On September 17 a Bugatti engine range exhibition opened at the Autovision Museum, located in Altlussheim, Germany, just south of Mannheim.

The exhibition is the first ever time that such a complete range of 10 engines was brought together on one location, thus visitors can see the development of engine development with their own eyes. And not just look at the beautiful bodywork on the Bugattis. You will soon see that Bugatti technology, and especially the engine, is as beautiful as the car is on the outside! The exhibition will run for at least a couple of years.

The following engines are present:

Type 13, 1.3 litre 4-cylinder, 8 valve. Type 35B, 2.3 litre 8-cylinder, supercharged. Type 37/40, 1.5 litre 4-cylinder. Type 44, 3 litre 8-cylinder. Type 46, 5.3 litre 8-cylinder. Type 51/55, 2 litre 8-cylinder, supercharged. Type 57, 3.3 litre 8-cylinder. Type DOOD, 4-cylinder Diesel. EB110, 5 litre 12-cylinder, 4 turbochargers. VVR16, 8 litre 16-cylinder, 4 turbochargers.

Further info to prepare your visit

Jean-Philippe Müller was awarded by Motorworld with the book prize 2026 for his book: Bugatti 64 - la voiture de Monsieur Jean.

On September 10, 2026, Motorworld München became a meeting place for authors, publishers, media representatives, motoring enthusiasts and leading figures from the mobility sector. The winners of the 2026 Motorworld Buchpreis were honoured during the event. From around 50 recent publications, the high-calibre expert jury, chaired by Jürgen Lewandowski, the internationally renowned motoring journalist, selected the best new releases in the categories ‘Biography’, ‘Motorsport’, ‘History’, ‘Design’, ‘English-language books’ and ‘From around the world’. Further info.

Jean-Philippe Müller's splendid book received a Honorary Award in the Category "History". This is what the jury said about his book:

Jean-Philippe Müller Bugatti 64 Who invented the gullwing doors? The Bugatti 64 Jean-Philippe Müller has clearly fallen under the spell of Bugatti’s creations – his book on the Bugatti 'Bugatti 32 – Der Aero-Tank' was featured here in 2023, and now Müller has turned his attention to a very special Bugatti model, the Type 64. A model that was planned as the successor to the Type 57, and which Jean Bugatti began to consider as early as 1937. In 1938, work began on the construction of five chassis – the result was to be a four-seater touring model intended to succeed the Type 57. Jean-Philippe Müller writes: "It is interesting to note that, at the same time, Bugatti was engaged in the construction of the Bugatti P 100 aeroplane. The Belgian engineer De Monge was commissioned for this project – he naturally used lightweight aluminium for it – and the Type 64 was also to be built from aluminium (Dural) to reduce weight. And since the riveting is also reminiscent of aircraft construction, it can be assumed that De Monge also advised Bugatti on this point." However, the Type 64 was not only interesting in this respect; it was also the first car – 14 years before the Mercedes-Benz 300 SL – to feature huge gull-wing doors, which allowed the four occupants to enter the car comfortably. A patent for this technology was posthumously granted to Jean Bugatti, who died in 1939, in 1940. The death of Jean Bugatti and the outbreak of the war put an end to the dream of the Type 64 – incidentally, the gull-wing doors were soon replaced by two 'normal' doors, as the technology was too complicated and the doors were too heavy. Today, the only Type 64 ever built is on display at the Musée National de l'Automobile; other bodies were later fitted to two of the chassis, whilst the remaining two chassis have been preserved without bodies. Müller has meticulously researched the history of this one-off car and, 87 years on, has documented it as far as possible and published the results through his own publishing house. A fascinating story of a fascinating one-off that – though forgotten today – made design history.

Very unexpectedly the well known Bugatti historian and Author of two books about the marque passed away, aged 71. Only two weeks ago he was present at the Molsheim Festival with a stand, selling his books and drawings from Bugatti's patents.

