Abarth's 912 - the Mono Mille GT

The transition of Abarth’s GT models from the Zagato collaboration 750/500/700/850 variants to the Abarth-styled, Beccaris-bodied Mono Mille is covered in my earlier post, More Magic from Corso Marche.  Of particular significance was the emergence of the Bialbero version of the Fiat 600-derived  engine, (Tipo 221), featuring in the Zagato bodied 750 Record Monza from early ’58, (along with the Tipo 222 695 cc version for the ‘700.’)  Through the following year and early 1960, further twin cam model variants appeared: Record Monza 850 and 850 and 700 GTs.  Meanwhile, Carlo was energetically at work in a period of change which encompassed the recruitment of Mario Colucci, negotiation of a ‘divorce’ from Zagato, establishment of a revised, ‘closer-to-home’ body styling/building capacity, and prospecting for a new manufacturing partnership to complement the ongoing arrangements with Fiat.

Having Mario Colucci on hand with his extensive range of skills and expertise was a key element in Abarth’s plan to gain control over the cost, productivity and quality aspects of body manufacturing for the marque’s GT models.  Carlo appointed Colucci as his manager of the Mechanical, Chassis and Bodywork Departments.  In regard to the latter specialism, Colucci’s abilities had been clear to see during the collaborative Alfa Romeo-Abarth 1000 project of 1958, (while he was still employed at the Milan marque’s Portello factory).  So, as soon as Colucci was in place at Corso Marche, he was tasked with reviewing and improving the new GT model's styling proposal already provisionally established in-house.  This had been based on the existing Zagato model and Carlo not only wanted a measure of aesthetic enhancement, but also a means of demonstrating that the new design was distinctly Abarth’s.  This second consideration was important for commercial and legal reasons, Zagato being put out by Carlo’s decision to end their partnership and likely to complain that what we today term their intellectual property had been stolen from the Carrozzeria by Abarth.  There was indeed a substantial dispute, but no legal action.  Indeed, in 1960, when the 1000 GT body was judged worthy of the Italian Association for Industrial Design’s annual “Compasso d’Oro” prize, it was awarded to Ugo Zagato.  In unusually conciliatory mode, Carlo chose to bite his tongue and not protest and ventilate the actual provenance of the new car’s design. 

With Zagato located 150 miles distant from Corso Marche, Carlo found that it was difficult for him to intervene on a day to day basis in order to resolve practical issues of productivity and to chase for the completion/delivery of bodies.  His view was that whilst he had understanding and command of all the involved automotive-making business practices – engineering, manufacture, aesthetics, finance and marketing – at Zagato they were over focused on the aesthetic element at the expense of the other areas of activity.  And in regard to manufacturing, Abarth found it necessary to be persistently complaining about the quality of Zagato’s work.  It’s fair to say that Ugo and Elio Zagato were sympathetic about the issue, even going to the extent of quietly engaging the small carrozzeria, Corna, (which had made the 700 and 850 Bialbero coupes of '59), to build the initial batch of 1000 GT bodies.  By virtue of the firm’s size and reputation, and given that it was located close to Abarth, it was hoped that these would meet Carlo’s quality expectations and that by observation of Corna’s working practice, Zagato’s own could be improved to the benefit of future production.

An alternative account of the Zagato/Abarth dispute as a tactical matter has been published on the Berni Motore website, loosely translated: Corna acted as a subsidiary of the Zagato body shop when it couldn’t meet Abarth’s requests due to too many commitments, (and the cars) were called ‘Corna Berlinettas.’  At the end of the work, the ‘Corna Berlinettas’ had the Zagato ‘Z’ badge applied to the front wings.  Zagato duly claimed a royalty on the bodywork design.  Carlo Abarth objected to this, so he barred application of the badge and refused to pay the royalty.  This irritated Zagato and a row ensued that ended the collaboration.  Abarth decided to go ahead alone, but he couldn't do it with Corna because of the Carrozzeria’s relationship with Zagato.

