A Tale of Two Auctions: From Newport’s Gilded Age to Miami’s High-Octane Spectacle
Donald Osborne, the maestro clad in bowtie and Italian charm, once posed the quintessential question at the Audrain Concours d’Elegance: “What’s it going to take to get you out to the Audrain?” To be held in the cradle of the Gilded Age—Newport, Rhode Island—the Audrain stands as a beacon of automotive refinement, a counterpoint to the raucous energy that currently pulses through South Beach during MODA (Miami’s Excellent Car Show), the brainchild of RM Sotheby’s.
MODA was conceived out of necessity, a direct response to Hagerty’s Broad Arrow auction house poaching nearly 30 executives from RM Sotheby’s two years ago. The Audrain folks have been beckoning me to their event since its 2019 inception. I finally conceded to the invitation after a conversation with Osborne, proposing a seemingly simple request: “Make me a judge?” He chuckled, a broad smile splitting his face as he waved a hand over me, declaring, “You’re a judge. See you in Newport.”
From Greenhorn to Golden Gate Judge
My inaugural attendance at the Pebble Beach Concours d’Elegance—the zenith of automotive opulence—was a baptism by fire. In the pre-social media era, I arrived utterly uninformed, believing this legendary event was merely an amplified version of a casual Cars and Coffee gathering. I am ashamed to admit I wore shorts and a T-shirt. Yet, amidst my naivete, I observed a remarkable coincidence: Pulitzer Prize-winning automotive journalist Dan Neil—a giant in the field—was a featured judge.
A seed of ambition, planted by my relentless ego, began to sprout. The thought echoed in my mind: “Why not me?”
The Audrain Experience: Pebble Beach Minus the Pretense
While Pebble Beach rightfully holds the title of the “granddaddy” of high-end car shows, there is a strong argument that the Audrain is rapidly surpassing it. Jay Leno, an integral fixture of the Audrain and owner of what he describes as “a ridiculous house” in Newport, agrees. During “The Gathering” at Doris Duke’s Rough Point estate (Audrain’s answer to The Quail), Spike Feresten and I recorded an episode of Spike’s Car Radio with Leno as our guest. He remarked that the Audrain reminded him of Pebble Beach fifteen years ago. The mayor of Newport affirmed Leno’s integral role by proclaiming October 2, 2025, as “Jay Leno Day.”
Decoding the Judging Protocol
So, here I was, stepping into the lion’s den as a judge for the main event on Sunday. Settling down for the judges’ breakfast, enjoying the routine of coffee, eggs, and sausage, head judge Phil Neff posed a question to the assembly: “Is there anyone here who hasn’t judged a concours?” Silence followed, broken only by the clink of silverware.
I had never judged a prestigious concours like the Audrain, though I had presided over the satirical Concours d’LeMons so many times I’d lost count and vowed never to return. Was I supposed to raise my hand? Perhaps. But this was about cars, wasn’t it? How difficult could it be? After all, my ego had never known defeat. Why shouldn’t I participate?
Neff and his team paired me with Ray Evernham, the legendary NASCAR Hall of Fame crew chief responsible for numerous championships, many won with Jeff Gordon. We clicked immediately, discovering a shared history of racing at Pikes Peak. Our task was to award the Sporting Choice Award, essentially selecting the most sporting car on the field.
I sought clarification from Neff. Were we focusing on sports cars or actual race cars? “Yes,” he replied with a knowing smile. This meant we were responsible for evaluating every car present with either two doors or no doors. With over 100 vehicles to assess, we had only two hours to make our decisions.
Into the Deep End of Automotive Judgment
Armed with judging blazers, medallions, clipboards, pencils, and a newfound sense of gravity, Evernham and I hit the ground running. We devised a plan: each class is structured into specific categories. We would simply review each category, identify the cars that stood out—the ones that “popped”—and compile a shortlist of our top four or five favorites. Our instructions were explicit: avoid getting bogged down in the typical, nitpicky minutiae that often plague modern car judging. Who genuinely cares if the trunk lining is historically inaccurate? In fact, don’t even open the trunk.
