I wish it happened more often, because it charges my batteries to be in such a room. As our professional obligations divert attention through the year - deadlines and events and travel - big shows like Villa d'Este and the late-lamented Legends of the Motorcycle Concours are a magnet for real devotees of motorcycling, and such a private seminar is rare indeed. We don't need much time as the 'groundwork' is long ago done - just dig into the big questions at hand - and while we don't agree on everything, we all smiled simply to be present in such company.

Test riding 'the world's most hated motorcycle' and chatting with builder David Borras of El Solitario. [Paul d'Orleans]
Post-judging left time for a free Riva water taxi to Villa d'Este, a breathtaking ride, to check out the car show going full swing. The gravel terraces easily accommodate 52 cars, with a stunning view of the lake to rest the eyes between dazzling show vehicles. There's no crowding, as there's no public entry; it's entrants and professionals only on Saturday for the car show, but on Sunday all the cars are driven to and around the expansive parklands at Villa Erba for the public's pleasure. While we motorcyclists have a charming purpose-built pavilion in a park, the 'car people' parade slowly through the Villa's outdoor café, amidst hatted ladies and summer-suited gents, potted geraniums, roses, bougainvilleas, mahogany Rivas burbling over the lake; the environment is absurdly lovely, and why the Pebble Beach crowd (and I use the term advisedly) has set its sights on Italy as the better place to go. Because it is, if you're pockets-deep into the car thing.


The Riva water-taxi service between the two Villas... [Paul d'Orleans]
Sunday morning the top 3 bikes of each category were lined up on the red carpeted bandstand at Villa Erba, and we judges had a chance at the microphone to explain our thoughts to an audience. The 'silly' part is that, of course, all the bikes entered in the Concorso were worthy of red-carpet treatment, but we had a job to do, and the winners were spectacular. Our 'Best in Show' was a surprise this year, because it wasn't on the carpet as a category winner - the glorious red-tyred Opel/Neander outfit was ridden up the gravel path at the last minute, a dramatic flourish, which also (truth be told) gave us an extra slot in the winner's circle for the too-good sidecar class.

I think it's safe to say Villa d'Este has the best programs of any concours - hardback, with separate books for cars and bikes. [Paul d'Orleans]
The remainder of the day was spent milling around the cars which now occupied the grounds of Villa Erba, and, my job done, catching up with far-flung friends. Two 'side exhibits' at the Villa included a Maserati anniversary cluster, and a platform with customized BMW motorcycles (customs at Villa d'Este!), reflecting BMW's foray the past two years into collaborations with various small workshops. Last year the Roland Sands 'Concept 90' débuted here, and this year a dozen bikes were on show, including 'Sonic Seb's Lucky Cat Garage dustbin sprinter (seen in action at Wheels+Waves) and El Solitario's 'Impostor', which I dubbed 'the world's most hated motorcycle' for an upcoming article in Cycle World, and is more popularly known as the 'flying shopping cart'. BMW was brave to display it (in the far-back corner), although they haven't braved it in their press announcements. Then again, you never know what you'll get back when you hand a bike to Spanish anarcho-artisan David Borras.

A bit of downtime/boat time with BMW's Ola Stenegard, David Borras of El Solitario, and yours truly. [Paul d'Orleans]
That night the car concours announced its winners at a black-tie dinner, with a substantial fireworks display at the end, reflected in the lake's waters. Bikers aren't invited, so I had a no-tie dinner in Cernobbio with friends, and enjoyed the spectacle from nearby, while soaking in a last bit of Como's magic.

Peter Abelman aboard his '59 Yamaha YDS1, yes, at Villa d'Este, smoking where the patrons can't....[Paul d'Orleans]
The 'Great Gatsby' lineup, all American twins and fours, plus the odd Brough...[Paul d'Orleans]
Best at the Lake, or just best of the best, the original-paint 1929 BMW WR750 in all its sensual glory. [Paul d'Orleans]
Terribly crowded around the Maserati brigade...well, not. This is as crammed as it gets at Villa d'Este, except for the bars, which take a fight to get at; a thirsty crowd...[Paul d'Orleans]
Most amusing car was this fabulously lowbrow green '72 Fiat Aster 132 Zagato coupe, complete with a box of 8-track tapes on the passenger floor. [Paul d'Orleans]
The Flash Gordon bodywork of the 1937 Gilera supercharged record-breaker, which did 170.27mph that year on the Brescia-Bergamo autostrada. [Paul d'Orleans]
 

 


Starting Small: a Home-Made Electric Moped

I bumped into Nathan Jauvits on a San Francisco sidewalk, and was intrigued by his moped, the first home-made electric two-wheeler I've run across.  The chassis is based on a '78 Puch Magnum, but an off-the-shelf electric motor and a power pack built by Nathan transforms the machine into something far from the buzzy, smoky original - an example of which I 'accidentally' purchased at the Bonhams Las Vegas auction - that will teach me to gesticulate in the front row!

Dr Nathan Jauvits with his as-yet-unnamed electric Moped. [Paul d'Orleans]
Dr. Jauvits, an engineer for product designers New Deal Design (who packaged the Lytro variable-field camera), also added a regenerative braking system to the moped, which has a range of 20 miles using a high-output motor which no young man could resist ('It beats all the cars at traffic lights')...I reckon with a less powerful motor and a lighter throttle hand, more miles could be squeezed out of that battery pack.  The moped, which he's yet to name, can be plugged in anywhere for a recharge, and he hopes to market a version when the bugs are worked out.

I'd consider this conversion for my Puch Magnum... [Paul d'Orleans]
When I queried him about the safety issues with a completely silent 35+mph moped, he pointed at the speakers atop the battery pack, 'I let my iTunes announce me'...which is probably beats the open expansion chambers used by Moped Army regulars. The electric moped apparently requires no driver's license or road registration, falling into the same legal category as the ubiquitous NYC delivery-guy electric bicycles.

Spotted on Valencia St in San Francisco - can't beat the backdrop! [Paul d'Orleans]
[Editor's postscript Oct 2021:  Who knew in 2013 that electric mopeds and scooters would overtake our major cities, and sell in their millions in China due to changes in regulation?  Eight years later, small electric scooters are everywhere on the streets of every major city, providing easy, inexpensive, and fun mobility options.  And Dr. Jauvits?  His concept became Monday Motorbikes, which he nurtured for several years before moving on to other electrification projects.

And a reminder, the Vintagent's first feature story on electric motorcycles was a premier of the world's first electric superbike, the Mission One designed by Yves Behar, way back in January 2009!]

 

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and


A Truly Global Custom Scene

Valen and his Motorcycle

The back story: I was asked by Remo Chen, a student at San Francisco's Academy of Art, to sit for a video interview for her broadcast journalism class, as she needed a subject who's 'living an interesting lifestyle'.  I've had plenty of goodwill, good advice, and outright financial support while making The Vintagent the free and groovy motorcycle hang it has become, so I'm always happy to pay back the goodwill in any way I can.  While Remo's interview was fun, the tables were turned when she explained how she'd found me - her boyfriend in Chengdu, China, is an avid motorcyclist, and had recently completed his first custom motorcycle build.  Much like back in 2010 when I discovered the 'Chai Racers' in Mumbai, this was the first I'd heard of a Custom scene in China (as my head is mostly in the Vintage world), and when Remo showed me photos of the bike, I suggested we introduce Valen's work via The Vintagent.  The following is Remo's account of photographer Valen Zhou's first Custom.  The good news?  He's already working on another...

[Valen Zhou]
"This is my boyfriend’s first handmade motorcycle. This HONDA CB125 is from the first generation built in cooperation with a Chinese motorcycle company. He spent about 3 months rebuilding this awesome thing, and he thinks this is still not good enough.

[Valen Zhou]
When he was young, about 3 or 4 years old, his father gave him a toy motorcycle. He didn’t know what it was, just that it had two wheels and could move, so he liked it. The first time he saw a real motorcycle was in his grandpa’s neighborhood garden. It was a foundry product, Chang Jiang 750, made from the BMW design. He was so curious. Did the engine still work? What did that sound like? Who bought this? And what was the story about the man who had it? With the increase of age, he became so obsessed with motorcycles that he bought a Chinese Honda on his 16th birthday. He still can remember the feeling of freedom when he got on that bike for first time.

The Bells! [Valen Zhou]
He likes old things, because they always have a lot of stories to tell. When you come to understand old things, you know the quality of living and thought in that period. He can buy a motor anywhere he wants. Each motorcycles has its own story about the man who used to own it and ride it. It’s like a connection between the old owner and the new owner. Maybe the owners change but the stories are still there. If you want to get close to them, you can find so many surprises in them.

 

[Valen Zhou]
He has an anxiety disorder, and building the motorcycle helped make him feel calm. The motorcycle helps him deal with anxiety, and he can fall asleep at night, also doesn’t feel nervous anymore. He said one day he would build a motorcycle for himself and give it his own story. When he gets old, he can tell his son or daughter the whole story about his first handmade bike. And he has done now. I feel the motorcycle is like his soul mate. He can ride it to anywhere he wants to go. He can share anything with them. So the motorcycle feels like another him to me. From the first time we saw her, the motorcycle has been part of the story of our life. He took her apart, and then put her together, gave her a brand new life.

[Valen Zhou]
At the beginning of my boyfriend’s story, there was a little boy who just wanted a bike to ride, but now the boy has grown up and found his own life style with his motorcycle. The story never ends, we never know what will happen next, and that why he keeps chasing his dream of motorcycles."

[Valen Zhou]
Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

'The Loveless': Way Beyond Torn Up

The Loveless remains much as its title suggests – unloved and unknown outside a core few who consider it an amazing motorcycle film.  The first-time feature for Kathryn Bigelow, who went on to earn two directing Oscars for her meditations on US/Middle East relations (The Hurt Locker and Zero DarkThirty), The Loveless bombed at theaters when released in 1981, but showcased Bigelow’s genius twenty years before the Academy realized who they were dealing with.