During years Thomas and I met at various venues, Retromobile in Paris, the Molsheim Festival and even the MECC Interclassics in Maastricht where Thomas, full name Tamas Jozsef Valko, used to go. We had a great many in-depth discussions about all kinds of aspects of Bugatti history, and about our mutual book projects.

Unfortunately our relation cooled after I published my review on his book about the Bugatti Emblems, which was not very positive. We had not spoken since, and it won't be possible anymore either. Sad.

We wish his family and loved ones the strength needed to cope with this loss.

Photo: Bugatti Modélisme Molsheim, from Facebook

August 6, 2026

Bugatti Rimac completes ownership transition

The acquisition of Porsche’s shareholdings in Rimac Group and Bugatti Rimac by a consortium led by HOF Capital has been completed.
Porsche and Rimac Group established the Bugatti Rimac joint venture in 2021, with Rimac Group holding a 55% majority stake and Porsche holding the remaining 45%. Porsche also held a 21% shareholding in Rimac Group. Under the transaction announced in April 2026, a consortium led by HOF Capital, including BlueFive Capital as its largest investor and other institutional investors from the US and Europe, agreed to acquire Porsche’s shareholdings in Rimac Group and Bugatti Rimac. The transaction has now been completed. According to reports, the sale of these shares has brought Porsche approximately one billion euros. Ed.

"I am really happy that the deal with Porsche and HOF Capital has been completed. Porsche has been a very valuable partner for all these years, enabling us to build strong foundations for the future of the brand. I am really looking forward to our collaboration with HOF Capital, who will be a great asset in executing our long-term vision for the exciting future of Bugatti."
Mate Rimac, CEO of Bugatti Rimac

With the new shareholder structure now fully in place, Bugatti Rimac further consolidates Mate Rimac’s strategic and operational long-term vision for Bugatti, created when he was appointed Bugatti Rimac CEO in 2021. Mate will be supported by a new and restructured leadership team. Christophe Piochon will step down as President of Bugatti Automobiles and Chief Operating Officer of Bugatti Rimac. Mate Rimac himself will take over the role of President of Bugatti Automobiles while Marko Brkljacic – former Chief Operating Officer at Rimac Technology – is planned to be joining the Bugatti Rimac leadership team as Chief Operating Officer. Further changes are planned for the immediate future, including the appointment of current Bugatti Automobiles Managing Director, Hendrik Malinowski, as Chief Commercial Officer of the brand.

"With more than two decades with Bugatti, Christophe has strongly influenced the brand as it stands. From the Veyron to the Tourbillon, he has contributed to build and protect the quality and craftsmanship that define all hyper sports cars leaving Molsheim. On behalf of the entire team at Bugatti Rimac, I want to thank Christophe and wish him every success and take the opportunity to welcome Marko."

The new executive appointments are put into place during a pivotal moment in Bugatti history: the opening of the new La Manufacture (Photo below) production facility in Molsheim this July, and the final stage of the Tourbillon testing phase. Together, these milestones form the foundation of the ten-year vision for Bugatti set out under the leadership of Mate Rimac in 2021.

Lately we have been seeing on Facebook, as well as on auction websites and websites selling "Art" an increasing number of images which were made using Artificial Intelligence. I hope to disclose here why we should never use these. In fact, we should never even consider making them!

In this article, all AI generated images are clearly marked as such. This explicitly to prevent that with this article I am only increasing the problem....

There's various categories where Artificial Intelligence is used:

• The most dangerous one, where AI is used to produce seemingly original period photographs.
• The second are AI generated blueprint drawings.
• AI generated modern-day photographs which seem plausible, but on (closer) inspection just aren't right.
• Least harmful is AI generated art. Here my objections are different; the artist claims to have made an artwork, but just gave AI the order to make something. I did this myself, and for example the image at the top of this article was generated. However, I never claimed that I sat behind the drawing board using pencil, ink and paint...