Whatever the reason for the Abarth/Zagato split, the new GT model bodies were a key consideration for Abarth in managing its capacity for production of the completed cars and ensuring that manufacturing costs incorporated minimum-possible wastage.  It was important to guard against loss of available working space within the factory, yet this was a problem always lurking in the wings because of the nature of the Bialbero version’s target market.  This was mainly composed of amateur racers – a cohort which was notorious for responding impulsively to fads.  Thus, if a particular car unexpectedly started being a serial winner, drivers would often believe that it possessed some new magic and flock to its maker with a request for soonest-possible delivery of a car to the same specification.  Add to this the seasonality of motorsport, the not infrequent unplanned need for a replacement car because of a write-off shunt, and the volatility of funding, (mainly through sponsorship), and it is not surprising that orderly production planning and flow is an ongoing challenge for any constructor.  In addressing these issues, Abarth had perceived how helpful it would be if a road car version of a racing model could be coincidently produced, allowing any dips in demand for the racer to be covered by simply upping the number of stradale versions coming off the line.  So here was the dividend of the Bialbero and Mono Mille bodies being identical.  And with the option to create a ready availability of the single cam version, Abarth anticipated the commercially successful feat Porsche achieved in the early years of the 911 by introducing the four cylinder 912.

The difference in price was substantial.  The Mono Mille was offered at around £1150, whereas the Bialbero had a price tag of approximately £1670, (both figures variable according to options – for example, many Mono Mille buyers liked to specify Campagnolo or Cromodora alloy wheels).  Basic details for comparison:

Mono Mille (Tipo 110)		Bialbero (Tipo 130)
Engine type/BHP	#210/60 @ 6000 rpm	Engine type/BHP	#229/91 @ 7100 rpm
Carburettor	Solex 32 PB 1 C	Carburettor	Twin Weber 36 DCL 4
Gearbox	4 speed	Gearbox	4 speed – 5 speed (’63)
Final drive	4.3:1	Final drive	4.75:1
Weight	560 kg	Weight	570 kg
Top speed	106 mph	Top speed	127 mph (130mph ’63)
0-60 mph	Approx 9.7 secs	0-60 mph	5.7 secs (late 5 speed version)

The ‘Scorpione,’ Beccaris-built first version, Tipo 129, engine Tipo 210, was finalised in April ’61 and shown publicly at the Frankfurt show in September, and Turin in October, of that year.  A power output of 60 bhp was claimed, and weight quoted as being 560 kg.  In comparison, the 1000 Bialbero (ES-01) had been launched the previous year with 91 bhp and around 20 kg more curb weight than the Scorpione.  But, at around £1100, the Scorpione was 30% less expensive than the Bialbero.  With the Scorpione, Abarth possibly provided Porsche with the idea for the ‘entry/affordable’ 912 model once the 911 had replaced the 356. 

The Abarth/Beccaris body seen at the Turin Motor Show was Bialbero-engined and carried the Carrozzeria Abarth badge.  In comparison with the Zagato bodied Record Monza, its main distinguishing features were that the engine decklid incorporated a horizontal rectangular air intake aperture with hinged flush cover; below this was a series of louvre slots, (18, in two columns of 9), (as seen on the Abarth Porsche GTL), replacing the large central air intake scoop; vertical mounted/faired headlamps; central elliptical air intake aperture low in the front panel, (necessary for the front radiator demanded by the cooling requirements of the twin cam engine), and reprofiled, (with much reduced curvature of the rear screen), rear windows.  In this configuration, but with a louvre-less, (but propped open), rear engine decklid anticipating the ‘ducktail,’ #8948, race #8, was victorious at Sebring in March ’62 in the hands of Bruce McLaren driving for Briggs Cunningham.

According to the Abarth factory internal list of models/updates, distinct versions of the Mono Mille and Bialbero were as follows:

 

~1            01-1960     Fiat Abarth Bialbero Coupe Corsa Series 1
~2            04-1960     Fiat Abarth Bialbero Coupe Corsa Series 2/Monomille Scorpione Beccaris
~3            10-1960     Fiat Abarth 700/1000 bialbero Corsa Beccaris
~4            04-1961     Fiat Abarth Monomille Scorpione Beccaris
~5            10-1961     Fiat Abarth 1000 Bialbero GT Coupe
~6            05-1962     Fiat Abarth 1000 Bialbero GT World Champion
~7            05-1963     Fiat Abarth 1000 Bialbero GT Coupe/Fiat Abarth Monomille GT Coupe
~8            09-1963     Fiat Abarth 1000 Bialbero GT Longnose Series 1
~9            01-1964     Fiat Abarth 1000 Bialbero GT Longnose Series 2