Willem Dafoe in his first feature film role, as Vance, the ultracool leader of a motorcycle group traveling from Detroit to Daytona in 1959. [The Loveless]
Ms Bigelow, who co-directed with Monty Montgomery, had clearly studied Kenneth Anger shorts during her film school days, as The Loveless is a visual homage to Anger’s uncanny eye; he understood better than anyone at time - and schooled generations of filmmakers and ad men – that the cine-camera has the power to transform any object into an Icon.  While Scorpio Rising brewed up a mind-altered gay/Satanic/biker bacchanal (fueled by the first explicit use of powdered amphetamine in a biker film), Anger’s raw honesty (these were his gay biker buddies in real life) is locked and loaded in Bigelow’s hands for a shotgun blast at Happy Days (the #1 TV show at that time) and Reagan-era lobotonostalgia.

Willem Dafoe on a c.1955 Harley Panhead 'Hydra Glide'. [The Loveless]
The storyline is a Southern highway collision of Easy Rider with the Wild One, upping the ante on both films with talk of jailhouse ‘joybangs’, and Faulknerian family drama.  The film opens with WillemDafoe as Vance, in his first big screen role (after being fired from Heaven’s Gate!), an intimidating, greasy, and ultrasexy biker sleeping like Satan in the wilderness, right beside his Panhead.

Pals from prison: Lawrence Matarese as LeVille, Danny Rosen as Ricky, and composer Philip Kimbrough as Hurley. [Jeannette Montgomery Barron]
I wasn’t going to be no man’s friend today’, the movie begins, and he shortly proves his point when encountering the mythic Thunderbird from American Graffiti  - with, appropriately, a flat tire – complete with a round-heeled beauty waiting for a Real Man to rescue her.  Vance is a real man all right, and sees through George Lucas’ cliché-laden script, taking his payment from the Thunderbird goddess in a way we don't see coming.

The late NYC novelist Tina L'Hotsky as Sportster Debbie: 'Do I look affected?' [Jeannette Montgomery Barron]
Vance’s gang soon appears, complaining that a primary chain has snapped; they need to make repairs, so are stuck in a no-name truck-stop town in Florida, en route to Daytona for the bike races. We learn the gang is recently sprung from prison, and tension quickly builds with the locals, echoed by Robert Gordon’s smokin’ Rockabilly soundtrack, as he plays himself, sort of, as Davis, well amped on ‘vitamins’ poured – in a quote from Scorpio Rising – from a salt shaker.  The dialogue is as curt and as stylized as the art direction, loaded with Americana and period quotations; yes, you’re in 1962 America … where lynch-mobs cool off with a Coke and a smile.

Prison habits die hard; Willem Dafoe (Vance) and the underage Marin Kanter (Telena) get to know each other in the Notell Motel. [The Loveless]
Vance is soon distracted by a sexy little vixen in a red Corvette, the seriously underage Telena (Marin Kanter, next seen in The Fabulous Stains), who reveals the car as a guilt-gift from her father (J.Don Fergurson as the deliriously despicable Tarver). When Vance meets Telena, the film explodes with shotgun blasts, incest, boys with pink underpants, murder, drag races, strippers, and suicide.

A Coke, but no smile? Iconic American symbols saturate the film, and rockabilly legend Robert Gordon provides much of the soundtrack. [Jeannette Montgomery Barron]
Somehow, Bigelow and Montgomery managed to keep these B-movie Bikesploitation plot points firmly steered towards the Art House, while the whole wicked machine flew right over the heads of critics and unsuspecting viewers alike. It still does. The Loveless is triple-clever, deserving multiple viewings to savor the spare dialogue, gorgeous visuals, amazingly hot Willem Dafoe, and superb soundtrack. Watching it, you’ll feel just like Sportster Debbie after a drunk trucker goes down on her – unwashed and nasty, but knowing it was good.

Veteran character actor J.Don Ferguson as Tarver: 'We all got to get some on us, sometime'. [The Loveless]
Robert Gordon goes ape shit in a critical scene, but not is all as it appears to be in this small Southern town... [The Loveless]
 


Occupy Pebble Beach!

[This article was commissioned by  The Automobile in 2013 - the best old-car magazine in the world.  The text reflects my distaste for the event, and editor Jonathan Rishton chose to print it as written, saying, "Thanks for the report. It is superb - one of the best, most insightful and honest things we'll have ever published. Thanks so much." Nothing has changed at Pebble since then, except the raising of ticket prices, and the elimination of motorcycles. Enjoy the read - it's a scandal!]

Exotic car design emphasized swelling curves from the 1920s onwards​, but erotism became an explicit goal only in the 1950s. [Paul d'Orleans]
Welcome to Pebble Beach, a grand celebration of the important things in life; status, wealth, tiered access, covetousness, and the need for a good hat. The Devil is at play on that green seaside lawn, tempting car enthusiasts worldwide towards the very worst reasons to enjoy old automobiles, and having quite a successful run at it. Just as Capital currently reigns unchallenged over our globe, so Pebble is the acknowledged King of Concours d’Elegance. Pebble Beach Sunday has become, in a world of exciting youth culture battling threats of economic, environmental, and military calamity, a strange 1% Otherworld, a money-cushioned respite from reality, for a mere $225 admission ($275 at the gate).

The Paul Poiret-designed interior fabric for Voisin cars - not to be viewed on psychedelic drugs! [Paul d'Orleans]
D’Elegance it is not, unless your definition includes constant elbow-bashing and the impossibility of getting a clear photograph of a car you like…at least Pebble’s photo-bombers are well dressed, and if you’re crafty, will include a revealingly dressed trophy wife. Huzzah. I find it hard to find joy in this event; the cars are magnificent, the best examples of over-the-top design in the world without question, but surely I am not a voice in the wilderness in finding it crass, materialistic, horribly boring and an overcrowded clusterfuck.

'If you come any closer, I'll whack you with my vintage stacked-agate walking stick.'​ [Paul d'Orleans]
Let me rephrase that: Pebble Beach is no joy to attend as a citizen, although one is pampered as an entrant. The price of admission to that club varies by your ambition and your pocketbook; a savvy choice of an obscure but important vehicle might not be expensive at all – you may already own one – but positioning yourself for an ‘invitation’ is another matter, and will require connections to the right people. Or at least, in the four-wheel categories… a back door has opened in the last 5 years for collectors of important motorcycles, which are only as expensive as good cars were 25 years ago; ie, generally under $100k.

"In the Springtime, a young man's fancy turns lightly to thoughts of abolishing the tax on Capital Gains" [Paul d'Orleans]
That will change of course, but for now, if you’re really hankering to stand beside a vehicle all day, waiting for judges to pore over your machine, then waiting some more to find if you’ve placed, then a motorcycle is the way to go. This year would have been the perfect opportunity, actually, as the motorcycle theme was ‘French’.  If you’re not from that country, I challenge you to name more than four French motorcycle manufacturers. Don’t feel bad, neither could the Pebble organizers, who failed to round up prime examples of French engineering prowess - the exotic overhead-cams, the racers, the multi-valves, the incredible range of ‘firsts’ from the early years, when France dominated vehicular achievement on land and in the air. No significant history was in evidence.

Too much love; over-rubbed in sensitive places? [Paul d'Orleans]
The earliest two-wheeler on the lawn was the only good reason to visit Class X; the 1929 Majestic was a unique example (and likely a fake), having an American four-cylinder Cleveland engine completely enclosed in Deco-sausage bodywork, with car-like hub center steering; a two-wheeled Facel Vega.  The Majestic was produced 63 years into the lineage of French motorcycling (a genre they invented, after all, in 1867), which leaves a whole lot of unexplained history in a tiny field of only 9 motorcycles. It was simply embarrassing.  I say let’s just forget this pathetic attempt at ‘inclusion’; motorcycles ARE the new black, but nobody’s wearing black at Pebble. Or perhaps, let’s ask Karl Lagerfeld to curate the next motorcycle exhibit, and cut the pretense to relevance, or History, or whatever.

Birds shedding feathers. [Paul d'Orleans]
The automotive display included a stretch of competition-minded Porsche 911s to celebrate that squidgy little darling’s 50th birthday, and I must say we’ve grown old well together. It’s lovely seeing full-scale the Corgi Porsches I vroomed as a lad, although if one took a 20 minute drive from the golf club lawn, one could see, hear, and smell some of the very same cars being hammered around Laguna Seca raceway in the Monterey Historics, where megamillion Ferraris are spun into barriers and semi-genteel Aston Martins bash each other’s noses.  The damage inflicted on these glorious beasts is costly, like every one of the 40,000 spectators lighting a joint with a $10 bill. Still, I’d rather watch the beasts howling and writhing and stressing themselves, than parked on a lawn.

Our man Alain deCadanet 'splaining an Alfa 8C, an example of which he's owned for donkey's ears. [Paul d'Orleans]
An excellent Pebble development is the ever-expanding ‘preservation’ classes (L-1 and L-2, pre- and postwar), which means somebody at Pebble has heard the clarion call of the Oily Rag. Hallelujah. My favorite rust-bucket was an original-paint Voisin, complete with dents, which was dutifully polished all day long, one assumes to help remove more areas of paint for the ‘perfect patina’. The interior, I was assured, was in the original leather, and not the eye-watering Paul Poiret Art Deco mescaline nightmare found in every single restored Voisin; they’ve really come out of the woodwork since winning ‘everything’ in the past 2 years.

Further over-loved; a Voisin in original paint, but perhaps not original interior?  Although it was old... [Paul d'Orleans]
I was slightly vexed by an Aston Martin DB5 in supposedly original paint, its anthracite grey exterior looking fairly immaculate barring rubbed-thru patches where clearly ‘over-loved’ by the polishing rag…or was this new paint, artfully distressed? The thought disturbed me, the more so when I overheard a Preservation class entrant describing the purchase of a junked car’s faded leather interior, which he placed in his own car, as it looked better. Creatively ‘original’, but certainly not ‘preserved’, unless we count an aggregation of vintage parts as ‘original’ in toto…at which point, there’ll be no need to lock up the guns, my mind will have already been blown.