The Challenge of Excellence: Ford GT40s and Prewar Alfa Romeos
Two classes presented an immediate challenge to my “Why not me?” aspiration. Class D featured Ford GT40 road cars, six near-identical, homologation-spec Mk1s. They were all stunning, and without scrutinizing the carb-bolt alignment (which we were explicitly told not to do), choosing a winner seemed impossible. We ultimately couldn’t. Put another way, the people judging Class D had to be seasoned subject matter experts to make such a call.
The same held true for Class A, the division of prewar Alfa Romeos, featuring six mind-blowingly beautiful 8Cs. I couldn’t begin to tell you why one specific car won its class, though the burgundy beauty did go on to win Best of Show. Remarkably, that outcome felt entirely appropriate.
Sacrifice and Serendipity: Scouting the Competition
Despite the formidable competition, we managed to compile a short list of favorites, though some sacrifices were necessary. A Lamborghini 3500 GTZ Zagato Coupe captured my attention; I had never heard of it before (it turns out only two were ever built, and the other is deliberately kept away from the public). However, I recognized that as novel and attention-grabbing as the Zagato Lambo was, it wouldn’t be taking home the Sporting Choice Award.
For his part, Evernham was fascinated by an exceedingly rare Allard JR that competed in the 1952 24 Hours of Le Mans. However, I soon discovered he owns three Allards, making the JR a less than ideal choice for us. While an exceptional car, it was removed from consideration. This Allard, fitted with a Jaguar C-Type body to comply with new Le Mans regulations, was still powered by a 5.3-liter Cadillac V-8, remaining the most successful of the seven Allard JRs ever built.
The Hard Choice: Postwar vs. Postwar Custom
The toughest decision we faced was for third place. We were torn between a 1949 Alfa Romeo 6C 2500 SS Touring Superleggera Coupe and a 1940 Cadillac Series 62 Bonham & Schwartz Convertible Victoria. I am a sucker for postwar Alfas; I simply adore them. Perhaps it’s the Bakelite switchgear that captures my imagination. This particular 6C was finished in a handsome blue and possessed a compelling backstory, including the fact that its current owner had not driven it since 1973 until participating in the Audrain Tour d’Elegance the day before the Concours.
However, the Cadillac ultimately won us over. It was one of only two custom-bodied by the same Los Angeles firm (Bonham & Schwartz) that crafted Clarke Gable’s Duesenberg. The candy-red Series 62 was simply spectacular—it had that unmistakable “wow” factor, that undeniable charisma that sets a car apart. While one of two ever made, it remains the sole survivor; its sibling was destroyed in a fire. This remarkable vehicle was built for the wealthy Doheny oil baron family, the founders of the town we now know as Beverly Hills. We awarded the car our third-place vote, or as the Audrain refers to it, Honorable Mention.
The Final Showdown: Talbot-Lago vs. Cisitalia
Our Sporting Choice Award boiled down to a showdown between two exceptional automobiles: a luxurious 1938 Talbot-Lago T150 C Lago Figoni et Falaschi Teardrop Coupe and a vibrant light green 1951 Cisitalia 202SC Pinin Farina Cabriolet. The Talbot “Goutte d’Eau” certainly possessed the pedigree to win. Beyond being the only long-wheelbase T150 C ever produced (15 regular wheelbase versions were made), this particular car holds a racing record that is unlikely to ever be broken: Built in 1938, this T150 C won the Belgian Grand Prix at Spa in 1948, making it the oldest car ever to win a Grand Prix race. Imagine a 10-year-old car winning an F1 race today? That alone was nearly enough to sway our decision. But not quite.
Perhaps it was the Talbot-Lago’s massive sunroof, its dark paint job, or the fact that its lengthened body gave the normally tidy Figoni et Falaschi silhouette a slightly bloated appearance. Or maybe it was simply the Cisitalia itself. According to Evernham: “The Cisitalia just spoke to me. The combination of color, stance, and placement of chrome created a picture in my mind of driving it down a beautiful coastline wearing my vintage Wayfarers.”
Precisely. There is a good reason why the Museum of Modern Art in New York includes a Cisitalia 202 (coupe) in its permanent collection: these compact sports cars are truly spectacular. On this day, in this particular color, with its top down