AI generated seemingly original period photographs
A person calling himself "SuperKar Kato" has been posting loads of these on Facebook. On his own Facebook page these are clearly marked AI-generated, but not when he (or somebody else) copies these to other parts of Facebook. Apart from Bugatti there are many more, of various marques. In most of these, cars are assembled in a seemingly period environment, with mechanics dressed as if they could have worked at Bugatti in the 1920's or 1930's.
Many of the comments below the images when posted on Facebook clearly show that the commenter actually thinks he is looking at an original period photograph.

On closer inspection, there are lots of details that just aren't right:

• Steering column on the left, while the steering wheel is on the right (the latter is correct!)
• Engines which look technical, but have nothing to do with Bugatti
• The Royale seems to have a V-type engine
• Way too many cars being assembled at the same time! Too many type 35's, and even 8 (!) Royale's!
• Bugatti never had an assembly line using some kind of rails or guides
• The emblems just do not say Bugatti
• Crates with parts marked in English
• And the mechanics: They all seem to be very busy, but nobody is actually doing anything
• Also: what could a mechanic do when the body is already on the car? Polish?
• Many other details which just are not correct...
• Some images do have interesting details though.... Like a Fiacre-bodied car almost hidden in the background of the image with the Royales
• In the 3rd image below with the Type 35's: Two mechanics are working on a wheel. It must have been inflated with helium, as it is floating in the air, and one mechanic is pushing it down...

Various images with alleged "Type 37's". At least these have wire wheels! No steering column though, must be steering by wire?

Bugatti Royale, Type 57 and Type 57S Atlantic! Never knew there were so many made....

Another one by Kato: 80 Abandoned Bugatti's in 1939 in a Monaco Casino Garage. Rows and rows of Bugatti Type 35's and Type 57's. Almost looks realistic..

A different useage for AI is where it is used to clean-up an original photo. Seemingly an innocent action, but also here AI may generate some changes in the image, where the original, though of worse quality, was more correct.

Logically, the danger is enormous that at some time in the future these completely fabricated images or just "corrected" images are seen as being the truth. Possibly not for the long-time Bugatti-enthusiast, but it poses a giant risk for the young enthusiast who starts to become interested in the marque.

AI generated blueprint drawings
Also with these drawings, the level of detail, the stains and folds in the paper, falsely indicate that these are original drawings. Of the Royale in the case of the one above. However, looking into the details, it becomes clear that nothing is right. For the above "Bugatti Type 41 Royale" sold by "Kleury-Art", the design of the car itself, the engine and components, steering column on the left, everything is wrong... Though the engine is indicated as a 12.7 liter 8-in-line, the drawings show a V-type engine, a V16 even. And: the radiator mascot has basically a similar shape, but is not an elephant dancing on a ball...

Above left: The drawing of the Atlantic is largely correct, except for the engine. There just is something terribly wrong with the dimensions... A height of 2.7 meters?

Above right: This is the worst AI work I have seen (by Shmidt-Art), according to the text it should be a 1901 Type 2, which is the Gulinelli car. The design is however much more modern, it's a small 1920's car, in no way a Bugatti. The only thing which is correct is the chain drive..

On the right: a "Bugatti Type 35 Codex". Sold as if it were an Archive document. Most of the text is Ok, but the images are not. Of course, to start with, the photo is not of Ettore Bugatti, but of some unknown person (anybody recognize him?). The images of the details (1-6) all seem to be from a shipyard or so, not a lightweight racing car. How anybody is able to make this, and consequently even tries to sell this rubbish keeps me entirely puzzled...

AI produced modern-day photographs which seem plausible
Above we see again some work by "SuperKar Kato". It's a museum or luxury dealership setting. A range of Bugattis, including two Atlantics, and even a Royale or Type 46 (with wire wheels..). It all seems quite realistic, and the Type 35 almost had me convinced. Until you start examining the details, the cars just never existed like this. And of course the engine in the background is a V-type, which Bugatti never produced (they only designed one V16 aero engine, the Type 67).

AI generated art
As I had announced, there is AI generated art. As these are pieces of artwork, they usually do not pretend to give a complete and correct image of the car depicted. The one above is by Jan Keteleer, titled: "1938 Bugatti 57C Atlantic in the Oldtimer Garage".