Pebble is an opportunity for period-correct dress, and matching your vehicle, in the true historic spirit of the Concours d'Elegance of the 1920s. [Paul d'Orleans]
It’s a not-joke that only black cars win Best in Show at Pebble Beach [2015 too! - pd'o], and this year was no exception; the 1934 Packard 1108 Twelve Dietrich Convertible Victoria was the first American car to win the grand prize since 2007.  It was big and grand and utterly unique, partly because America was starving at the time, out of work with a 40% unemployment rate.  Brother, can you spare a coachbuilt Packard?

Top of the Money Tree, even in an odd shade of green; a Ferrari 250GTO in a Billion dollar lineup. [Paul d'Orleans]
Today, if the owner falls on hard times, he can always follow the path of last year’s winner, who sold his 2012 Best in Show ’28 Mercedes-Benz 680S Torpedo Roadster for a cool $8.25M on the weekend. That was nothing, of course, compared to the 1967 Ferrari 275 GTB/4S NART Spider, which sold for a chart-busting $27.5M…shades of pre-Crash giddiness. “It’s almost 2014: do you know where your investments are?”

The ex-John Surtees Ferrari normally found in the Barber Museum. [Paul d'Orleans]
 The Centenary of Aston Martin did not pass unnoticed, and a lovely stretch of racers and roadsters were nearly camouflaged by the British racing green lawn, although the insect-yellow flash of a ’57 DBR2 kept bumblers alert.  Its livery was matched by a new Aston CC100 Speedster prototype, shown in the ‘Concept Car Corral’ on the Lodge lawn, and looking a lot like BMW’s ‘328 nouveaux’ concept débuted in 2011, but sexier.  Bugatti brought a special-edition Veyron for display at an invite-only party, and a pair of gilded guests had a bidding brawl on the spot, resulting in the $2.7M car which wasn’t for sale leaving the premises for nearly $3.5M. Wallets thrown at 10 paces; may the best oligarch win. The piss-taking side events like the Monterey Concours d’LeMons are looking like a better bet every year…

 

 

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

Alberto Garcia-Alix: Wheels&Waves 2013

Renowned Madrid photographer Alberto García-Alix was a featured artist at the 2013 Wheels & Waves 'Artride' gallery exhibit in Biarritz. Of course he also brought his cameras to souther France, and shot the scene and the people in his inimitable style.  He has generously offered to share his portfolio of images with TheVintagent, which is presented here with minimal comment.

Wheels & Waves founder Vincent Prat's Bonneville Triton. [Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
Jerome Coste of Ruby helmets. [Alberto Garcia-Alix]
Julién Promheva, store manager of Ruby Helmets on rue Hérold in Paris. [Alberto Garcia-Alix]
El Solitario's 'Baula'. [Alberto Garcia-Alix]

[Alberto Garcia-Alix]

 

Vincent Prat, founder of Wheels & Waves. [Alberto Garcia-Alix]
Thor Drake of See See Coffee and The One Show. [Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
Brian Bent. [Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
David Borras of El Solitario MC [Alberto Garcia-Alix]
[Alberto Garcia-Alix]
Artwork by Maxwell Paternoster. [Alberto Garcia-Alix]
Photographer and Vintagent Contributor Kristina Fender. [Alberto Garcia-Alix]
Musician and artist Esther Bent. [Alberto Garcia-Alix]
Valeria Borras' customized El Solitario BMW, with artwork by Maxwell Paternoster. [Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
[Alberto Garcia-Alix]
DJ and firefighter. [Alberto Garcia-Alix]
[Alberto Garcia-Alix]
Illegal street drags. [Alberto Garcia-Alix]


Nuovo Nuovo Falcone Cafe

Just when you thought all Custom shows were tail-chasing exercises in better-bobberism, Don Cronin delivers a Moto Guzzi Nuovo Falcone updated for the 21st Century. Don's custom shop in Ireland - Medaza - focusses on Italian powerplants for his creations; Ducati, Moto Morini, Moto Guzzi.

Straight from the AMD press office, their pic of Don Cronin's 'Rondine', winner of the 2013 AMD World Championship of Custom Motorcycles, based on a Moto Guzzi Nuovo Falcone. [AMD]
While plenty of customizers have messed around with the Moto Guzzi v-twin engine, few have worked around the far more venerable flat-single design with which Guzzi established its name back in 1921, and was the mainstay of their business until the introduction of their transverse 750cc v-twin in 1967, the 'V7' - a hilarious designation from the company which famously built a racing V-8!

Love that the 'bologna slicer' flywheel echoes the Harley-Davidson wheels. [Medaza Cycles]
Cronin's 'Rondine' ('Swallow' in Italian) just won the top prize at the AMD World Championship of Custom Bike Building in Essen, Germany, which is as good as it gets in the world of modified bikes. A close inspection of the machine reveals H-D V-Rod wheels and swingarm (modified), rim disc brakes, and a very café-inspired look; a Nuovo Falcone hotted up for the present, using the old workhorse engine originally pressed into service as a police and military mule, and never a sports machine. A few people have upgraded their Falcones to café style, but never quite like this! Congratulations to Don Cronin and Michael O'Shea for their build, and their win.

A gorgeous machine from any angle, the Medaza Rondine. [Medaza]
Don Cronin aboard his Morini V-twin based custom, the Medaza.  Wonder if he's seen Paladin's sketches from the 1980s[Stefan Syrowatka]
 


A Visit to Verralls

I don't often get the chance to stop in Verralls in Handcross, just south of London, but it's a venerable place with a great selection of older motorcycles, and a great pleasure to visit. Ian Hatton, who took over the business when Brian Verrall died a few years ago, has been a pal since 1987, when he was a lowly mechanic on Brian's machines (and about 19 years old, while I was a lofty 25). Ian liked my painted-up Velocette jacket, and I purchased an MZ 250 from his father, which I then rode to the Soviet border and back in a great loop around Western and Eastern Europe, a trip of many thousands of miles - all on back roads, with zero mechanical trouble. That's another story, but we've since remained friends, and I've long been a fan of the business. Ian has continued Brian's policy of looking after machines they've sold - if there's a problem, they'll deal with it, usually for free (unless you run the bike without oil).  Enjoy this brief tour!

It's always tea time at Verrall's. Gordon Button holds the tea while Ian Hatton chats up a customer. [Paul d'Orléans]
Stop in sometime, and have a chat with Gordon Button about his Morgan while he serves tea. [Paul d'Orléans]
1939 Coventry Eagle 148cc with pressed-steel frame. [Paul d'Orléans]
Greeves trials machine with aluminum I-Beam front downtube, leading link forks, and Villiers engine. A very early Sunbeam with leading-link front fork sits behind. [Paul d'Orléans]
A BMW R60/2 and Steib S500 sidecar, in original paint. [Paul d'Orléans]
Make mine green! A 1920s BSA sidecar attached to a big BSA v-twin. [Paul d'Orléans]
BSA Bantam motor peeks between General Post Office legshields. [Paul d'Orléans]
An esoteric but coveted machine; 1926 Rex-Acme with Blackburne external flywheel 350cc OHV motor. A perfect example of the appeal of a sporting flat tank motorcycle. [Paul d'Orléans]
The Rex-Acme was a fantastic little hot rod in the day, with a tireless Blackburne super sports engine and exceptional handling. Note the 'legs of Man' in the logo. [Paul d'Orléans]
A late 1920s Brough Superior SS80 JAP sidevalve powerplant - finned magnificence. [Paul d'Orléans]
This crusty Barbour waxed cotton Trailmaster jacket literally stands up on its own. Note the straight frame rails of a racing Cotton-Blackburne behind me. [Paul d'Orléans]
Sunbeam Model 6 with 500cc sidevalve engine; a lovely machine to ride. [Paul d'Orléans]
The other side of the Sunbeam Model 6: note the sightglass for the oil feed supply to the big end of the engine. Note the Sunbeam's lovely enclosed 'Little Oil Bath' primary chaincase, which holds its grease well. [Paul d'Orléans]
An 'oily rag' original finish 1914 Douglas in rare grey paint. [Paul d'Orléans]
 

 

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

Prouvé, Ennui, and the Problem of Cash

I have a friend in Paris – Yves - with a lovely Jean Prouvé dining table he found cheap at the flea market (les Puces!) years ago, when Prouvé was iconic to connoisseurs, but not especially valuable. That changed; Prouvé is dead, his work is brilliant, and greed-panic is symptomatic of our 21st Century consciousness, so Yves’ dining table is worth well north of a Million, in whatever currency you care to calculate.  Yet he still uses that table, every day.

Not Yves' house, but an example of a Jean Prouvé table being used as the maker intended... [Vintagent Archive]
Susan has an unusual old chest (slap your wayward mind!), painted with a strange mashup of 18th Century American folk art collided with 60s Pop Art patterns. The piece is insanely cool, and when it was appraised for insurance recently, it too rung the carnival bell above 7 figures. Susan is no fool, and knew the thing was rare, but she likes it where it sits, holding the guest linens, and has sensibly decided to carry on using a family heirloom, which she’ll pass on to her children. Her attitude is completely at odds with the ‘Roadshow/Pickers’ mindset, the modern game shows where 'Box #3' is your own damn garage. Susan is a responsible steward of the antique in question, just as were the past 15 generations of its owners.

A Hadley chest, named for the small town in Massachusetts where they were built, in shockingly modernist motifs. [Christies]
‘Stewardship’ is a word tossed around Christian think-tanks and techno-hippie chat rooms, but rarely mentioned over the oil-stained concrete on which our old motorbikes typically rest. But the term is cropping up at bike shows, in specialist media (Classic Bike Guide, Oily Rag, The Vintagent), and even at auctions, as motorcycle collecting - for many decades the purview of eccentric obsessives – slouches inexorably toward the Mainstream. A very uncomfortable shift for some, especially the Volunteers, who created a network of old bike enthusiasts, and obsessively searched the countryside for motorbikes, hoarding parts and machines beyond the point of rationality, at a time when bikes were worth sod-all.