 

This list has been published in Sergio Seccatore’s Abarth, The Scorpion’s Tale.  Also reproduced in the book are these relevant profile drawings:

Significant features of these variations include: 

~1    (ES01)  This is essentially the Record Monza body, still made at Zagato, or, perhaps at Corna.  Vertically mounted uncovered headlamps, large Scorpion crest on front panel, no central, elliptical aperture.  Weight – 585 Kg.  91 bhp.

~2   (ES01)  Body modifications away from the ‘pure’ Zagato style, especially engine decklid, covered/faired headlamps and reduced rear screen curvature.  Appearance of the Carrozzeria Abarth badge.  On the lower front panel, the Scorpion crest badge is relatively large and there is no elliptical aperture below.  Slightly lighter, and 124 mph top speed.

~3    (Tipo 129) Bialbero.   Front panel featuring an elliptical air intake aperture with a large Scorpion crest mounted centrally over the aperture, (and sometimes, e.g. #0293, between the aperture and the leading edge of the front bonnet panel).  Covered, faired headlamps. Flat rear screen with larger rear side window glasses.  127 mph top speed.

~4   (Tipo 100/ 129)  Mono Mille Scorpione has conventional small corner bumpers, front and rear, a feature never seen on Bialbero models.  On some cars, e.g. #100-249940, the rear bumper is more substantial and as mentioned below for the later version, (~7). Scorpion crest on front panel.  Rear radiator, 60 bhp and top speed of 106 mph.

~5    (Tipo 130S)  In comparison with the earlier Bialberos, ~1 and ~2, the late ’61 version benefitted from bigger, sidedraft Weber carburettors – 40 DCOE in place of 36 DCL4 - and introduction of a 5 speed gearbox.  Trailing edge of engine decklid, (now un-louvred), raised higher to create an enlarged rear aperture and increase the downforce-generating potential of the spoiler.  95 bhp, 130 mph top speed.

~6   (Tipo 130S)  A further increase in power - to 106 bhp.  Weight further reduced – to 545 Kg.  Top speed improved to 133 mph.

~7    (Tipo 129)  Bodies built by Sibona & Bosano (replacing Beccaris).  Bialbero with 104 bhp and 137 mph top speed.  Single cam car renamed simply to Mono Mille GT.  Carrozzeria Abarth badge on rear quarter panel below side window.  Where fitted, bumpers are more substantial – at the front running to just short of the intake aperture and to the number plate frame on the rear panel.  Retains 4 speed gearbox.  66 bhp, top speed – 110 mph.

~8    (Tipo 129)  Front clamshell in aluminium.  Nose profile extended forward.  Rear engine decklid with integrated trailing edge lip spoiler.  Wider wheels with arch extensions, especially notable on rear quarter panel.  Fasteners (2) mounted on side of the deck/rear quarter panel.  91 bhp, top speed – 129 mph.

~9   (Tipo 129)  Front clamshell in fibreglass and longer with more pointed profile/lower mounted headlamps.  Intake aperture also lowered.  Profile of engine decklid slightly revised with spoiler element altered and rear aperture enlarged  Fasteners (2) located on decklid trailing edge/rear panel.  Tyre widths revised to front 4.50, rear 5.25  104 bhp, top speed – 135 mph.