The one on the right is by "Fransman" (1972) and was offered on auction website Catawiki many times, maybe 10 times or more. However, in the text no reference was given to it being an AI generated picture. Which it obviously is , it has all the clear signs, for the car at least (note that, again, there's only some blur on the radiator emblem, not the name Bugatti). Best looking is the lady.. This was one of the first instances that I got annoyed with AI, and I contacted Catawiki many times, and did get a reaction, but the listing was never retracted, and the "Art" was in fact sold for considerably more than what it is worth... Catawiki earning their 25% from it.

And to end this article with something I had ChatGPT make for me, back in 2024. The images since have improved. I just gave AI the following instruction: " Theme: Bugatti, Tone: Historical, Content: A classic Bugatti from the 1930s, for example against the backdrop of central Paris." Luckily, this fabrication can never be mistaken for an original image. The spokes aren't even straight! front suspension is not right, and something that most AI fabrications suffer from: they seem to be unable to actually put a Bugatti emblem on the radiator. The shape of which is totally wrong, of course. And.. One of the street lights is just floating in the air...

Concluding: Never play with Artificial Intelligence when dealing with Bugatti! Just do your own, thorough research, for example by reading one of the many books that have been published on the subject, or of course this website or the Bugatti Revue.

As far as known, all prices are including premium

Bonhams' The Laguna Seca Auction, California, USA, August 13, 2026

• 2024 Bugatti Chiron Super Sport, Chassis no. VIN. VF9SW3V39RM795109, Sold Price: $4,570,000

Broad Arrow the Quail Auction, California, USA, August 13 - 14, 2026

• 1927 Bugatti Type 37 Grand Prix, Chassis No. 37212, Engine No. 117, Estimate: $550,000 - $650,000: Not sold
• 1928 Bugatti Type 44 Torpédo by Figoni, Chassis No. 44437, Engine No. 154, Estimate:$375,000 - $450,000: Not sold
• 1931 Bugatti Type 49 Factory Berline, Chassis No. 49377, Engine No. 305, Estimate: $250,000 - $350,000: Sold after auction
• 2011 Bugatti Veyron 16.4 Grand Sport, Chassis No. VF9SK2C2XBM795030, Estimate: $3,250,000 - $3,750,000: Sold Price: $3,305,000
• 2025 Bugatti W16 Mistral, Chassis No. VF9SM3V36SM795046, Estimate: $8,000,000 - $10,000,000: Sold Price: $8,805,000

RM Sotheby's the Monterey Auction, California, USA, August 13 - 15, 2026

• 1927 Bugatti Type 37A Grand Prix, Chassis no. 37270, Engine no. 172, Estimate $800,000 - $1,100,000: Sold, no price given...
• 1937 Bugatti Type 57SC Atalante, Chassis no. 57551, Estimate $4,500,000 - $6,000,000: Sold price: $4,955,000
• 1938 Bugatti Type 57 Cabriolet by D'Ieteren, Chassis no. 57589, Engine no. 464, Estimate $900,000 - $1,500,000: Sold price: $1,820,000
  Before the auction I mentioned that this car was auctioned at RM Sotheby's Amelia Island auction in 2020, and then fetched $1,655,000, and then doubted if it would fetch a similar price now, 6 years later. In fact it did.
• 1938 Bugatti Type 57 Atalante by Gangloff, Chassis no. 57633, Engine no. 463, Estimate $1,500,000 - $1,800,000: Not sold, $1,500,000 asking
• 1939 Bugatti Type 57C Cabriolet in the style of Corsica, Chassis no. 57838, Engine no. 105C, Estimate $650,000 - $750,000: Sold price: $610,000
• 1993 Bugatti EB110 GT, Chassis No. ZA9AB01E0PCD39040, Estimate $1,750,000 - $2,250,000: Sold price: $1,847,500
• 2008 Bugatti Veyron 16.4, Chassis No. VF9SA25C08M795202, Estimate $1,500,000 - $2,000,000: Sold price: $2,232,500
• 2019 Bugatti Chiron Sport, Chassis No. VF9SP3V39KM795176, Estimate $3,000,000 - $3,500,000: Sold price: $3,662,500
• 2025 Bugatti Mistral, Chassis No. VF9SM3V3XSM795096, Estimate $7,500,000 - $9,500,000: Sold price: $8,310,000

