Ferrari Service and Repair Bay Area - When Your Brakes Glow Red, You’re Driving A - Zucchi Motorsports Sonoma - 707-334-3700

When Your Brakes Glow Red, You’re Driving A Ferrari 599XX Evo Right

source: http://www.carthrottle.com/when-your-brakes-glow-red-youre-driving-a-ferrari-599xx-evo-right/
by Matt Robinson

Ferrari Service and Repair Bay Area - Here’s Why I Let All My Friends Drive My Ferrari 360 Modena - Zucchi Motorsports Sonoma - 707-334-3700

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I recently let twenty of my close, personal friends drive my Ferrari. This may surprise you. You're probably sitting there in astonishment and disbelief. You're probably staring at the screen in utter shock. You're probably stunned. You're probably thinking: You HAVE twenty friends?

And the answer is, no, I personally do not. And that's why I also had to rely on a few close, personal strangers to help me complete the video you see below, or above, or wherever Kinja chooses to place it. Possibly in one of Raphael's posts, I don't know.

Now, at this point, your thoughts are probably more along the lines of: You let strangers drive your Ferrari? ARE YOU A COMPLETE IDIOT? And the answer here is: HELL YES! (My insurance company would especially agree about the "idiot" part.) But I had a noble purpose for my actions: I did it to help combat the single most annoying attitude that exists in the automotive community.

The attitude I'm referring to here is what I call the "grumpy asshole viewpoint," which involves certain car enthusiasts refusing to let other people – even other car enthusiasts – drive their cars. You see this all the time at automotive gatherings. Some of these people – and I'm not going to name names, but it's the guys in the bagged Jettas with "illest" stickers – won't let anyone touch their cars, let alone drive them. You get the feeling that a few of the really crazy ones would also like to ban photography around their cars, in case the shutter noise somehow interferes with Volkswagen's magical electronics and the windshield wipers never work again.

The funny thing about this attitude is that nearly every person afflicted with it owns a car they bought used. Now, I understand not letting others drive your car if you own, say, a Maserati MC12, which is worth seven figures and shares its overall size with a high school football stadium. But when you're driving a 2007 Jetta you picked up last year from Jim's Used Cars, you have to assume the previous owner was Avis, and it's already been driven by half the business travelers at the Dallas airport.

In my case, I wanted to share my car because driving a Ferrari is a highly unique event; a once-in-a-lifetime experience that nearly every one of my friends reacted to in the exact same way: pure terror.

That's right. You'd think this would be a joyous moment for these people, punctuated by laughter and excitement, but what really happened was that I got the feeling every single person was thinking approximately the same thing as they drove: Am I insured for this?

Interestingly, this is actually an argument for letting other people drive your car. What I noticed, from the passenger seat, is that the miles driven by other people were actually far more cautious than the miles I personally put on, which typically involve a) eating Oreos, and b) playing air guitar. Occasionally I also look up at the road.

You see, it turns out that people are tremendously afraid of damaging someone else's car, which means they'll devote a monumental amount of attention to driving it. A few of the people who drove the Ferrari couldn't even carry on a conversation because they were concentrating so hard. Really, the entire experience felt like you were sitting next to Bruce Willis in one of those 1990s bomb defusion movies, where he's focusing really intently on the wires because he can go see his daughter again if he pulls the right one, whereas it will wipe out all of humanity if he pulls the wrong one, although you know that won't happen because they're already filming the sequel.

But in the end, all that concentration it paid off: no one scratched it, or scraped it, or even stalled it.

So the hard part wasn't the fear of someone damaging the car. Instead, the hard part was trying to find twenty human beings who could drive a stick shift.

To illustrate my point, go into your phone and have a look at the last twenty people you've exchanged text messages with. If you're like me, maybe eight of them can drive a stick shift. Now – and this is the kicker – try to get these eight people to show up at the same time, in the same place. This is not possible: no eight people have ever had schedules that allowed such flexibility, even if you can bribe them with a Ferrari drive. It turns out that people have a life beyond appearing in low-budget YouTube videos.

So what happened is I had to bring the car to every one of my stick-driving friends, and acquaintances, and complete strangers. You'd know this if you followed me on Twitter, because I was spotted on the road several times last weekend by a few Jalopnik readers. Of course, you can't really tell it's me, because I'm not exactly posing for the camera. I should've smiled. I should've waved.

I should've asked if they could drive a stick shift.

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And now, for those of you want to see what it's like when twenty people drive a Ferrari for the first time, here's the video:

source: http://dougdemuro.jalopnik.com/here-s-why-i-let-all-my-friends-drive-my-ferrari-360-mo-1566664165   by DougDeMuro

Ferrari Service and Repair Bay Area - Ferrari SP America: The One-Off Targa F12 You've Been Waiting For - Zucchi Motorsports Sonoma - 707-334-3700

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Ferrari's special projects division has been responsible for making the ugly and amazing dreams of its customers come true. And now we have this, the SP America, which is supposedly a targa topped F12. Have enough vents for you?