~4        Front bumpers, #100-249940:

(Matthew Jones ©2018)

            With additional higher bar:

          

(Courtesy Yutaka Yamagishi)

            Rear bumper, #100-249940:

(Matthew Jones ©2018)

~7        Front bumpers, #0381:

(Courtesy Bonhams)

Ducktail details:

’62 #0100-249940 Beccaris:

(Matthew Jones ©2018)

’63 #0380 Sibona & Bosano:

(Courtesy Fantasy Junction)

'63 #0381 Sibona & Bosano:

(Courtesy Bonhams)

Example Engine Bay:

’62 #100-249940 (Matthew Jones ©2018):

Example Scorpiones:

#100-249940 ('62) (Matthew Jones ©2018)

#112-8103 ('62) (Courtesy Bonhams)

#0353 ('63) (Tim Scott © 2012)

#9379 ('63) (Courtesy Bonhams)

Example GTs:

#0380 ('63) (Courtesy Fantasy Junction)

#0390 ('64) (Courtesy Gareth, BaT)

#0381 ('63) (Courtesy Bonhams)

Although the Scorpione and GT models were marketed as 'road cars,' leaving the Bialbero to fulfil the needs of customers desiring a machine machine, the single cam version was granted FIA homologation, effective January '63.  Below are 5 pages from the document set:

However, there was never any contemplation of the cars being supported as entries to serious Touring Car competitions.  Production volume was in case very modest, with some estimates being that around 100 were built, whilst other sources suggest that the number may have been as low as 25. 

The Mono Mille came to market in a period when a great deal of change – and at rapid pace – was taking place in the type/range of models emerging from the Corso Marche factory.  As the 1000 Bialbero and Mono Mille began to catch the attention of would-be buyers, so too did the products of the new collaboration with Simca, in the Abarth Simca 1300 GT, soon followed by 1600 cc and 2000 cc versions.  Meanwhile, with Fiat’s introduction of new 850 models and the Simca alliance withering, a new ‘family’ of GT Abarths evolved, beginning in ‘65 with the 1300 OT.  This glass-fibre-bodied model was homologated for Group 4 the following year and soon proved highly competitive and thus a sales success.  ’65 also saw the adoption of the Boano-styled Fiat Coupe body – more ‘boxy’ than the Abarth Carrozzeria-styled 1000 Bialbero/Mono Mille and Abarth Simca GTs – along with mechanical specification packages for higher performance in the form of the OTS, OTSS and OTR models.  A further development – reflecting the reaffirmed relationship with Fiat since Abarth’s adoption of the 850 chassis – was a new model for ’66 utilising a modified Fiat 124 engine, appropriately named the OT 1300/124.  By that point, Abarth’s small stradale coupes were very different in looks and construction from the post-Zagato-divorce 1000 Bialbero and Mono Mille GTs which had exemplified Abarth’s sporting spirit for the first half of the decade.

Abarth Doppia Bolla - I dettagli. Part 2

 

While a good part of the 750GT’s alure/enigmatic character is the tendency for body/trim variations to come and go – often on a far from systematic basis – ‘loose’ record keeping at Corso Marche has left us with real difficulty in their charting/dating.  So the survey of key external body areas/trim that follows is offered only on an indicative basis and cannot be considered definitive. 

I have frequently referred to the Image Archive within the Fiat Abarth 750GT Zagato Forum.  Many of the illustration captions (and thus the abbreviations)  below are as recorded in the Image Archive. Please let me know if you identify any possible image copyright issues.

Roof:  The following points stem from John de Boer’s Fiat-Abarth "double bubble" study (January 2018):

• Cars built by Zagato before the formal agreement for the creation of the 750GT as an Abarth model, designated Zagato Serie 1, have a ‘smooth’ roof.  This includes the very first car, #001766, which was built by Zagato for Ovidio Capelli, a Milan dealer.  John also cites the following as thought to be smooth roof/Zagato Serie 1 examples: #091978 and #118619.
• The first 'Double Bubble' designated as such in John's database is #145806, with date attribution of April '56
• Reversion to a 'smooth' roof occurred in February '58 with the introduction of the Record Monza Model.  However, the cars not powered by the bialbero engine continued to feature the twin-hump roof line, but see note on the Sestrière model below
• The Sestrière  model introduced in April '59 for the U.S. market featured a smooth roof line

The Abarth Buyer’s Guide by Pete Vack refers to a 3^rd series of the 750GT, noting: ‘By late 1957, Abarth and Zagato had reached consensus on the definitive 750GT.  The Series III was built with variations for European and American market cars.  The classic 750GT Series III for the United States had much higher twin domes.’