The 1935 Koehler-Escoffier 'Monneret' pictured at the Vintage Revival Montlhéry event in Apr.2013; a unique machine with incredible history, owned by the Musée Mallartre in Lyon, France, the machine is kept in running condition and taken regularly to events. Stewardship at its best. [Paul d'Orleans]
They may have had larcenous hearts, greedily selling an SS100 for £15 back in 1949, but we laugh at their naivéte, just as our kids will laugh at us in 20 years when that same Brough tops £1M. Let us praise the Volunteers, whether their pants are secured by rope or alligator belts – I’ve met them all, and they share a common heart of gold, at least for motorcycles; they may well dislike You, as competition! While an imperfect lot, they’ve done their best to keep motorcycles out of the scrap-merchant’s destroying clutches, when they were basically worthless.

A 1929 Brough Superior SS100 at an English rally in the late 1970s, when such a machine could be purchased for £1500. People complained of the high and rising prices for old bikes even then! [Brough Superior Club]
Rising values, a dearth of really good unrestored machines, and a growing consciousness of the beauty of an ‘Oily Rag’ original finish, have all fertilized the understanding of Stewardship in the bike world. For whatever reason, the Magpies – hoarders of shiny things – still dominate the Automotive collecting world, which has everything to do with the Car’s social function as self-perceived penis enlarger. Strange, given that a passing Ferrari is more likely to elicit sins of covetousness and avarice, but not envy of the owner, in whom we see said member, actual size.


Looking at 1960s private adverts can be a painful experience! [Paul d'Orleans]
Motorbikes can make us feel superhuman (a necessary illusion perhaps, given their danger), and we feel pride while riding, yet we’re also aware the general population greets us with open indifference, or at worst, complete invisibility. With motorcycles Out as a symbol of social status, what’s left is a cadre of enthusiasts willing – to put it bluntly – to risk life and limb for the sheer pleasure of two-wheeling. That’s a different sort of passion than the standard Collector’s obsessions; those motivations are present too, but it’s a richer mix with bikers, who were generally seen as cranks until the 'Art of the Motorcycle' exhibit at the Guggenheim Museum. That’s probably why we’re far ahead of our four-wheeled brethren in the Stewardship stakes.

A dirty old motorcycle is rarely the answer to a midlife crisis...[Top Gear]
The trend at auction houses is clear; we are increasingly demanding machines bearing their original manufacturer’s paint job. A case in point; two identical ca.1910 Pierce single-cylinder motorcycles went for auction in Las Vegas last January, one dans son jus, the other restored, which failed to meet its $42,000 reserve. The heavily patinated Pierce, by contrast, fetched over $110,000. What Susan and Yves and the new 1910 Pierce owner understand is that the real treasure is not from the restorer’s hands, but from the maker’s workshop, unmolested. In this, they are in accord with art and furniture collectors, who are a century or two ahead of us in this game.

A tale of two Pierces; unrestored at left (sold for over $110k), restored at right (did not meet $42k reserve). [Paul d'Orleans]
The reluctance of some motorcyclists to actually Use their treasures, as our examples above continue to do, is, one hopes, merely a symptom of a sudden rise in prices. We haven’t gained proper ennui at all this money talk, which is horrifically boring. After all, we’re in this game to Ride; if we wanted to throw money around, we’d have become bankers or rappers. But you can’t ride a pile of cash down the road, and a MacEvoy Anzani 8-valve shares the greatest thing with a Honda CB72 – they’re both really fun.

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

Biker Chic

It just keeps coming back, like Herpes, and now Biker Chic is stronger than ever! Every major fashion house has re-discovered the magnetic sexual pull of the black-clad motorcyclist, and cargo ships from China and Pakistan are foundering under the weight of thousands of cheap leather jackets headed to our shores.

Studs and studs, because bigger is better, in all things... [People]
It doesn't matter that the leather is under 1mm thick, as these jackets will never be used 'in anger', not even on a moped, because let's face it, ACTUAL motorcycling is dead as a doornail. Kids today could give a hoot about escaping their schools, parents, or towns using two wheels; they're not interested in Anything but playing with their little screens.

LiLo in black leather..ish. She's got a biker attitude, and looks like she's been chasing white lines...[God knows]
A few oddball youngsters will pick up motorcycling like a foreign language, because they're strange, or their parents ride, but in general, motorcycling has lost its mojo. The skills, fresh air, danger, and freedom granted by riding matters nought, and new bike sales graphs skid downhill like ski slopes.

Biker boots, or not. [??]
But the 'Look' of motorcycling is HOT! Who needs to ride when HandM and Zara are selling such cool 'bikerish' leather? When every model is stretched across an old bike, but are never photographed handling a 500lb motorcycle...or are fakey-photographed on a 'moving' bike, while perched on a trailer!

Proper motorcycle lads, of a sort. [Antique Photo World]
[While this article hews close to the truth, it's really about April Fool's, folks!]


Denis Sire; 'Baron d'Holbach'

Galerie Jean-Marc Thévenet in Paris exhibited (thru Dec.5, 2012) the work of legendary motoring artist Denis Sire, champion of inserting fantastical pinup girls into historical situations.  Sire was born in 1953 at Saint Nazaire on the Atlantic coast of France, and studied art in Paris at ‘L’Ecole des Arts Appliqués.  His work is most familiar to 1980s readers of Playboy and Heavy Metal magazinesand I've had a copy of his Velocette Thruxton sketch on the wall of my office for decades, admiring his outrageous mix of scantily clad femininity with hot rods, record breakers, fighter planes, and motorcycles.  Meeting Sire in person last February at Rétromobile in Paris, I discovered he also possesses a unique sense of style, befitting his outré artistic ouevre.

'Gene Hartley Rides the Red Horse' [Denis Sire]
Roughly translated from the Thévenet Gallery website'Denis Sire has since 1980 drawn an idealized geography, whose contours include the Isle of Man, Brooklands, Indianapolis, Goodwood, Berlin, LeMans ...  The exhibition presents works by Denis Sire covering the period to 1910s to the 1950s, each drawing creating legends where the artist, genius that he is, plays with context, where each element belongs, as long as Sire is wielding the pencil.  A number of drawings are available on vintage paper with texts that are reinterpretations of those moments where art and machines meet historical truth.'

'Petrali Soul', Joe Petrali's Harley Davidson Knucklehead record-breaker...[Denis Sire]
'Jimmy Guthrie', the legendary Norton factory racer circa 1935 [Denis Sire]

Dennis sire with a flat-track Harley CR250... which was of course built by Aermacchi. That's an Aermacchi jet, on the shores of Lake Varese (photo from internet)
All artwork images courtesy and copyright Galerie Jean Marc Thévenet
Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

3 Days in Paris: Retromobile 2012

Retromobile's star has faded in the past two years for motorcyclists and vintage car enthusiasts, as the show's management has effectively nixed two-wheel participation in favor of more space for new car manufacturers.  The increases in per-square-metre cost (previously, a lower rate applied to bike booths) have begun to squeeze out the smaller autojumble traders who previously made up a healthy proportion of the floor space at the Parc des Expositions, while the show was shortened to 5 days from the previous luxury of 10.

Stacks of gorgeousness; Bugatti Atlantique beside Hispano-Suiza mahogany boat-tail speedster at the Mullin Automotive Museum stand...[Paul d'Orléans]
The show still boasts some amazing four-wheeled machinery, although there is now only a single motorcycle-related stand (Motos Antiquas H-D), plus a few scattered bikes at stalwart BMW (who can always be relied upon to share a few factory treasures), and Skoda, who showed a 1919 Slavia made same factory back in the day.  A few clubs and businesses also included a bike or two, and Artcurial Auctions had a much-improved selection of two-wheelers on offer...so all was not lost, although the Bernard Salvat-curated bike displays of past years are very much missed.

Georg Meier's famous '49', the 1939 Isle of Man TT-Winning BMW Type 255 Kompressor, at the BMW stand. [Paul d'Orleans]
As always, the biggest benefit for visitors is meeting like-minded people from other countries, and it was great to see Alain de CadanetMalcolm Clube, Julian Balme (who laid out the Fisken stand, and covered Salon Privé for The Vintagent in Sep 2011), Conrad Leach, the editors of The AutomobilePrewarCar.com, The Dandy, Café Racers (Fr), Octane, Retro Passion, etc, etc...

A 'Teen's watercolor of a car/motorcycle race, at the Artcurial auction. [Paul d'Orleans]
For a vintage motorcyclist, you'd need a healthy dose of car-appreciation to justify a trip to Paris for Retromobile, but the Bonhams sale and other moto-spots (see my accompanying posts) in the City of Light make a long weekend worthwhile.  And, always and always, the city itself is the premier attraction, whatever the season...one can never get enough of Paris.

