The Audrain and the Legacy of Elegance: Modern Judging in the Gilded Age
As the 2026 Audrain Concours d’Elegance unfolded in Newport, Rhode Island, the echo of Donald Osborne’s invitation still resonated: “What’s it going to take to get you out to the Audrain?” His query, delivered with his signature charm and effortless savoir-faire, was the prelude to a journey that had been brewing for years—a journey that culminated in the gilded streets of America’s oldest resort town, not just as a spectator, but as a judge.
The spark for this journey was ignited a year earlier at MODA, RM Sotheby’s highly curated event in Miami. Established out of a strategic ambition to counter Amelia Island after a seismic talent shift saw nearly 30 RM employees depart to Hagerty’s Broad Arrow auction house, MODA was a statement of defiance. It was a calculated maneuver to preserve the legacy of excellence that RM Sotheby’s had built over decades. Newport had been on my radar since Audrain’s inception in 2019, and at MODA, the opportunity crystallized. I threw the question to Osborne: “Make me a judge?” His response was swift and absolute. With a wave of his hand and a smile that could melt glaciers, he declared, “You’re a judge. See you in Newport.”
Entering the Deep End: Early Lessons in Concours Judging
The first time I set foot at Pebble Beach, the undisputed granddaddy of all high-end concours, I was a novice. This was well before the age of instant digital validation, and I was entirely oblivious to the world of high-stakes classic car judging. I didn’t even grasp the dress code, naively assuming the main event was just a glorified car show. I likely showed up in something embarrassingly casual. However, I did notice that my friend, the Pulitzer Prize–winning automotive journalist Dan Neil, was serving as an honorary judge. The thought immediately occurred: Why not me?
The Audrain, however, is not Pebble Beach. Many veterans of the circuit, including Jay Leno, often argue that Audrain surpasses Pebble. Leno himself, who owns what he humorously calls a “ridiculous house” in Newport, is an integral figure in the Audrain community. His connection is so profound that the Mayor of Newport officially declared October 2, 2025, as “Jay Leno Day” in recognition of his contributions.
The high-stakes reality of judging became starkly apparent during The Gathering—Audrain’s answer to The Quail—held at Doris Duke’s magnificent Newport estate, Rough Point. While hosting a live episode of Spike’s Car Radio, a podcast I co-host with Seinfeld writer Spike Feresten, Leno emphasized the Audrain’s rapid ascent. He observed that the Audrain Motor Week reminded him of Pebble Beach 15 years prior, a testament to the event’s explosive growth in quality and prestige.
The Art and Science of Judging: Navigating the Competition
The morning of the Concours d’Elegance arrived, and as I sat down to a breakfast of eggs, sausage, and coffee, Head Judge Phil Neff posed a critical question: “Is there anyone here who hasn’t judged a concours?” Silence. Not a single hand went up, including mine.
While I had extensive experience judging Concours d’LeMons, the notoriously irreverent and hilarious parody of concours events—where I have judged so many times that I have lost count and sworn off it forever—I had never judged a prestigious event like the Audrain. Should I have raised my hand? Who knows, but at its core, this is about cars. How difficult could it be? My ego, after all, is undefeated. Why not me?
Neff and his team assigned me to judge the Sporting Choice Award alongside Ray Evernham, the legendary NASCAR Hall of Fame crew chief known for his multiple championship wins, often with Jeff Gordon. Evernham and I connected immediately, discovering we had both raced at Pikes Peak, an iconic proving ground for automotive talent. Our task was to select the most sporting car on the lawn. I sought clarification from Neff: Should we focus on sports cars or actual race cars? His answer: “Yes.” This meant our responsibilities included evaluating every two-door or doorless vehicle on display—a daunting task considering there were well over 100 cars, and we only had two hours to do it.
Sporting our official judge attire—medallions, clipboards, pencils, and navy blazers—Evernham and I stepped onto the lawn with a plan. Concours events are organized into distinct classes. We decided to review each class, identify a standout car, and narrow down our choices to the top four or five. Our instructions were clear: avoid getting bogged down in the typical nitpicky details that plague modern car judging. Who cares if the trunk lining isn’t correct? In fact, don’t even open the trunk.
The Challenge of Perfection: Balancing Heritage and Desire
Even with a structured approach, the complexity of the field quickly became apparent. Class D featured six Ford GT40 homologation specials, all incredibly well-executed. Without scrutinizing every nut and bolt, discerning a clear winner was practically impossible. The judges assigned to this class had to be seasoned experts to make such a call.
The same held true for Class A, the prewar Alfa Romeo division, which showcased six magnificent Alfa Romeo 8Cs. I could not even begin to fathom why the winner ultimately prevailed. However, the burgundy 8C that won Best of Show somehow felt right; its history and beauty transcended the technical criteria.
Still, we managed to compile a short list. A Lamborghini 3500 GTZ Zagato Coupe caught my eye because I’d never seen one before. It turns out only two were ever made, and the other has been deliberately kept from public view. As intriguing as the Zagato Lambo was, it didn’t quite fit the “sporting” profile. Evernham, however, was captivated by an exceptionally rare Allard JR that competed at the 1952 24 Hours of Le Mans. I soon realized he owns three Allards, so we decided to set the JR aside as an honorable mention, despite its stunning pedigree and racing history. Fitted with a Jaguar C-Type body for Le Mans compliance while still powered by a 5.3-liter Cadillac V-8, it remains the most successful of the seven Allard JRs ever built.
The Final Verdict: Choosing Excellence
The hardest decision we faced was choosing third place. The competition was between a 1949 Alfa Romeo 6C 2500 SS Touring Superleggera Coupe and a 1940 Cadillac Series 62 Bonham & Schwartz Convertible Victoria. I have a deep affection for postwar Alfas—I don’t know exactly why, but I just adore them. Perhaps it’s the Bakelite used on all the switchgear. This particular 6C was finished in a handsome blue and had a remarkable backstory. Its present owner hadn’t driven it since 1973 until the day before the Concours d’Elegance, on the Audrain Tour d’Elegance.
However, we found the Caddy more compelling. It was one of two custom-bodied in Pasadena, California, by Bonham & Schwartz—the same company that bodied Clark Gable’s Duesenberg. This candy-red Series 62 was spectacular; it just had that “wow” factor, that unmistakable je ne sais quoi. Only one of two was made, and it is the only survivor, as its sibling tragically burned in a fire. This car was commissioned by the wealthy Californian oil barons, the Doheny family, founders of the iconic city of Beverly Hills. We awarded the Caddy our third-place vote, or in Audrain-speak, Honorable Mention.
The final contenders for the Sporting Choice Award were the ultraluxurious 1938 Talbot-Lago T150 C Lago Figoni et Falaschi Teardrop Coupe and the light green 1951 Cisitalia 202SC Pinin Farina Cabriolet. The Talbot, affectionately known as the “Goutte d’Eau” (Teardrop), had an unparalleled provenance. Aside from being the only long-wheelbase T150 C ever built (only 15 short-wheelbase versions were made), this car holds a racing record that may never 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 fact alone was almost enough to sway the decision. But not quite.
Perhaps it was the Talbot-Lago’s massive sunroof, or its dark paint, or the fact that the elongated body made the normally tidy Figoni et Falaschi design look slightly bloated. Or maybe the Cisitalia was just that exceptional. As Evernham explained, “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.”
Exactly right. Look, there’s a good reason the Museum of Modern Art in New York includes a Cisitalia 202 (coupe) in its permanent collection: These small sports cars are simply spectacular. And somehow on this day, in that color, and with its top down, the Cisitalia was the car we kept returning to, imagining ourselves driving it