#118619 (Courtesy John de Boer)

#163327 (Courtesy John de Boer/Renald E)

#757464 Sestrière  (Courtesy Petrolicious/Collector Car Network)

Engine Cover:  The twin bulge form engine cover, ‘extending’ the lines of the roof bubbles, is evident from earliest production. In addition to these two air intakes, there is another, horizontal, aperture just over half-way down the panel and located above the model script badge and vertical cover handle.  Along with the smooth roof, the Record Monza’s engine cover on the model’s introduction differed from that of the Double Bubble, a single large duct replacing the twin intakes.  Because of the bialbero engine, the Record Monza’s cover also incorporated a hump to accommodate the power unit’s higher profile.  As seen in the photograph of #757464, above, the Sestrière’s engine cover, though retaining the Double Bubble’s twin intake format, rendered these with a more boxy, less curvaceous profile.

#651662 (Courtesy Kidston)

#773518 Record Monza (Courtesy Bonhams)

#741833  Alternative script mounting. (Courtesy Switch Cars)

As mentioned above, a feature of ‘Corsa’ specification cars was said to be a ‘Mille Miglia Motore’ badge affixed to the dashboard.  Though this may well be a matter of personal customisation by the owners, examples have been seen of this badge being mounted on the engine cover of Double Bubbles and Record Monzas.

Mille Miglia Motore badge. (Courtesy WorthPoint)

#585940 MM badge on engine cover. (Courtesy John C. / Gooding & Co)

Windows, Glass, Plexiglass:  Double Bubble models featured 6 ‘glass’ areas: front windscreen, rear screen, door glass, rear quarter glass, between B and C posts.  Plexiglass was substituted for cars destined for competition use from the outset.  The substantial variation was confined to the Record Monza model, wherein a small triangular window was let into the area between the B and C posts, and under the outer edges of the rear screen.

#418163 (Courtesy Bonhams) 

#860214 Record Monza (Courtesy RM Sotheby's)

Front:  From the earliest chassis numbers, the front panel featured a grille and a horizontal bar, tapering to a point, either side, (sometimes referred to as ‘whiskers’), mounted a little above the leading edge, and slightly lower than the level of the headlamp fairing apertures.  Because of the curvature of/bulge in the front panel, the central grille is convex.  Contemporary replacements are available from Fiatplus.com. and supplied in either ‘thick or ‘thin’ form.  The grille is two part – outer ‘shield, ’ chrome meshed, with a smaller central rendition of the traditional Abarth marque, Scorpion badge.

#260452 (Courtesy Bring a Trailer)

‘Whiskers’ currently available from Fiatplus

However, again from early production, some cars wore only the central grille, with no whiskers, e.g. #162696.  Another instance, #239600, shows a further variation – no whiskers, but a pair of vertical bumper bars.  #417338 is illustrated while undergoing bodywork restoration – the 14 factory-drilled mounting holes are clearly evident, per side: accommodating the lower lamp surround trim, two, one above the other for the vertical bumper bars, two, horizontally aligned, to carry the whiskers, central hole for a number plate (?) and one for the upper quadrant of the central grille.

#162696 (Source Unknown)

#239600 (Courtesy Ame. G.)

#417338 (Courtesy John C.)

The latest chassis number I have found which carries the central grille and whiskers is #720384.  Later cars, e.g. #756808, fitted with the full width/wrap around bumper bar do not carry the whiskers.

#720384 (Courtesy T.M.)

#756808 Sestrière (Courtesy John de Boer/Aguttes)

#594111 (Courtesy Bring a Trailer)

Late cars have an additional ‘Fiat’ script badge mounted above the central shield-grille/Abarth crest.  According to the Abarth Buyer’s Guide by Pete Vack, this script was introduced in late ’57 on the ‘Series III’ American market cars.

#523733 (Courtesy Tim Scott/RM Auctions)

Below the headlamps, a small, aluminium cased circular/cone-profile indicator (usually with a clear lens) is mounted.  On the late versions the location is seen to be above the wraparound bumper.  Underneath this lamp, a small rectangular, sometimes chrome framed aperture provides for the intake of air to help cool the front brakes.  The earliest clear photograph I have found of this modification is of #462534.  Absence of this feature has been said to be an indication of the car being a Corsa version.

