The 275 GTB/4 - Best of Breed
The final iteration of the 275 GTB brought Ferrari racing technology - including a four-cam, dry-sump engine, four-wheel independent suspension and a five-speed synchromech transaxle - to the street.

Rain clouds have given way to clear blue skies. It is perfect weather for the mission at hand - to spend some road time in one of the most exciting and beautiful of all Ferraris, the legendary 275 GTB/4 (the '4' indicating four overhead cam shafts). It is the final and ultimate version of the 275 GTB first introduced in 1964. The last of the first generation Ferraris; the last Ferrari to be pure Ferrari.

Chronologically, the 275 GTB replaced the 250 GT/Lusso. It was not, however, the luxury cruiser the Lusso was. It was a genuine sports car; a thoroughbred with racing bloodlines, its lineage more closely linked to the 250 GT SWB, 250 GTO, 250 LM and the 275 P. The motor, Tipo 213, still an evolution of the original Colombo V12, was now enlarged to 3.3 liters (275cc per cylinder). Standard setup included three Weber carburetors, though six were available as an option. It had the first four wheel independent suspension and first 5-speed synchromesh transaxle gearbox in a Ferrari road car; features directly derived from racing.Its sensuous bodywork is perhaps the quintessential collaboration between Pininfarina and Ferrari; a masterful blend of the best of its predecessors. The last hand-built Ferrari, each panel was hammered out individually by the craftsmen at Scaglietti; no two cars quite alike. Though this was true of all handmade Ferraris, it is more apparent in the 275 series, only adding to their character and charm.

The GTB, in its original version, is now known as the short nose. One year into production, some modifications were made. The nose was lengthened three inches in an effort to make the car more stable at speed; the mouth becoming smaller and more oval in the process. The bumpers were elongated; the rear window enlarged and the trunk hinges placed outside to increase useable luggage space ever so slightly. There were also mechanical upgrades. The drive shaft was contained in a torque tube, dampening vibrations, and the engine and transmission mounting points were simplified. This second series became known as the long nose. But there would need to be still further improvements to keep up with the competition.

New rival Lamborghini was producing the 4-cam, V12, 6 carburetor 350 GTV and Ferrari's two cam motor was being called outdated by some. Financial drains from racing efforts, coupled with labor problems, made a new car or motor unrealistic. So in the best Ferrari tradition, the existing car was reworked into something new. In October 1966, the 275 GTB/4 was introduced to the world at the Paris Auto Show.

Outwardly, the new berlinetta looked much the same as the later long nose two-cam car with a few subtle differences. There was now a center hood bulge to accommodate the 6 carburetors and large air cleaner; and a prancing horse was added to the trunk lid. But it was the motor that made this car different. It would be the first road-going Ferrari to have a quad-cam V12.

From the competition department, four-cam heads that had been successful in various sports racing and prototype cars from the late fifties and early sixties were adapted to the two-cam block with very little modification. So little in fact, that one unusual feature of this new powerplant was that the chain driven camshafts rotated in the opposite direction from the crankshaft. Six Weber carburetors were now standard. Sadly, but necessarily, a large air cleaner, needed to equalize airflow, all but concealed this magnificent motor. The new configuration,Tipo 223, produced 300 horsepower at 8,000 rpm.

The motor was dry-sumped, another first; the oil contained in a tank in the front fender, allowing for much greater volume (4+ gallons) which helped to prevent oil-starvation during hard cornering. The front springs were beefed up to compensate for this additional weight.

Production of the Four-Cam would last a little more than a year, terminating in January of 1968. Outside influences played a role in it demise just as they did in its creation. Lamborghini's introduction of the Miura made the Ferrari seem antiquated and the American market had closed its doors to manufacturers not meeting new air quality and safety standards. It would be almost two years before Maranello could respond. That response would be the 365 Daytona, ushering in the next generation of Ferraris, now with Fiat input.

This stunning 275 GTB/4, #10409, was imported to France and sold through Franco-Britanic Automobiles to M. Duquesne on September 19, 1967. "If my memory serves me right, this car was our demo first," says then sales manager Jess Pourret, now a noted Ferrari expert and author. Painted yellow with black interior, it was equipped with an outside gas filler, and yellow head and tail lights; number 214 of 330 produced (In addition, 10 convertible models were made by the factory - the 275 GTB/4 NART Spyders see Forza #57).

