I’ve been to so many car shows and around enough exotic cars in my career that it’s difficult for me to feel starstruck by a vehicle. It’s not that I find them boring; I’ve just been desensitized. But I had never been surrounded by the grand, vintage machines that were at the seventh Arizona Concours d’Elegance. Several days later, I’m still in awe of the gleaming showcases of the event’s theme, “The Art of Automotive Engineering,” that were spread across the lawn of the Scottsdale Civic Center.
Rain fell on last year’s event, but only the sun drenched the cars and attendees this time around. As classics from Frank Sinatra and Dean Martin filled the wintry air, proud owners – many of which were dressed in garb matching the era of their cars in hopes of winning the Period Costume Competition – told curious passers-by about their vehicles. Those fell into 16 classes and would be evaluated according to the International Chief Judge Advisory Group format on a 100-point scale. Judges would rate them based on their exterior, interior, engine compartment, chassis, and operations. They could award a vehicle up to three extra points for outstanding elegance/presence or provenance/historical significance. No matter which person went home with a trophy, as beneficiaries of the event, local artists and the children of Make-A-Wish Arizona would win.
Throughout my life as a car enthusiast and my automotive career, I’ve heard of many of the automakers that were represented at the event. But the Arizona Concours d’Elegance was the first time I ever saw the enormity of a Duesenberg, the majesty of a Hispano Suiza H6C Saoutchick Cabriolet, and the muscular presence of a Ford 351-powered Iso Grifo in person.
Every vehicle I saw was a relic of engineering and design. Many were from brands that were casualties of economic conditions, consumer trends, and corporate circumstances. No matter which badge they wore or which hood ornament identified them, those creations were there thanks to the passion and dedication of knowledgeable professionals and meticulous owners. Among them was Ron Ciardella, who has kept the last Iso Grifo ever produced in show-worthy condition, and Jim Stranberg, the man who spent two years turning an ultra-rare 1936 Bugatti Type 57SC Atlantic into the Best of Show at the 2003 Pebble Beach Concours d’Elegance.
At the end of the event, Emcees Donald Osborne and Amanda Busick announced the winners of the various class awards. Best of Show was split into two categories. Valerie and Aaron Weiss of San Marino, California took home the Pre-War Best of Show trophy for their gorgeous Murphy-bodied 1929 Duesenberg Model J Butterfly Dual Cowl Phaeton. The 1957 Mercedes-Benz 300 SL Roadster owned by DJSKI, LLC of Phoenix was named the Post-War Best of Show.
It was a privilege to see such legendary automobiles in person for the first time. Hearing the stories behind their acquisitions and restorations made them even more interesting. The people who shared them with me made think about the theme of the show: The Art of Automotive Engineering. Art may be timeless, but it’s not indestructible. Its physical form can only endure with the help of talented mechanics, experienced specialists, and devoted owners. I think it’s safe to say the masterpieces at the Arizona Concours d’Elegance will continue to amaze onlookers and carry on the history of their manufacturers.