I actually think this looks rather aggressive and less finicky than the F12 it's supposedly based on. I even like the three nostrils on the hood.

Now the execution just depends on what that targa top looks like. Remember the 550-based Superamerica? I'm imagining something like that. Maybe we'll see the whole thing in the flesh someday soon.

source: http://oppositelock.jalopnik.com/new-one-off-ferrari-1565801915/1566065200/+travis

by Travis Okulski

Ferrari Service and Repair Bay Area - Road Test: Mansory F12 Stallone - Zucchi Motorsports Sonoma - 707-334-3700

The Mansory F12 Stallone is one of those unique cars that proves Kourosh Mansory’s German tuning company is at the fore-front of exotic car tuning. The car you see in the photos above was one of the very first Ferrari F12 Berlinetta’s released to customers. After a very short period of time in Mansory’s workshop, it came out again with a whole new look and just in time for the Geneva Motor Show 2013. We were gifted the unique opportunity to drive this very unique supercar!

Geneva is of course where our story starts. As is usual with the world’s biggest motor show, we turned up a whole day early to get a sneak peak at the cars and stories we would be covering for the previous day. We saw everything from Koenigsegg’s awesome Hundra to McLaren’s awesome P1, yet the Mansory stand stood surprisingly empty. We scratched our heads.

A few drinks later and we found ourselves stumbling through the halls at 01.30 am, hoping to get sneak a peak at a certain red hypercar which had been shrouded from the general public prior to the start of the main event. Still no Mansory, had they forgotten to turn up?

Our fears were allayed the following day when we discovered that, actually, the German company had been busy preparing their cars for the show, arriving as the last exhibitor at some ungodly hour. Whilst the wait had been long, what Mansory gave us more than made up for it! The Mansory F12 Stallone had been somewhat unexpected as customers where only just starting to take delivery!

Design

The Mansory F12 Stallone does of course have a cult following already. Mansory have used the Stallone name on the popular Mansory 599 Stallone before. It is only natural that it should return for the F12 Berlinetta. Mansory have fitted the F12 with a similar front bumper to that which can be found on the 599 Stallone.

The front gets a deep front spoiler with three large air vents. The nose is distinctive, helping you tell the Stallone a mile off. The bonnet is completely new, it gets a front air intake and exposed carbon fibre side air vents which feed air through carbon fibre ducts. The side skirts have also been replace with carbon fibre parts.

Moving to the rear, Mansory have fitted an entirely new rear bumper. It does away with much the distinct ovarian look Ferrari have instilled into the standard Ferrari F12 Berlinetta. The flatter rear gets three rear wheel air vents, a rear spoiler, a diffuser and a set of dual exhaust pipes mounted at each side.

Naturally, Mansory constructs its new design entirely from carbon fibre. Visually, the car looks to be of very high quality finish. As those who follow Mansory’s creations will come to realise, the Mansory F12 Stallone represents a restrained take on the Ferrari F12 Berlinetta. It is a bodykit that applies Mansory’s philosophy in moderation as opposed to its other project, the most recent was of course displayed at the Frankfurt Motor Show!

Aside from the larger pieces of trim, Mansory offers carbon fibre mirror housings with LED indicators, carbon fibre door handles, carbon fibre rear lamp covers; even the front mechanical air intakes have been replaced with carbon fibre parts.

Engine

The standard Ferrari F12 Berlinetta is already one of the fastest (if not the fastest) GT cars on the planet. From the factory it features a 6.3 litre V12 engine, one of the most powerful naturally aspirated engines available. The F12 Berlinetta’s engine is so good that it even won first place in the International Engine of the Year Awards 2013.

Naturally, this simply wasn’t good enough for Mansory. The Mansory F12 Stallone comes fitted with the same awesome powerplant, yet a simple ECU upgrade unleashes an extra 35 hp to a total peak output figure of 775 hp. Owners of the Stallone can opt for these upgrades plus a stainless steel sports muffler to give their car a distinctive character. Most will probably order the upgrades too as part of a complete package.

In the context of modern-day Mansory upgrades, the Stallone upgrades seem very restrained. The Mansory F12 La Revoluzione, the Stallone’s bigger brother, features new software for the central electronic control unit, a set of larger turbochargers, and a brand new exhaust system for an insane 1,200 hp quoted performance figure.

Despite the relatively relaxed approach demonstrated here, the Mansory F12 Stallone really does benefit from the upgrades. The exhaust is what provides the biggest improvements. The sound is wild and ever-so slightly intimidating. In the context of the company, you come to expect this, yet the sound is definitely what gives this car its own unique character. Its a sound Thor himself would be proud of!

Performance

Performance was never an issue with the standard Ferrari F12 Berlinetta. In stock form it sprints from zero to 100 km/h in just 3.1 seconds with a top speed in excess of 340 km/h (210 mph).

The Mansory Stallone should get there a little quicker thanks to the extra power, we suspect that the 100 km/h time is reduced to around 3.0 seconds. In the absence of any official performance data, we also suspect that the top speed is increased incrementally too, although we suspect no owner would ever test our suspicions!