A decade later, #10409 was sold to Edward Templeman of Los Angeles and shipped to the United States. Templeman kept the car for 18 years, at some point painting it red. It was stored and fell victim to neglect. Discovered by a broker in the spring of 1995, it was purchased by Ferrari of San Francisco. The factory-owned dealership did restorations and was always on the lookout for worthy projects. As it turned out, this would be their last.

In decent shape, but not running, and with only 60,000 original kilometers (about 36,000 miles) on the odometer, it was trucked north to their Mill Valley, California, location. There it was completely disassembled and readied for a total ground-up restoration for noted Ferrari collector, Brandon Wang.

Ferrari of San Francisco was 'to provide a car that looks, drives and performs as when new but keeping as much of the flavor of its originality as possible.' It would come with a 6 month new car warranty. For this, Mr. Wang 'traded in' three other Ferraris - a 1965 275 GTB, a 1967 330 GTC, and a 1986 Testarossa, all in good condition; an additional $38,000 would be due upon delivery at the completion of the restoration.

The body was completely stripped in preparation for paint. It would be returned to its original color - Giallo Fly. Exterior chrome was re-plated. Everything returned to original standards. The interior remained mostly original, being in excellent shape, except for the door panels. They had speaker holes in them, and were replaced. The after-market radio was removed and all new rubber seals and weatherstripping were installed; new gray carpet made.

While this was being done, Dayal Dindral, in charge of the restoration, was busy rebuilding all the mechanicals - engine, transmission, suspension, and differential. This he did in addition to his regular work in the service department.

The car was to be finished in June of 1996. The restoration, however, took much longer and by the time it was done in the summer of 1998, Wang's interests were elsewhere. He let Dindral know he was interested in selling the car.

During those years,Tom Byrnes would bring his car to Ferrari of San Francisco for service and come in for parts. "I had this 250 Lusso," he says. "I hot-rodded up the motor, put 6 carbs on it and put a shorter rear end in it. But the car was so heavy that I really couldn't solve the power and acceleration problems to my satisfaction."

When there, he loved to go upstairs where they were working on the old cars and observe. He had been following the progress of #10409. He knew the car was being done for Brandon Wang, and that Mr. Wang liked things done right. When Dindral mentioned the car was available, Byrnes immediately expressed an interest. Dindral was getting ready to leave Ferrari of San Francisco. The dealership was not going to do any more restorations and it was time to move on. He would be opening his own Ferrari repair and restoration shop, Prancing Horse of California, in Burlingame, and sharing space with broker Brandon Lawrence, who was negotiating the deal between Byrnes and Wang. The car would be delivered there.

Byrnes entered his new GTB/4 in the Concorso Italiano at Pebble Beach that August, winning the silver medal; the only flaw - a malfunctioning clock. After that, he made his only modification to the originality of #10409, replacing the stock 14" Campagnolo magnesium wheels with a set of 15" outward-laced competition Borrani wires. This size offered greater tire options and would improve traction and handling. He stored the mags with their Michelin XWX tires at the race track. That was six years ago.

These days, Tom just drives it occasionally for pleasure, and has put less than 4,000 miles on the odometer since the restoration. His investment has doubled in value, but he has no intention of selling.

"I'll never sell it," he says, as we walk. "If I could only have one car, it would be the 4-cam."

The GTB/4 is kept in the garage. Short on space and long on cars at his northern California home, it is the only automobile that rates such privilege. There is a blue 550 Maranello blocking access. Tom starts it up and moves it around behind a line of 'drivers'- A Mercedes, a Bentley Turbo, a Chevy Suburban. Parked in a separate driveway, under cover, is another unusual vehicle - a 1952 Chevy Good Humor Ice Cream truck. It is fully restored and in complete working condition. Byrnes takes it to local events.

A longtime Ferrari enthusiast, he has previously owned a 250 GT SWB, the Lusso mentioned above, another example of the 275 GTB/4 ("That car was a driver; not like this one") and a 348.

His stable of three British race cars is kept half an hour away at Infineon Raceway. An avid vintage racer, Tom drove his 1962 Cooper F1 and 1964 Brabham BT8 to victories in their respective classes at the 2004 Monterey Historics.