Gooding Christie's Pebble Beach Auctions, California, USA, August 14 - 15, 2026

• 1928 Bugatti Type 43/49 Roadster, Chassis 43284, Engine L47, Estimate $700,000 - $900,000, Without Reserve: Sold price: $731,000
• 1930 Bugatti Type 43A Roadster, Chassis 43289, Engine 147, Estimate $1,400,000 - $1,800,000, Without Reserve: Sold price: $1,270,000
• 1930 Bugatti Type 46 Convertible Coupe by de Villars, Chassis 46360, Engine 227, Estimate $800,000 - $1,200,000, Without Reserve: Sold price: $637,500
• 1934 Bugatti Type 54 Roadster by O. Uhlik, Chassis BC70, Engine 1, Estimate $500,000 - $750,000, Without Reserve: Sold price: $731,000
• 1937 Bugatti Type 57C Ventoux, Chassis 57664, Engine 507, Estimate $400,000 - $500,000, Without Reserve: Sold price: $296,500
• 2020 Bugatti Chiron Sport 'Edition Noire', Chassis VF9SP3V37LM795274, Estimate $3,000,000 - $3,500,000: Sold price: $3,442,500

Bugatti: "The Final Race" to be directed by Camille Delamarre
From: Deadline.com

The director of pics such as Brick Mansions, The Transporter Refueled and Assassin Club will direct based on an English-language story from producer Iervolino about the life of (race) car manufacturer Ettore Bugatti. The Andrea Iervolino American Company is producing.

We first reported on the Bugatti movie in 2024, at which point frequent Iervolino collaborator Bobby Moresco was expected to be scripting the project. Iervolino (On the right) will now be scripting the film himself alongside Albert Ferrari. This marks the first time Iervolino has taken a writing credit on one of his movies.

Iervolino is known for bringing films about classic Italian car brands Lamborghini, Ferrari and Maserati to the screen. The Bugatti story will be set in Paris, in 1947, where Bugatti is living out his last months in an apartment where past and present blur into one. He has one final race ahead of him: To win back Molsheim – the factory, and the name, that were taken from him.

For Iervolino, the film is the final circuit on a tour that began with 2022's Lamborghini: The Man Behind the Legend, starring Frank Grillo. It was followed by Michael Mann's Ferrari, starring Adam Driver and Penélope Cruz, and Maserati: The Brothers, directed by Moresco with Anthony Hopkins, Michele Morrone, Andy García, Al Pacino and Jessica Alba starring.

"With Lamborghini, Ferrari and Maserati I told the story of the Italian obsession with speed," said Iervolino. "Bugatti is something else: It is art applied to an engine, a man who designed cars the way others carve sculpture, and who paid for that dream with the loss of his son."

"I have carried this story with me for years, and for the first time I felt the need to write it myself, together with Alberto Ferrari. Then I needed a director who could put speed in the audience's stomach and, at the same time, hold the silence of a family tragedy. Camille has spent 20 years building a language of movement. He is the right man for this race."

Delamarre (On the right) added: "I grew up a few kilometres from the Bugatti legend, and for me Molsheim is not just a name: It is the place where impossible objects were built. When I read Andrea and Alberto’s screenplay I found exactly what I was looking for – a film in which the cars are not scenery, they are characters."

"We will shoot with real machines, in real places, because you cannot fake the sound of a 1939 straight-eight. But the race that interests me most is the one between a father and a son: Two men chasing the same perfection from opposite directions, with far less time than they think."