French graphic art legend Denis Sire, true to his Celtic heritage in kilt and tam o' shanter...with Ray Bans and a Norton shirt! If you don't know Denis' work, click here. His drawing of a wildly endowed maid on a Velocette Thruxton has graced my office for over 20 years... [Paul d'Orleans]
Super-rare Wanderer eight-valve V-twin racer on the Motos Antiquas HD stand. [Paul d'Orleans]
The Wanderer 8-Valve in its entirety: a superb engine design, reminiscent of a JAP KTOR, but more valves! [Paul d'Orleans]
On the Fiskens stand; a mighty Bentley open tourer, backed by Nick Clements' (Men's File magazine) most recent photographs. [Paul d'Orleans]
BMW brought 3 interesting machines; the ex-Meier RS255, an R100RS which took speed records at Bonneville, and a 1983 Paris-Dakar-winning GS enduro. [Paul d'Orleans]
To the faithful, #49 is a magical talisman...Georg Meier's Isle of Man TT winner from 1938. [Paul d'Orleans]
The Avignon Motor Festival booth, with a fantastic MGC N3A roadster. The Avignon event was a huge success last year, with an exceptional display of Moto Guzzi racers and Matra cars... What will it be this year? Stay tuned! [Paul d'Orleans]
An original wooden concept study model for the immortal Citroen DS21. [Paul d'Orleans]
At the Hall and Hall stand; More and More expensive kit! This prewar V-16 Auto Union racer was the stuff of dreams. And probably a replica... [Paul d'Orleans]
The remarkable Gérin alloy structured car on The Automobile stand. Many patents granted on the amazing Gérin. The brake drums are the wheel rims... enormous. Leading-link hydraulic suspension, and a one-off engine inside. A very expensive demonstration of its 25-yr old designer's skill. [Paul d'Orleans]
Explaining the fantastic 1923 Gérin aircraft-technology car on The Automobile / PreWarCar.com stand... [Paul d'Orleans]
Crazy structure of the 1923 Gérin prototype 'car' at The Automobile stand. Built more like an aircraft with in-the-round aluminum spars (even underneath!) and steam-bent oak in their channels, on which the fabric body was tacked. So many patents in one vehicle...there was a crowd all day. [Paul d'Orleans]
The tail of a 1924 Delage V-12 racer, with an aluminum engine-turned body, shot over with clear blue lacquer. Absolutely gorgeous. [Paul d'Orleans]
At the Artcurial auction lineup, an interesting BSA B34 scrambler. [Paul d'Orleans]
V-8 power in a monoposto F1 car of the 60s. [Paul d'Orleans]
A restored 1902 Clément on the Federation of Historic Vehicles (FFVE) stand... I happen to own an unrestored version of the same. [Paul d'Orleans]
"Alas poor Yoricke; I knew him...a man of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now?" Artist Conrad Leach considers a memento mori, formerly found on the hood of a car... [Paul d'Orleans]
A Jaguar D-type short-nose...all tigerish in reflection. [Paul d'Orleans]
NCR-modified Ducati 900 'bevel' engine, track-ready, with a Maserati 3500GT, at Artcurial. In 1989 I very nearly traded a Brough Superior 11-50 for a champagne green Maser like this...they still fetch equivalent value today...albeit much elevated from that benign moment. [Paul d'Orleans]
A replica of the world's first electric car, from 1881, 6 years before the Daimler; the Ayrton and Perry, the first vehicle with electric lighting... [Paul d'Orleans]
Ice-racing tire studs on a Renault A110 Alpine. [Paul d'Orleans]
No smoking Gitanes around the children...plenty of families visit Rétro. [Paul d'Orleans]
Lovely 1907 FN four-cylinder on the Motos Antiguas HD stand. The first four-cylinder machine to enter the Isle of Man TT, in the very first year of its running. [Paul d'Orleans]
Fabulous, enormous 1904 Griffon poster, by pioneer motoring poster artist Hugo d'Alesi, in the automobilia section. [Paul d'Orleans]
Artcurial's greatest asset; Iris Hummel. [Paul d'Orleans]
The Automobile's editor, Jonathan Rishton. [Paul d'Orleans]
Where else would you find it? [Paul d'Orleans]
The Laurin and Klement - powered 'Slavia' on the Skoda stand, which attracted plenty of attention. Skoda began in 1895 and - like BSA, FN, Royal Enfield, etc - was originally an arms maker. Laurin and Klement built their first motorcycle (the Slavia) in 1899, and their engines were sold to many other makers. Skoda bought Laurin and Klement in 1924. [Paul d'Orleans]
My favorite moto-painting ever; by 'Lassim' from 1932, a French poster artist, but this is a one-off. Lassim was a like-minded fellow; he has peered into my head! [Paul d'Orleans]
MGC Model N3L with original paint on the tank...the aluminum chassis included the fuel and oil tanks! [Paul d'Orleans]
Hubert Auriol and Gaston Rahier's 1983 Paris-Dakar BMW GS, the winner that year. Hubert Auriol is the first person to have won this punishing event on two and four wheels...the Surtees of the desert! [Paul d'Orleans]
The nail-polish pearlescent Rumi Formichino at Artcurial. [Paul d'Orleans]
 


Grayson Perry at the British Museum

To the pantheon of gender-bending motorcyclists - the infamous, notorious, or hidden - we must add Grayson Perry, multi-talented artist, transvestite, Turner Prize winner, and dedicated biker. I was lucky to catch Perry's show at the British Museum in London last week, 'Tomb of the Unknown Craftsman', and began smiling the moment I spotted the 'Kenilworth AM1', his custom Harley-Davidson Knucklehead, at the head of the grand curved staircase in the museum's atrium.

The entrance to the British Museum exhibit [Paul d'Orléans]
The smile never left; Perry's exhibit of selected Museum artifacts beside his sculptures, paintings, and quilts, weaves a thread of humor and unexpected meaning between the old and new artworks, as if all art ever created were, in his words, "the material culture of a bohemian diaspora, a global tribe whose merchants and witch doctors bartered with a wider population by selling artifacts invested with a special quality; the quality of art."

Grayson Perry with his 'Kenilworth AM1' custom Harley-Davidson Knucklehead, built by Battistani Customs in the UK

The 'Kenilworth AM1' is Perry's two-wheeled 'popemobile', a performance-art prop created to carry Alan Measles (Perry's 50-year old teddy bear/muse/alter ego/totem) on a pilgrimage to Germany, in a glass-sided reliquary mounted, naturally, on the 'sissy bar' of his custom Harley. The AM1 is built and painted up much like Perry's trademark 'drag' outfits, using highly saturated colors and shapes reminiscent of 'Outsider' art. The elongated pink-and-blue petrol tank is painted either side with 'humility' and 'patience', which Perry notes are the "opposite of rocker lifestyle texts."

The Harley-Davidson Knucklehead engine surrounded with 'Humility' - a quality not often associated with Customs! [Paul d'Orléans]
With a matched riding suit of bright yellow boots, an outrageous lavender Peter-Pan-collar jumpsuit, and spring-green helmet, Perry's riding ensemble creates a motorcycling image which borrows nothing from anyone or anything...there's simply nobody else on the road with the cojones to wear THAT outfit while riding THAT bike. While custom shops, tattoo parlors, and clothing outlets are busy selling 'individuality', Perry has taken a brave and lonely path, to BE an individual.

'Patience' on the far side of the Kenilworth AM1 tank. [Paul d'Orléans]
"One fact that every transvestite has to come to terms with is that a person dressed up in the clothes of the opposite sex is somehow inherently funny. I feel it has profoundly shaped my own outlook on life. I regard humour as an important and necessary aspect of art." Grayson Perry explores, via humor and an 'innocent' surrogate, a whole range of difficult subjects; religion, violence, sexual politics, poverty, and the encroaching i-vapidity of our gadget-dominated culture.

The saddle bears a likeness of Alan Measle's face. [Paul d'Orléans]
Perry began as an art-world 'outsider' himself, as a self-described 'transvestite potter' and unlikely candidate for the prestigious Turner Prize; ceramics have rarely been considered worthy of inclusion in major museums, and like motorcycles, are dismissed as 'craft'. While Perry honed his skills as a ceramicist, he explored deliberately provocative imagery with his glazes, and gained a following for the brilliance of this juxtaposition - difficult subject matter with masterful craftsmanship.

Alan Measles as Crusader on a horse, cast in bronze. [Paul d'Orléans]
Grayson Perry has always been a motorcyclist; "I’ve never owned a car. I love motorbikes. I’ve got a Harley, which is perfect for summer when you want to go slow, pose and enjoy the scenery, and a KTM, which is brilliant for getting from A to B fast when it’s wet and cold and you want to feel safe. In 1989 my wife Philippa bought me a set of motorbike leathers – the first thing I ever had made for me. I designed them to be like the Cerne Abbas giant. I used to wear them to art openings so I could go there on the bike but still feel dressed up.... Motorbikes aren’t manly. Look at mine. If a bloke has to prove his machismo with a motorbike, then he isn’t very macho.”

A transvestite with a Kalashnikov automatic rifle; Grayson Perry. [Greyson Perry]
Motorcycling, masculinity, and a therapeutic exploration of his childhood (Perry's wife Philippa is, incidentally, a psychotherapist) are clues to Perry's art at the British Museum. His father, who left while Perry was very young, was an engineer and masculine amateur wrestler, and a biker. After he left, young Perry's teddy bear - Alan Measles, a gift on his first birthday - became a complex and psychologically loaded fantasy figure, the centerpiece of his play, the hero all his masculine fantasies; undefeated race car driver, fighter pilot, war hero. The tour de force of Perry's new art is the elevation of Measles to the status of a God-in-the-Making, the centerpiece of a new cult, a future Deity to an uncreated religion. The childhood stories of the bear's battles, injuries, and ultimate triumphs, have been transformed into a narrative arc of a fictional Prophet Hero, an immediately sympathetic character (who doesn't love a teddy bear?) imbued with the magical realism of childhood - that combination of keen observation with fantastic invention.

Grayson Perry's initial sketch of the Kenilworth AM1. [British Museum]
The 'Kenilworth AM1' was sketched out by Perry, and built by 'chopper shop' Battistini's UK (who, curiously, don't claim credit for their work online, but do link to the exhibit in their blog); the project builders were Nigel Green, Anthony Foy, Adam Smith, Alan Smith, Dan Smith, and Tom Fuller.  Nice work, gents: bet your other builds aren't in the British Museum!

Grayson Perry on his pilgrimage with Alan Measles, in Germany. [British Museum]
The relationship of the arts and motorcycling is a keen interest of The Vintagent, and we are ecstatic when motorcycles appear in museums, from the Guggenheim's 'Art of the Motorcycle' exhibit to the occasional, unexpected artwork featuring motorcycles, from Billy Al Bengston to Boris Anrep's tile floor murals in the National Portrait Gallery in London.  Follow along on The Vintagent for content you'll find nowhere else!