Tom raises the door. We remove the cover. The sun gleams off the yellow paint of the truncated rear; the car still bearing its original French license plate.

"Let's push it outside," he says. We gently roll the 275 into the daylight. The sun comes through the trees now highlighting all the body's curves. It is absolutely gorgeous. I can't stop looking at the car.

It has been more than a month since the car has been driven. While Tom hooks up a battery charger, I take a few pictures. He gets in, turns the key and flicks the rocker switch controlling the auxiliary fuel pump. It clicks like a madman on a manual typewriter for a minute before slowing to an occasional tick. He twists the key further, prodding the sleeping beast. It moans reluctantly, turning over slowly, the oil thick and cold. He tries it again. Again. Again. It sputters and dies. Again.

I am standing over the motor, peering in, when the V12 suddenly springs to life, firing on all 12 cylinders; the air fills with the rumble of engine noise and exhaust. I notice the head pipes; how dainty they look, much smaller than those on the two-cam.

"Get in and keep it running while I put the battery charger away and close the garage door," Tom says and I slide in behind the wheel.

Once inside, engine noise becomes a pleasant hum. The Nardi steering wheel vibrates gently in my hand. The leather smells new. It is intoxicating. I look around the cockpit. It is similar to the GTB with a few differences. The dash is covered in black vinyl instead of wood veneer and the redline on the Veglia tachometer has been upped to 8,000 rpm. The layout is clean, functional. The tall gear shift lever sticking out of its chrome gate. It's all business, very Ferrari, and very sixties.

I ask about the choke, noticing the lever in front of me. "There isn't one on the four-cam," Tom explains. They just left the lever there. I guess so they didn't have to make a new dash!"

The motor has warmed up. I tap the gas pedal quickly a few times; the response instantaneous and massive. The tachometer needle jumps rapidly and falls as fast. We are ready to go. I climb out, put my gear behind the seats and get back in on the passenger side. Tom climbs in, we buckle up, and pull out of the driveway.

The cabin is cozy to say the least, with the roof right at our heads and the sides sloping inwards, confining us. We are restrained by stop and go traffic for the first 10 miles as we head west toward open spaces. Tom is forced to keep the Ferrari in first gear, occasionally getting into second, trying to keep the motor happy and stay within the speedlimit; the sensitive throttle all the more so at low speeds. I ask about visibility.

"It certainly doesn't have the visibility of the Lusso, he says. "That is probably the all-time touring greenhouse. I have a clip-on convex mirror. Usually, when I'm in an urban area or on the freeway, I clip it on." I watch as he double clutches into first again.

"Surprisingly, you would not think the 275 transmission with all its linkage would be positive and smooth, but it is," he says. "This gate may be necessary, but I'm sure the customer base thinks it's a racy look." We pass a few cars. "There is so much oil in the 4-cam motor that it takes a long time for it all to warm up."

We pass a few more cars, then up a steep hill, leaving suburbia behind. At the top, coming out onto a long straightaway, Tom puts his foot into it. Pushed back in the bucket seat, I glance over at the instruments. The tach climbs above 6,000; third gear; 130 kilometers. Then down into second, a hard right, the car braking, almost sliding through the turn; back into third. The power and handling are truly impressive. I mention the possibility of the police, but Tom is too busy enjoying what must be an all too seldom occasion and I have the feeling I am being drowned out by the motor's sweet song. Conversation at this speed and revs is difficult at best.

"You just have the feeling that this is a young pony, ready to run," he says grinning, and maintains his intense pace, giving me a true sample of the car's capabilities. Gazing out through the slanted windshield, I watch the world rush by and enjoy the ride, confident in Tom's ability.
He continues. "The 4-cam is light, nimble, agile. The motor has the response of a race car and they corner beautifully. The cars that followed, like the 365 Daytona had more brute power, but lacked the finesse of the 4-cam.

"And you can put it in fifth gear and cruise somewhere. It has a terrific rev range. You don't have to drive it at 6000 rpm all the time to enjoy it.
"I can't think of a finer Ferrari to drive; one that's as exhilarating and such a thrill."

We spend the next few hours stretching the legs of the 275 GTB/4 stopping occasionally to take photographs, or to just stand back and admire this magnificent machine.

"I think it's probably the most beautiful car Ferrari has ever made," Byrnes says. There are many who would agree.

Copyright Thom Anderson, 2004