The Bugatti Destrier: A Sculpture of Speed

Destrier, the third one-of-one creation of the Bugatti Programme Solitaire, transforms Bugatti's most extreme track machine, the Bolide, into a masterpiece of pure elegance. A Solitaire in the truest sense, it is a celebration of breathtaking proportion and beauty – a design of grace, dignity and style, conceived to endure: a creation destined to be passed from generation to generation, and to stand among the most significant designs in Bugatti's history.

Named after the finest and strongest type of medieval knight’s horse (Thus again named after a Horse, just like Brouillard, which of course was Ettore Bugatti's favourite horse, editor), the Destrier asks: what if the most extraordinary Bugatti engineering package ever created was untouched by wings, vents, and aerodynamic addenda, appreciated purely for its proportions? The result is a car standing just one meter tall, dramatically lower than any other Bugatti model. Its wheels – 20-inch at the front and 21 at the rear, a significant step up from the Bolide’s 18-inch items – appear monumental against a body pared back to its purest volumes.

Where previous Solitaire commissions – Brouillard and F.K.P. Hommage – were crafted from emotive stories and steeped in history, Destrier is instead an instinctive, emotional design-first sculptural masterpiece. Yet the underlying idea behind its creation is undoubtedly authentic to Bugatti history. The Type 57 chassis, for example, once underpinned both the streamlined Type 57G and Type 57C "Tank" racers that won Le Mans outright in 1937 and 1939, as well as the Type 57SC Atlantic, widely regarded as the most beautiful car ever built. A race car and an objet d'art sharing a single foundation. Destrier and the Bolide continue that tradition: one chassis, two entirely different expressions. A connection made permanent by a hand-laser-engraved dedication plate above the windscreen, depicting both the Type 57G Tank and the Type 57SC Atlantic.

A new form language
(Is it so new? I see a mixture of Bolide, Divo and Tourbillon (for the rear) mainly..... Editor)
Built on the Bolide's carbon fiber monocoque, Destrier introduces a fresh chapter in Bugatti's design vocabulary. The signature Bugatti C-line, traditionally an unbroken curve of brightwork framing each side, "breathes" – pausing just before the front wheel well, allowing bare bodywork to show through before resuming its path to intersect with the horseshoe grille.

The horseshoe grille, wider than on the Bolide, anchors a face defined by restraint rather than aggression. At the rear, details such as the elegant blended wing echo the Chiron Profilée, closing the silhouette with the same quiet grace.

It is in Destrier's stance that the wonder of this Solitaire is most obvious. The Bolide's extreme package allows the cabin to crouch low between the two front wings, giving the car the posture of a powerful horse poised to pounce, even at a standstill. Behind the doors, the bodywork draws inward into a dramatic waist before swelling out over the rear wheels into a powerful hip to create an extreme body posture normally reserved for dramatic initial design sketches, rather than fully formed production models.

“Destrier is not a car you understand with your head, it is a car you feel with your heart. The Bolide gave us the most extreme proportions we have ever created, and by freeing them from the Bolide’s relentless pursuit of downforce, we let them speak as pure sculpture. Just as the Type 57 chassis gave the world both a Le Mans winner and the Atlantic, one platform has now produced two entirely different masterpieces. I believe Destrier will be gracing Concours lawns 50 years from now.”

Frank Heyl, Director of Design

Destrier is finished in "Sapphire Celeste", a bespoke, multi-layered exterior color created exclusively for this car and its owner. Diamond-inspired sparkle within the paint's structure elevates the sculptural form of the bodywork to its highest level, while the polished aluminum brightwork provides an elegant contrast to the refined blue hue. The choice carries a quiet historical echo, too: the Type 57SC Atlantic chassis 57591 – the celebrated "Pope" Atlantic – originally wore blue, before being repainted black by its current owner. The car's exposed carbon fiber – limited to the front splitter and rear diffuser – has been tinted to complement "Sapphire Celeste" precisely. In the engine bay, brightwork components carry a hammered surface finish – a subtle nod to the hand-beaten armor of the medieval knight.