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

A Short History of Wankel Motorcycles

The revolutionary rotary engine designed by Dr. Felix Wankel, henceforth known as the Wankel engine, is a design of tremendous promise, and expensive vexation.  It seemed the wonder motor of the future in the 1960s, and many automobile manufacturers took a out a license on the design, from General Motors to Rolls Royce, as did many aircraft and

A model of the Norton rotary engine, built by David Garside. [Paul d'Orleans]
motorcycle manufacturers.  The difficulties of making a Wankel engine suitable for a road vehicle are legendary, but can be summed up simply: the gas-sealing tips of the rotors were prone to rapid wear, the engine is very thirsty, and as the rotor tips must be lubricated, it's a 'dirty' engine as measured by emissions, much like a two-stroke.  Most manufacturers quickly realized these difficulties with their prototypes, and abandoned the Wankel motor after a few hundred test miles.  A few manufacturers doubled down on the idea, developing clever methods of solving the Wankel's inherent problems via high technology (as in the Suzuki RE5) or excellent engineering (Norton and Mazda).

Dr. Felix Wankel (born 1902 in Lahr, Germany) had the vision for his remarkable rotary engine at the age of 17, began working on prototypes 5 years later, and gained his first patent for this remarkable engine in 1929. His work on the motor was slow in the following two decades as he developed rotary-valve applications for piston engines. By 1957, working in conjunction with NSU, he had a fully functional rotary engine prototype, and immediately began licensing the engine, which had many theoretical advantages over a typical piston motor. First to take up this new design was aircraft engine builder Curtiss-Wright, who licensed the design on Oct.21, 1958. Curtiss-Wright has a long and deep motorcycle connection, via founder Glenn Curtiss, but their Wankel engines were mostly used in aircraft. The first motorcycle applications for this promising engine appeared shortly after the first rotary-powered automobiles, the Mazda Cosmo and NSU Spider of 1964.  The first motorcycle prototypes appeared earlier, in 1960, which is the start of our survey of this remarkable design.

Dr. Felix Wankel with the first prototype of his rotary engine in 1957, which had a rotating inner chamber, unlike all later Wankels. [Hockenheim Museum Archive]

Motorrad Zschopau (MZ)/ IFA

The first motorcycle application of the Wankel engine emerged from the IFA/MZ factory, from 1960. MZ took out a license from NSU in 1960, to develop Wankel engines as possible replacements for their two-stroke engines in both motorcycles and the 'Trabant' 3-cylinder two-stroke car. Within 3 months, a single-rotor, watercooled engine (using the thermosyphon principle rather than a water pump?) of 175cc, was installed in an IFA chassis (the 'BK 351' of 1959) which formerly housed a flat-twin two-stroke engine. The development team included engineer Anton Lupei, designer Erich Machus, research engineer Roland Schuster, plus machinists Hans Hofer and Walter Ehnert, who deserve credit as the first to build a Wankel motorcycle.

The world's first Wankel-engined motorcycle, the 1960 IFA/MZ 'KKM 175W' [Hockenheim Museum Archive]
The Wankel motor is neatly mated to the existing IFA gearbox (with shaft drive - similar to the BMW R25 gearbox), and developed 24hp, twice that of the comparable 175cc MZ two-stroke engine. The prototype appears to have been extensively tested, and currently has over 38,000km on the odometer. It lay in obscurity for years, before a 1994 exhibit of MZ history at Neckarsulm brought it back to light.

Details of the water-cooled MZ engine; twin spark plugs, single (tiny) carb, radiator, neatly mated gearbox. [Hockenheim Museum Archive]
A second prototype was built in 1965, using a new 175cc air-cooled, single-rotor engine, also producing 25hp, considerably more than the ES250 'Trophy' engine normally installed in this chassis. This engine appears very much based on the Fitchel and Sachs engine, which was well-developed by 1965 and being sold under license worldwide. Despite the success of both MZ engines, inevitable problems with rotor tip seal failure and high engine/exhaust temperatures meant lots of development money would have been required to replace their reliable two-strokes... money which MZ didn't have. Their incredibly successful race program (all two-strokes, designed by the genius engineer Walter Kaaden) was practically created out from the factory scrapheap, with little help from the Socialist functionaries controlling industry in the GDR.

The second prototype MZ, using an air-cooled 175cc Wankel motor; the KKM 175 L. [Hockenheim Museum Archive]
The idea of a simple, robust, and compact rotary engine was very appealing in the early days of Wankel development, but the dream proved unrealistic, as it became clear production machines required terrible complexity for acceptable road use. East German engineers created several prototype engines for the Trabant and Wartburg autos, but none were developed beyond the prototype stage, and the NSU license was allowed to expire in 1969.

The KKM 175L used an extremely compact Wankel engine. [Hockenheim Museum Archive]

Yamaha

Yamaha licensed the Wankel design in 1972 and quickly built a prototype, showing the 'RZ201' at that year's Tokyo Motor Show. With a 660cc twin-rotor water-cooled engine, it gave a respectable 66hp @6,000rpm, and weighed 220kg. While the prototype looks clean and tidy, the lack of heat shielding on the exhaust reveals the Yamaha was nowhere near production-ready, given the searing heat of the Wankel exhaust gases, and subsequent huge, double-skinned, and shielded exhaust systems on production rotaries.

The 1972 Yamaha RZ201. [Yamaha]
During this period, Yamaha was looking for alternatives to its small-capacity two-strokes, developing large rotary, two-stroke, and four-stroke engines. With 'shades of George Brough' (ie, showing prototypes to 'wow' show-goers), another never-manufactured Yamaha design was shown in 1972, a 4-cylinder two-stroke - the TL750.

The Yamaha rotary on display at the factory. [Yamaha]

Suzuki

One year after Yamaha introduced, but never manufactured, their rotary, Suzuki introduced the RE5 Rotary at the 1973 Tokyo Motor Show. Suzuki licensed the Wankel engine on Nov.24, 1970, and spent 3 years developing their own 497cc single-rotor, water-cooled engine, which pumped out 62hp @ 6500rpm. Styling of the machine was reportedly entrusted to Giorgietto Guigiaro, a celebrated automotive stylist and advocate of the 'wedge' trend in cars, who leaked into the motorcycle world via several projects, notoriously the 1975 Ducati 860GT. Guigiaro's touch extended only to the cylindrical taillamp and special instrument binnacle for the RE5; a cylindrical case with novel sliding cover, meant to echo the futuristic rotary engine... the rest of the machine looked nearly the same as Suzuki's GT750 'Water Buffalo'.

The original 1974 RE5, with futuristic touches, in a German brochure. [Suzuki]
The modest power output of the engine, combined with the 550lb wet weight, meant performance wasn't exciting, with a top speed of 110mph; no better than the two-stroke T500 series it was meant to displace, and far more complex, heavy, and expensive. Unfortunately, the release of the RE5 coincided with the Oil Crisis of '73, and customers suddenly became wary of the rotary's reputation for poor fuel economy. This combined with motorcyclists' typical skepticism of anything too new, meant sales of the RE5 were far lower than required to recoup their investment. With millions at stake in the project, Suzuki were determined to carry on production. Blaming Giugiaro's binnacle, in 1975 the styling was more conventional, but sales didn't improve, and by 1976 Suzuki had swallowed their losses, and shut production. Around 6,300 were built.

The more 'conventional' 1975 RE5, from their 1975 catalog. [Suzuki]

Hercules / DKW

Fitchel and Sachs were the second licensee of the Wankel engine, on Dec 29, 1960, and the first with a motorcycle connection, with 'Sachs' the largest European maker of two-stroke engines. Sachs built their rotary as a small, light accessory motor for applications as diverse as lawnmowers, chainsaws, and personal watercraft.

The 1974 Hercules W-2000, with Sachs single-rotor engine. [Paul d'Orléans]
The first two-wheeled mass-production of the Wankel engine was the 'Hercules' W-2000 of 1974, with a 294cc/20hp (later 32hp) air-cooled engine, with a single-rotor, which had previously been used in a snowmobile. The prototype machine used a BMW R26 gearbox and shaft drive, but production W-2000s used a 5-speed gearbox and chain final drive.

The Sachs engine of the Hercules W-2000. [Paul d'Orleans]
The Hercules was good for 82mph (later 94mph), and was the first production motorcycle using a Wankel motor. The first models used a two-stroke mix in the petrol to lubricate the engine, which was later upgraded to an oil injector; smoky in either case! About 1800 were sold under both Hercules and DKW badges between 1974-76. In 1977 they sold all their production tooling to Norton.

The prototype Hercules rotary 6 Days Trials racer, which was fast but suffered overheating in the 1976 ISDT. Note the engine is oriented 90degrees to the W-2000, with a vertical crankshaft, presumably to raise the engine. [South Bay Riders forum]
Hercules also built a few off-road Wankel-engined motocrosser, for the ISDT and for their US importer Penton Motors.   A few of these showed up in the USA, and vex the experts on MX history, as they're very rare.  The crankshaft was mounted nearly vertical, presumably to give a shorter wheelbase and better cooling, and while the engine might look like a two-stroke, a close look reveals the truth about the Hercules MX Wankels.

A rare limited-production Hercules Wankel MX bike, as sold through US distributor Penton Motors circa 1975. Note the very different cooling fins from the ISDT machine, although the chassis is nearly identical.[Gary Roach]

BSA / Norton

BSA felt, in common with most of the automotive industry, that the Wankel was the engine of the future, and in 1969, hired David Garside, a gifted young engineer, to begin exploration of Wankel engines for a motorcycle. Market research indicated the motorcycling public would accept the Wankel engine on fast sports machines, and Garside's small team began experimenting with a Fitchel and Sachs single-rotor engine, and with significant changes to the intake system, gained a staggering 85% more power, to 32hp. Suddenly the experimental engine looked appealing.

The original BSA test mule, with A65 cycle parts; note the compact motor, and doubled-up 'cigar' silencers - rotaries are Loud! [Hockenheim Museum Archive]
Economic catastrophe at BSA meant development was immediately stalled. 1973 was the end of BSA, as the British gov't formed NVT - Norton-Villiers-Triumph...BSA was dropped from the title, even though it had owned Triumph since 1951! Still, under Dennis Poore's thoughtful leadership, the rotary project continued, and it was Norton who licensed the Wankel design on July 25, 1972.