Suspension

The ride remains unchanged from the standard Ferrari F12 Berlinetta. The Stallone gets a space frame chassis constructed from 12 different aluminium alloys. Weight is distributed 46% front and 54% rear, in keeping with the cars rear wheel drive layout.

The suspension dampers are state of the art magnetorheological units which use a magnetic fluid, controlled by an electromagnet. This allows the system computer to adjust the ride in order to suit the surroundings. Together with the electronic limited slip differential, the ride is extremely well controlled.

The steering wheel mounted Manettino dial provides the ability to control the ride. As is normal with modern Ferrari’s, the dial switches between varying levels of electronic control. The two most important settings are Sport and Race. The later is obviously the more aggressive. We wouldn’t recommend turning everything off unless you really know what you are doing!

As Ferrari’s CCM3 carbon ceramic brakes are as effective as is possible, Mansory have chosen to retain them. They are hidden by a set of light-weight alloy rims named 5 Triple Spokes for obvious reasons. The sizing is staggered with 21 inch units fitted to the front and 22 inch units at the rear, the rubber is a 255 width at the front with 355 width at the back.

Interior

Mansory always have a surprise up their sleeves when it comes to interiors. With the F12 it is no different. The whole interior has been re upholstered and it now features an attractive blend of carbon fibre, black leather, alcantara and blood red leather. Each surface appears to be fitted with a different texture.

The doors have a blend of red striping which penetrates smooth black leather. The centre pieces on each side is a quilted leather accent with carbon fibre door handles. The dash board is predominantly black leather with red accents and red stitching, the air vents stand particularly proud in contrast to the rest of the dash. Mansory have even gone to the effort of replacing the dashboard display surround with a blood red unit.

The Stallone features a custom seat finish with a mixture of red alcantara, red and black leather giving the interior a new look. The middle features an embroidered Mansory logo while the Stallone badge confirming the cars provenience sits in the centre on the lower parcel shelf.

Perhaps the worst element of the interior is the material that lines the central transmission tunnel. It is a loose textured leather covering, finished in red. It looks a little too loose for our tastes and, if it were our choice, we would definitely opt for something a little more orthodox.

It is fair to say that Mansory have one of the biggest upgrade programs for the interior of the Ferrari F12 Berlinetta. A new steering wheel is perhaps the biggest option available. It features a leather finish with lashings of carbon throughout. Behind the steering wheel, Mansory fit a set of carbon fibre paddle shifters. Elsewhere, Mansory have carbon fibre centre console trims, dial surrounds, transmission tunnel covers and sill plates. In fact, you get the sense that Mansory can create a full range of carbon fibre parts to replace almost any piece of interior trim.

An interior is always going to be subjective. We have seen some fantastic designs from Mansory before, while there are elements of this particular interior that don’t particularly work for us, the choices and finishings are endless. We really love the way that Mansory blend a huge variety of textures to create a truly unique interior space.

Driving Experience

Our driving experience of the Mansory F12 Stallone was limited to a quick blast through the German countryside. It was enough to demonstrate the power and sheer insanity of the package though. Ferrari’s F12 Berlinetta is a perfect starting point.

The first thing you notice, aside from the looks, is the roar from startup. It sounds unhinged! The amplification applied to the exhaust means that the even at idle, the car sounds noticeably more raspy. Under acceleration, the sound takes on an altogether more different character. At higher rev ranges it simply sounds like a Formula 1 car.

On the move, you start to notice the attention this car brings with it. The front is such a radical departure from what people naturally expect to see from an F12 Berlinetta. The whole arrangement takes on the look of a halloween mask. The headlights make the eyes, the new bumper creates a set of fangs and the carbon fibre air vents represent a menacing set of eyebrows.

The ride has not changed significantly from the standard F12 Berlinetta. Steering is quick and precise, something Ferrari work hard on with all their GT cars. It makes the F12 Berlinetta feel light and agile despite its heft. The typical Ferrari manettino settings provide a variety of different ride characteristics, we didn’t fully have time to test them all, it was the soundtrack that mattered!

Conclusions

While our time with the Mansory F12 Stallone was brief, it was enough to experience what Mansory can do with such a unique project car in such short amount of time. We’re not entirely sure how long Mansory engineers had this car prior to its debut at the Geneva Motor Show, yet it can’t have been long. To present such a comprehensive set of modifications in such a short amount of time is a true acheivement.

What the Mansory F12 Stallone really succeeds in is evident for most to see and hear. The biggest achievement is the sound. It is the defining feature of this car. Couple that with a truly character-changing new look and the result is a complete sensual overdose. There is no Jekyll and Hyde here, no split personality. The Mansory F12 Stallone is outrageous!

source: gtspirit.com

by Des

photography by Tobias Brandl

Ferrari Service and Repair Bay Area - Road Test 1963 Ferrari 250GT Lusso - Zucchi Motorsports Sonoma - 707-334-3700

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

source: http://www.gtspirit.com/2014/02/11/road-test-1963-ferrari-250-gt-lusso/

by Ian Kuah | Photography by Ian Kuah