A tailor's atelier, on wheels
Inside, Destrier moves considerably further from the Bolide's stripped-back, motorsport-focused cockpit, drawing instead on the quiet warmth of a tailor's atelier. Every material has been individually selected and every surface crafted around its single owner. Three materials define the cabin: leather and nubuck, both in "Ambre Voyageur" – a timeless warm brown – and an advanced 3D-knitted textile.

The knitted material, drawing on techniques from haute couture and performance sportswear, forms seamless, three-dimensional surfaces that are as technical as they are tactile. Copper yarns run through it as sparkling highlights, woven into a circular "halo-line" pattern that flows around the cabin. Contrasting stitch lines pick out each component's geometry, repeated in the headrest embroidery and the flowing lines of the center console. The hammered brightwork finish from the exterior returns inside across four further touchpoints: the door opener, air vents, steering wheel hub, and entry plate. And in a nod to the origins of the marque, a small French flag sits at the heart of the cabin.

“Every material in Destrier was chosen the way a tailor selects cloth. "Ambre Voyageur" leather and nubuck bring a warm, human counterpoint to the depth of "Sapphire Celeste", while the 3D-knitted textile – threaded with fine copper yarns – wraps the cabin in a single, seamless halo. Nothing shouts. Every surface is measured, tactile, and made for one person alone.”

Sabine Consolini, Head of Color and Trim

Modern parametric patterns feature in the head and tail lamps, while the oil filler cap, a visible signature of the car's status as Bugatti's third Solitaire model, carries the Destrier emblem alongside its "1/1" designation.

Beneath the bodywork sits the Bolide's complete W16 powertrain, producing 1,600 PS – Bugatti's quad-turbocharged 8.0-litre engine at the peak of its development. True to the spirit of the project, it is a detail offered almost in passing: as with the great Concours-winning cars of the past, Destrier's story is one of proportion and craftsmanship, not outright performance.

The Bugatti Destrier will be unveiled during Monterey Car Week, culminating in the Pebble Beach Concours d'Elegance on August 16, 2026.

I was surprised to hear the news, first from a friend in Canada, later through the Dutch Bugatti Club from the Danish' club president Peter Zink that Erik Koux passed away peacefully on August 1, at the respectable age of 94.

Personally, I only spoke with Erik on a couple of occasions, the last time must have been at least 10 years ago, maybe even 15 years. It was at the Molsheim Festival, if I remember well.
At the Molsheim Festival in 2008 two of his creations were present together, see the photographs. Of course one Atlantic, the other a maybe even more attractive bodystyle, a recreation of the Jean Bugatti designed roadster, design 1082 (the later version without the swiveling front fenders), recreated by Koux and built by Rod Jolley in Britain. Erik was present with the roadster that year, and also the following year, 2009.

I could not find many photographs of Erik, it seems he wanted to show his cars more than himself. Therefore, at the top-right a photograph of Erik racing his Type 37 in 1977. From Bugatti i Denmark (4) by Frank Studstrup

From Peter Zink we learn how the Bugatti Passion began and developed for Erik:

"It was when, as a young engineer, he first saw a Bugatti on the street in Zürich. A strong and lifelong passion for this distinctive car marque was ignited – a passion that would come to mean so much to Bugatti enthusiasts around the world.

In addition to his great efforts in helping enthusiasts across the globe, it was Erik who took the initiative to found the Danish Bugatti Club in '66. And the fact that one can experience a Type 57 Atlantic on the road today is also thanks to his achievement in recreating this magnificent automobile.

Erik's significance to the international Bugatti world cannot be overstated and he will be missed deeply.

But his passion and contribution to Ettore's legacy live on through his two sons, Peter and Christian. And at the international Bugatti meeting in Denmark this summer, it was the 3rd generation who took the wheel of Erik's well-travelled 37155 — 17-year-old Mathi Koux."

Our sincerest condolances to the family, we wish them strength in these times.

Finally, an article written by Walter Jamieson Erik and the Atlantic, published in the Bugatti Revue, Volume 14, Issue 4.

In Rotterdam, a hidden Bugatti collection, long reserved for a select few, has finally opened its doors. Behind the hangar doors, the Perridon Collection showcases a century of history and secrets.