David Garside in his kitchen, explaining the function of his air-cooled Wankel motor, which he is still developing for aircraft use. Many Norton-based rotaries are used in military drones! [Paul d'Orléans]
David Garside and his team began physical research with the installation of a Sachs fan-cooled single-rotor motor in a BSA 'Starfire' chassis; this was the first of a long line which led to the famous Norton rotaries. The 294cc engine gave 32hp at 5500rpm, and evidenced significant problems with heat - with twice the combustion events per revolution compared with a piston engine, and a physically much smaller engine unit, heat is a significant issue with Wankels. Sachs dealt with heat by routing the incoming air through the rotor itself, but this heated up the incoming mix, which reduces power. Garside redesigned the intake route, so that it still cooled the rotor, but then passed into a plenum chamber to cool off again. Air passing through the engine entered the plenum at 100ºC, but was cooled to 50º by the chamber and atomized petrol.

Fan-cooled Sachs motor in BSA Starfire running gear. [Hockenheim Museum Archive]
In this work, Garside was helped by Bert Hopwood, retired BSA and Triumph designer (a protogé of Edward Turner, and author of the excellent 'Whatever Happened to the British Motorcycle Industry'), and the pair added a second rotor to the Sachs engine (giving 588cc), with many times the original finning area, plus that redesigned intake. The engine was installed in several chassis over the years, from a Triumph 'Bandit' to a Norton Commando, but eventually an entirely new chassis was developed, as the engine showed considerable promise during development.

Norton-built twin-rotor, air-cooled engine, installed in a Triumph 'Bandit' chassis. [Hockenheim Museum Archive]
The first twin-rotor engine was installed in a Triumph 'Bandit' chassis in 1973, which was never shown to the public. With nearly 70hp, about twice the 'spec' of the original dohc Bandit twin-cylinder piston engine, this prototype must have been a lively ride!

Norton rotary, Norton Commando chassis...the compact rotary engine looks tiny compared to the original 750cc vertical twin. Note plenum chamber above the engine. [Hockenheim Museum Archive]
It was clear a new chassis was needed, and later in 1973 the Wankel appeared in a new frame, with a large spine tube which held oil; various iterations can be seen with Norton or Triumph tanks, as the engine was developed, in 1973/4: these were code named the 'P39'.

The 1973 'spine' frame with Triumph Trident tank; this machine has been restored, and can be found at the Hockenheim Motorsport Museum. [Hockenheim Museum Archive]
After the merger of Norton and BSA/Triumph in 1973, another chassis was created for the rotary Norton, with box-section frame tubes - still holding oil - and an integrated airbox; the 1978 'P42'. With a Triumph T140 5-speed gearbox, this wholly new Norton was intended for production, and enough material collected for a first batch of 25 machines, but the project was halted suddenly, even after brochures were printed and journalists (notoriously, Cook Nielsen of Cycle World) invited to test it.

The Norton 'P42' prototype of 1978. [Norton]
It took until 1984 for Norton to gear up production, but the 'P42' model was never sold to the public; it became the 'Interpol II', a police motorcycle; Norton had a long history of supplying the police, with the original Interpol Commando built from 1970-77. The Interpol II used Norton's well-developed 588cc air-cooled twin-rotor engine gave 85hp, and was in production from 1984-89, with around 350 built.

The Norton Interpol II police motorcycle. [Norton Owner's Club]
The first Norton civilian rotary was the 'Classic', built as a limited edition of around 100 machines in 1987, which sold out quickly. It was essentially an Interpol II in civilian garb, with a traditional Norton silver-and-black paint scheme. With all the bodywork removed, the 85hp engine gave sporting and smooth performance, very reliably, having been de-bugged using feedback from police agencies. The engine weight was low, making for easy handling.

The 'Classic' of 1987, air-cooled, a naked Interpol II. [Norton]
As Norton continued to develop their rotary, water-cooling was a natural next step to deal with heat issues, and in 1988, an Interpol II with a radiator was introduced, the 'P52'. The civilian version, essentially a re-painted Interpol, was the p53 'Commander', produced from 1989, with 85hp on tap. Norton hoped to repeat the success of the Classic, but the machine was criticized for using merely adequate Yamaha wheels and suspension, and not the sporting items one might expect of the Norton marque. Around 300 Commanders were built.

The water-cooled Commander tourer, with Krauser bags. [Norton]
Such disappointments were rectified in 1990, when Norton finally lived up to its heritage and introduced the lovely 'F1' ('P55'), based on their RC588 racers, then in the midst of a terrific run of success on the racetrack; in 1989 they won the British F1 championship. Only one color scheme was offered, in race sponsor 'John Player' livery of black and gold. Power was bumped to 95hp@9500rpm, from the water-cooled engine. The F1 had issues with heat buildup, as the bodywork almost sealed the engine unit within plastic, and lost quite a few hp when ridden hard. Around 145 F1s were built. Built with a Spondon aluminum twin-spar frame, White Power upside-down forks, a Yamaha 5-speed gearbox, and stainless exhaust, the F1 sold for an expensive £12,000.

The discreet Norton F1 ad campaign...[Norton]
In 1991, Norton rectified the heat issues by introducing the F1 Sport ('P55B'), which was effectively a F1 Replica, using the same bodywork as the racers, with more air flow possible around an open fairing, which resulted, curiously, in a less expensive sportsbike. Some consider the F1 Sport the finest of all the rotary Nortons. 66 were built, before Norton's eternal financial troubles put an end to rotary production...for now.

The last Norton F1 Sport of 1992, in rare blue. [Norton Owner's Club]

Van Veen

In 1976, Henk vanVeen, the Dutch Kriedler importer, saw potential in the new rotary Comotor engines, which were compact and developed good power. Comotor was a joint venture of NSU and Citroen, who invested huge sums developing a new Wankel engine for the Citroen GS Birotor. The prototype of this engine had been extensively tested between 1969 and '71 in the Citroen M35, which was never officially sold, but 267 were given to loyal customers for beta-testing. The M35 engine used a single rotor rated at 47hp, whereas the later GS engine had two rotors, and produced 107hp from a 1,000cc. Van Veen saw this powerful and compact engine as the basis of a new superbike, and created the VanVeen OCR 1000.

Henk van Veen with his OCR 1000. [Van Veen]
The OCR was a heavy machine at over 320kg, but had good performance, with a top speed of over 135mph, and could hit 125mph in under 16 seconds. The water-cooled engine was housed in a Moto Guzzi chassis, used a gearbox designed by Porsche, and sold for $15,000, the same price as a Lotus Elite! 38 VanVeen OCRs were built before Comotor went into liquidation, as the GS Birotor was an utter flop, a gas-guzzler appearing exactly during the 1973 oil crisis, and worse, it was more expensive than the venerable Citroen DS, and slower. Citroen even tried to recall and destroy all examples, but a few survive. The VanVeen OCR, on the other hand, has always been a coveted and expensive collector's motorcycle.

The Comotor twin-rotor, watercooled rotary, rated at 107hp. [Van Veen]

Honda

Honda's engineers did investigate the Wankel craze of the mid-1970s, although they never produced or even licensed the Wankel design.  Housed in a nearly stock CB125, this test-bed project was clearly intended to see if Honda was missing out on the Next Big Thing.  This prototype looks to have been built around 1973, given the paint job and spec of the CB125 'mule'.

The Honda Wankel prototype, the A16 CRX  [Francois-Marie Dumas]
The little Honda rotary is an unlicensed experiment, strangely grafted atop a CB125 crankcase, with a single rotor that was air-cooled, although an oil cooler was added to keep the temperature down from the notoriously hot-running Wankel design.  The actual engine was connected to the standard Honda crankcases via a chain to the primary drive, while the crankshaft area was simply empty.  The single tor chamber had a capacity of 124.7cc and a compression ratio of 8.5:1, giving 13.5hp @ 8000rpm. A 28mm Keihin carb was used, with twin spark plugs and a petroil mix at 100:1.

A close-up of the Honda A16 Wankel prototype, showing the chain drive to the CB125 primary, the tachometer drive, the oil cooler, and twin spark plugs. The exhaust can be seen at the bottom of the rotor housing. It looks almost like a normal motorcycle in this configuration, but a production engine would integrate the rotor housing into the crankcases, making for a much shorter engine. [Honda]
By the time the Honda A16 was finished, the Suzuki RE5 would have already been in production, and the tepid response to this radical new model was noted.  Honda, by waiting out the early Wankel craze, saved itself considerable development and production expense.

Kawasaki

Kawasaki joined the fray later than its Japanese rivals.  The 'X99' prototype had a twin-rotor engine, water-cooled, which purportedly developed 85hp. Kawasaki Heavy Industries, Ltd, purchased a license to built Wankels on Oct. 4, 1971; the chassis of the X99 appears to be based on Kawasaki's Z650, introduced in 1976, which suggests the date of this prototype.

The Kawasaki X99 prototype: a solid and far more powerful machine than the Suzuki, which one would expect from a Kawasaki of this period. [Kawasaki]

VNII-Motoprom

The city of Serpukhov, 100km from Moscow, was one of many 'secret' towns in the Soviet Union, where research into new technology was conducted (plus manufacture of the AK-47), far from prying eyes. VNII-Motoprom was an auto and motorcycle research institute, which created quite a few interesting machines, most notably Soviet racers such as the Vostok-4, and a few Wankel-engined bikes, completely unlicensed. The story of the Soviet motorcycle industry is little known in the West (and the East!), and deserves exploration...

The Motoprom RD501B, with Sachs-derived fan-cooled rotary in the venerable BMW R71-clone chassis. 38hp @6400rpm. [https://b-cozz.com/dnepr-story/]
In 1974, the RD501B used the ubiquitous BMW R71-based chassis (from a Dnepr MT-9), with a fan-cooled engine, clearly a copy of the Sachs rotary. With 495cc, it developed 38hp @6300rpm, and used shaft drive. It is claimed two were built.

The fan-cooled engine of the RD-501B [Dnepr.com]
The RD-660 prototype was built in 1985, using a 660cc air-cooled twin-rotor engine, with chain drive. The engine is very similar to the BSA/Triumph/Norton prototypes built since 1973...a little Cold War industrial espionage not doubt, but methinks the Soviets bit off more than they could chew with the Wankel motor, as none were produced in series, in cars or motorcycles.