#462534 (Courtesy Artcurial) 

Headlamps: Circular, and mounted at the rear of a faired-in aperture, the 5.5” units were usually provided with a Plexiglass front cover from early production.  This remained the common configuration until late in the production run – last photographed - #720384.  Then, along with the full width/wrap around bumper, the lamps were located further forward on the leading face of the front wing, upright and chrome-rimmed, (#734541).  Cars built for immediate export to the U.S. featured 7” covered headlamps.

#720384 (Courtesy T.M.)

#734541 Sestrière (Courtesy John de Boer)

Side Badges: A constant feature from the beginning of production was the placement of a black Zagato Milano ‘Z’ badge on the front wings between the rear of the front wheelarch and the leading edge of the door.

The rear quarter panel badges – upper depicting a triangular checkered flag with ‘Gran Turismo 750’ script/block arrow with script referring to Italian national championships; lower is the Abarth crest - are not seen on cars as late as #441784 (July-‘58);  they are evident on #446004 (August-‘58).  The Record Monza lacked badging on the rear quarter panel, but had model and Abarth crest badges applied to the B post area between the door and rear side windows, as seen on #441205 mid-‘58).

Zagato Z badge (front wings) (Courtesy Bonhams)

#504396  Rear 1/4 badges locations (Courtesy Bring a Trailer) 

#441205 (Courtesy RM Sotheby's)

The Double Bubble rear 1/4 badges vary according to year of manufacture.  For ’58-made cars, the upper badge commemorates the Italian Championships of ’56 and ’57.  For ’59 and ‘60, the badge was amended to add the ’58 Championship victory.

’58 production upper badge (Source Unknown)

'59 production upper badge (Source Unknown)

Positioning of the upper and lower badges (Courtesy Simoncars)

Record Monza badge (Source Unknown)

Positioning of the upper and lower Record Monza badges (Source Unknown)

Rear: The profile of the rear face of the rear wings is ‘blunt’ (radiused) on early cars, e.g. #248883, below.  Note the simple, small taillight units.  The wing profile over its trailing edge was modified, (creating what was referred to by Greggio as ‘little tails’), and a larger, deeper (proud-standing) taillight unit introduced subsequently, e.g. #602924, below.  However, the Record Monza incorporated the ‘blunt’ rear profile, e.g. #577535.

#248883 (Courtesy Bonhams)

#602924 (Courtesy T.M.)

#577535 Record Monza (Courtesy Bonhams)

Rear light cluster: The earliest (mid-’56) chassis number I have for reference, #163327, features a three section lens, top to bottom, orange, red, red – still in use on #358847.  A narrow horizontal chrome bar separates the upper (orange) lens from the middle (red) one.  The top and bottom are (vertical) ellipse shaped, broader at the top, sharper at the bottom.  On #248883, (early-’57), a variation of this type has the lower red lens projected outwards and with a chrome ‘casing.’  Also evident on other ‘early’ cars, #244318, (early-mid-’57), for example, is an elongated oval with a central circular, darker section.  All these variants have a chrome surround.  #443582, (mid-’57), features an all red lens with central, horizontal chrome bar divider and this is commonly seen, as late as #757464, (Sestrière, ’60), for instance.  First seen on #558321, (’59), is a type which is then common as far as example chassis #830648, (’60-’61).  The chrome surround of this has a sharp ellipse top and bottom.  A square red stop light lens projects from the centre and this is held by a chrome casing.  On #617839, (‘60-‘61), it is seen that the top ellipse is much blunter than the lower one.

Images courtesy of (left to right): Classic Driver; Ame/Renald E; Bonhams; Unknown; Beverley Hills Car Club; Dave G.

Rear Bumperettes/Bumper Bars.  The first basic distinction would be that a car delivered to a customer whose primary intention was to race it, would have no bumperettes at all.  On the early (mid-’56), chassis number, #163327, a pair of vertical bumper bars is fitted on the joint between the lower rear valance and the rear wing.  As with many other examples of rear ‘body furniture,’ it’s impossible to judge with certainty, but I’d suspect these are a later addition.  However, this configuration is also evident on the early chassis, #244318, (early-mid-‘57).  The earlier cars were sometimes fitted with a number plate surround in chrome which provided, in effect, two vertical bumperettes of smaller proportions.  This arrangement is seen on #222623, #239600 and #248883 (all early-’57) and #244318 (early-mid-’57).  It seems to have been a short-lived solution, being superseded in late ’57 by the installation of a pair of horizontal bumperettes, doubling as registration plate lamp bulb holders either side of the number plate mounting, to #418163 (’57).  This style/level of rear bumper provision then became a norm until the eventual cessation of production.  A late example is #749634, (mid-’60).  However, also often seen was a combination of the vertical bumper bars along with the horizonal pair.  An early example of this is #358847 (late-’57). 

Images courtesy of (left to right): John de Boer/Renald E; Artcurial; T.M.; Classic Driver

Rear bumpers.  Chrome-finish quarter bumpers, effectively protecting all four ‘corners’ of the car, appeared on Sestrière models manufactured in ’61 – example, #734541.  Note: Elsewhere it was documented: 02-’58 ES 01, Tipo221 750 Coupe Record Monza Zagato 57 bhp; Greggio says smooth roof, 3 pane rear window, horizontal wraparound bumpers.

#734541 (Courtesy John de Boer)

Chrome rear model script.  This is usually found mounted at a 30° angle across the centre of the engine cover, between the cover’s lock and the upper horizontal aperture.  The script itself commonly comprises the words, Fiat ABARTH 750.  An example is seen on #418043, (mid-’58).  Variations: Fiat/deriva ABARTH 750 (#651969); fiat derivazione /ABARTH 750 (#558327, and #446004, (mid-’58)).  The deriva/derivazione is a reference to the programme by which Abarth developed the 750GT as a derivation of the Fiat 600 model.  The 30° angle-mounted script continued until late ’59, e.g. #693930 (Sestrière).  However, a further variation, from late ’59 onwards - is the fiat ABARTH 750 script mounted centrally and horizontally – not at the 30° angle previously noted, e.g. #706590, also #694916 and #696265, (both late-’59) and #719212, (mid-’60).

Images courtesy of (left to right): Marks-Nagoya; Bonhams; RM Sotheby's/Hyman Ltd; W Dons/John de Boer

Images courtesy of (left to right): Sports Car Shop/Mike S; Bonhams

I suspect that this will forever be an ongoing work-in-progress.  By virtue of the type of vehicle this is, and the sort of enthusiasts that typically own examples, cars seen/photographed today may well display features which have been added/modified over the years, long after they left the factory – such customisation is especially commonly seen in regard to badging, trims and wheels.  And, as regards the details of any 750GT as it left Corso Marche, such is the accuracy/completeness/availability of the contemporaneously-recorded data concerning production of the cars, that there will be many aspects of their specifications which will remain uncertain/disputed.  I do not pretend to have access to any magic bullet processes or data sources which would resolve such issues.  All I have done here is to collect together and systematically organise existing information with what I hope is an appropriate level of discretion.  But, even so, I’m sure there will be readers with far greater first hand knowledge of the cars than I have who will perceive misunderstandings/anomalies in what I’ve written.  That being the case, I’m very keen to receive appropriate feedback so that the document can be refined and improved – so please don’t hold back!

Reference sources: 

(Greggio)          The Man, the Machines by Luciano Greggio 

(Secc)               Abarth, The Scorpion’s Tale 1949-1972 by Sergio Seccatore 

(JdB)                 John de Boer 

(AB)                  Tony Berni, Berni Motore 

(GM)                 Guy Moerenhout 

(DegRiz)            Abarth. All The Cars by Elvio Degamello and Arturo Rizzoli 

(GastSecc)         Abarth. Memories by Luca Gastaldi and Sergio Seccatore 

(Cos)                Abarth Guide by Alfred Cosentino 

(BoSt)               Abarth Racing Cars Collection, 1949-1974 by Stefan Bogner and                          Franz Steinbacher 

(Forum)             Fiat Abarth 750GT Zagato Forum 

(MBG)               Middle Barton Garage, Tony Castle-Miller 

(PV)                  Abarth Buyer’s Guide by Pete Vack