The RD-660 with air-cooled twin-rotor engine. [Dnepr.com]
The RD-515, RD-517, and Rotor V-500 prototypes of 1987 used a water-cooled twin-rotor engine, driving through a Dnepr gearbox and shaft drive. Power was claimed close to 50hp, with great mid-range torque, and while the prototypes had modern cast-alloy wheels (still with drum brakes), these proved inadequate for Russian roads, and apparently tended to break.  This was the last Motoprom Wankel exploration.

The RD-515 with a water-cooled version of the Sachs engine [https://b-cozz.com/dnepr-story/]

IZH

Little-known outside the Eastern Bloc, Izh is the oldest Soviet/Russian motorcycle manufacturer, founded in 1929 in Izhevsk (on the banks of the Izh river) as part of Stalin's enforced industrialization of the agrarian economy, begun in 1927 with the rejection of Lenin's 'New Economic Policy', which allowed producers of grain or goods to sell their surplus at a profit - very similar to China's first moves toward Capitalism in the 1990s. Stalin's successful effort at creating an industrial power, where none existed previously, actually decreased the standard of living, caused widespread famine, and meant imprisonment or death for millions...although it did create an automotive and motorcycle industry. Not that 95% of Soviet citizens could afford it in those early days, although Izh sold something like 11 Million motorcycles before 1990.

The 1990 Izh 'Super Rotor' at a Russian motorcycle show. [Internet]
One of the last hurrahs for Soviet-era Izh was this Wankel-engined prototype of surprisingly contemporary, if clunky, aesthetics. The 'Rotor Super' was under development at the end of the Soviet era, and shown just after the fall of the Berlin wall in 1989, when the Russian economy was in relative chaos. Suddenly without the state business subsidies and guaranteed incomes of potential customers, all Soviet-era businesses were suddenly faced with the need to make a profit, and rash ventures such as Wankel superbikes were out of the question. Izh is still in business, making inexpensive small-capacity motorcycles.

Crighton Racing

Brian Crighton joined Norton Motors in 1986, as a service engineer working on their Wankel models.  He was promoted to their R&D department, and began developing a scrap 588cc air-cooled Norton engine, raising output from 85hp to 120hp.  The engine was installed in a prototype racer in 1987, which hit 170mph on tests, and scored a victory on its second outing. Realizing they had a winner, Norton found sponsorship with JPS, and in 1989 Steve Spray won the British F1 and SuperCup championships.  Crighton split from the Norton team in 1990, and teamed with Colin Seeley as Crighton Norton Racing, competing against factory GP two-strokes of the era.  Their swansong was the British SuperCup Championship in 1994, after which the Wankel engines were banned from competition.

The 2017 Crighton Racing CR700P, based on the Norton platform, and continuously developed by Brian Crighton. [Crighton Racing]
Crighton still believed in the possibility of lightweight, simple, and ultra-powerful Wankel engines for high-performance motorcycle work. In 2006 the 'new' Norton announced the NRV588, Crighton's latest version of the Wankel racer, with 200hp and 300lbs, but the project was abandoned as Norton moved towards producing their vertical twin machines based on the Kenny Dreer prototypes. In 2017, Crighton announced a partnership with Rotron to build the CR700P, a limited-edition version of the NRV588, a 200hp lightning bolt weighing a mere 399lbs (136kg), with 100ft-lbs of torque at 9500rpm, which is a GP-level mix of high performance and ultra light weight.  The CR700P was announced as both a street and a road model, although passing Euro4 environmental and safety regulations seems all but impossible for the road for such a machine, barring a significant infusion of capital.  Brian Crighton is a true keeper of the flame for the Wankel engine in motorcycles.

 

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

'Paradise Lost': Conrad Leach

The exhibition 'Paradise Lost’ is an exploration of the enduring appeal of Speed, Danger, British identity, and a time when men exploring physical boundaries were knighted to the acclaim of millions. This show evolved from conversations between Conrad Leach and Richard Gauntlett, as they discussed their mutual passion for the charismatic imagery and objects from the 20th Century. Not nostalgic, but a response to fascinating people, machines, and events from the near past, whose character transcends the period, and remains equally compelling today.

A touch of Paradise Lost himself...Stirling Moss and 'Black Jack' [Paul d'Orléans]
Leach explains, ‘So much is evocative from the interwar era! The Supermarine Schneider Trophy racer, Malcolm Campbell’s Bluebird, the Brough Superior ‘Works Scrapper’, are nearly forgotten today, but the aesthetics of the era are so pure and functional. This was pretty radical stuff back then, but my work has to be relevant now, as I’m not interested in recreating the past. My painting technique is contemporary, even Pop, and attempts to create resonance between images of the era and a viewer today. To me, an enormous bespoke object like the Bluebird, taken onto Daytona Beach in an attempt to go faster than any human, remains a charismatic and physically relevant object.

Artist Conrad Leach with his painting 'Works Scrapper', the factory racing Brough Superior SS100 on which George Brough took the land speed record in 1930 at 130mph [Paul d'Orléans]
‘Paradise Lost’ uses visual language to muse on the era before Health and Safety concerns regulated ambitions and passions. When an entire nation would sit as ghosts on the shoulders of a young man breaking speed records for England, then laud his return, thronging the streets of London by the hundreds of thousands. When it was possible to be a hero for doing something which had never been done, and which might have cost his life.

'In Memoriam', "for those who gave everything..." [Paul d'Orléans]
Conrad Leach was born in Canterbury, Kent, in 1965, and attended the Ravensbourne College of Art and Design. After 15 successful years in the fashion industry, Leach began painting full time in 1997. His first solo show, ‘Players’, at the APART gallery in London, brought him great acclaim, and he was subsequently artist in residence for Louis Vuitton/Celux gallery in Japan for 5 years. In 2005, he painted a portrait series of Norwegian cultural icons for the Grand Hotel in Oslo; his portrait of Henrik Ibsen is now used as visual identity by the Ibsen Museum. In 2008, he showed a series of large-scale motorcycle related paintings for the Legend of the Motorcycle Concours in Half Moon Bay, CA. In 2009, the Gauntlett Gallery became his UK representative, and in 2010, Richard Gauntlett commissioned Leach to design the ‘BS1’, a vintage-inspired custom motorcycle. ‘Paradise Lost’ is his first solo show in London in 9 years.

Vintagent Contributor David Lancaster with his Vincent-HRD Series A Comet [Paul d'Orléans]
'Paradise Lost' is on show now through Nov.12, 2011, at the Gauntlett Gallery, 90-92 Pimlico Rd, London +44(0)207 824 8000

Designer Mark Eley, Sideburn mag's Gary Inman, Ruby Helmet's Jerome Coste [Paul d'Orléans]
Jérome Coste tries the custom 'BS1' on for size; commissioned by Richard Gauntlett, designed by Conrad Leach, built by Cro Customs. Behind Jerome is 'Dark (K)night' [Paul d'Orléans]
Among the assembled: David Lancaster and Huggy Leaver, discussing the fine points with Conrad Leach [Paul d'Orléans]
Chatting with Nick Clements (Men's File magazine) and motojournalist Sarah Bradley [Paul d'Orléans]
From the Classic Driver website: a shot of Gauntlett Gallery on Pimlico Road during the opening [Classic Driver]
 

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.

The Universal Racing Motorcycle

You need four different motorcycles to road race, motocross, trials, flat-track, and hillclimb...right? There was a time, not so long ago, when it was possible to have just one motorcycle, and race in any event with a chance of success in all of them. Those days have passed in the world of serious competition, but with Vintage events cropping up all over the world, it's still possible to have serious fun - with a chance of winning - in every category, with a single bike.

Dimitri Coste headed up Pike's Peak on his Triumph. [PPIHC]
That's the vision of photographer Dimitri Coste, who is gradually traveling eastward in the US with his Triumph special, competing in events along the way, in his own version of 'Then Came Bronson' (a 70s TV show in which Bronson's HD Sportster magically became a Husqvarna when it touched dirt!). Dimitri has already won first in his class at the Catalina Grand Prix last year, and today, he's in Colorado, competing in the Pike's Peak International Hillclimb.

Dimitri with his Universal Racing Motorcycle, a 1970s Triumph Bonneville with a few customizations for every possible type of conditions. [Dimitri Coste]
The organizers of Pike's Peak made a special exemption for Dimitri to ride, not because of his bike, but apparently the Vintage class refers to the riders! As he is under 50 years old, it took a bit of string-pulling to get an entry, but he's already there, and had practice blasting up to the 14,110' peak, which is still covered in snow.

Pike's Peak with fresh pavement, and Dimitri leveraging his motocross handlebars.

The first Pike's Peak Hillclimb was a bid for publicity, after the first highway to the top opened in August 1916; a race was staged for cars and motorcycles over the tortuous, snaking dirt track with dramatic views and vertiginous dropoffs in many areas - the race is not for the faint of heart. The road is 12.42 miles long, partially paved (at the bottom), with graded gravel and dirt towards the top, and the weather can change dramatically from the 9400' start, over the 156 turns and 4700' climb.

The tech inspector commented, "I haven't seen drum brakes in a long time..." [PPIHC]
Dimitri's gear is worth noting; as his brother Jérome Coste is the designer of Les Ateliers Ruby, most of his riding gear is a Ruby prototype; they will shortly launch a line of leather jackets, and 'I spy' a Ruby badge on that full-face helmet...something they will release next year.

Achingly beautiful custom leather gear from Ruby, which is intended for production in the near future. [Ateliers Ruby]
Dimitri hauling up Pikes Peak in Colorado. [PPIHC]
The new Steve: Dimitri wheels his vintage Triumph out of the van in Colorado. Note the 1970s CZ magnesium motocross hubs! [Dimitri Coste]

 
 

Paul d'Orléans is the founder of TheVintagent.com. He is an author, photographer, filmmaker, museum curator, event organizer, and public speaker. Check out his Author Page, Instagram, and Facebook.