For most enthusiasts, owning a Bugatti will remain a lifelong fantasy, given the stratospheric price tag. A simple oil change can cost up to $25,000 (approximately €23,000), a figure that gives pause for thought. And yet, somewhere in an unassuming building in Rotterdam, a Dutch entrepreneur has lined up dozens of Bugattis, as if an entire museum had been stored in a carefully locked private garage.

This hidden Bugatti collection, long kept out of sight, has just been opened to the world thanks to a video from the YouTube channel Edition One-Off, which filmed a complete tour of the premises. The video reveals what the owner calls the Perridon Collection, presented on his website as "the largest private collection of Bugattis in the world." Models from 1912 to the latest Bugatti Tourbillon coexist here, and the further you walk among the cars, the more the whole thing resembles a life-size timeline that fans hadn't even dared to imagine.

Perridon Collection: Rotterdam's Hidden, Extraordinary Bugatti Collection
Behind this display is Michel Perridon, a Dutch entrepreneur and great enthusiast of the Molsheim-based brand. His collection, housed in Rotterdam, Netherlands, is described as "the largest and most prestigious collection of Bugattis." The location is normally closed to the public, which makes this filmed visit even more unique for enthusiasts who, until now, had to be content with occasional appearances at events.

Michel Perridon doesn't just buy Bugattis; he also has them custom-built. He commissioned the Bugatti Brouillard, a one-off model developed as part of the manufacturer's Solitaire Program. Unveiled during Monterey Car Week in California last year, this hypercar sports a green-on-green paint scheme, taillights inspired by the W16 Mistral, and six exhaust outlets in a row. Under the hood is the brand's iconic quad-turbo W16, here tuned to produce 1,600 PS, or 1,578 horsepower. Alongside it in the hangar, the all-new Bugatti Tourbillon, successor to the Chiron, serves as a reminder that this secret garage isn't just focused on the past.

From pre-war Bugattis to the Tourbillon: a century in a single garage
The Perridon Collection isn't limited to modern hypercars. It also boasts 28 classic Bugattis produced between 1912 and 1947. Among them is the Bugatti Type 35C, considered one of the most victorious racing cars of all time, a symbol of the brand's pre-war racing exploits. There's also a Bugatti Type 57 Atalante Fastback, recognizable by its sloping roofline. This Atalante once belonged to actor Nicolas Cage, well-known to car enthusiasts for his role as Randall "Memphis" Raines, who drives a Shelby GT500-style 1967 Ford Mustang, nicknamed Eleanor, in "Gone in 60 Seconds." A Hollywood nod that adds another layer of intrigue to this already rich collection.

As for more recent models, the collection includes a trio of Bugatti Veyrons, which speaks volumes about how Michel Perridon uses his cars. His first Veyron has approximately 46,000 km on the odometer, while the Veyron Grand Sport and the Veyron Grand Sport Vitesse have each covered nearly 40,000 km, the latter boasting 1,200 PS, or 1,183 horsepower. While some collectors leave their hypercars under a cover to preserve their resale value, these figures show cars that are actually driven. The same W16 that powered the Veyron and Chiron, and enabled several speed records, now gives way in the Tourbillon to an all-new naturally aspirated V16 paired with three electric motors, for a combined output of 1,800 PS, or 1,775 hp. From the pre-war Type 35C to this V16 hybrid operated by Bugatti Rimac after decades under Volkswagen ownership, the Perridon Collection showcases a century of Bugatti history in a single building, and each new image from this visit continues to fuel the fascination of enthusiasts.

Not mentioned in the article or video, and something which makes the Perridon Bugatti Collection a lot more special even is the fantastic collection of Carlo Bugatti furniture, which is the largest in the world. Added to that also a good collection of Rembrandt Bugatti sculptures. Some of these were exhibited during the 2023 Bugatti Festival, see the Bugatti Revue, Volume 28, Issue 3.

Thanks to Lanzante, the 1,825 hp hypercar is now officially road-legal.

At the 2026 Goodwood Festival of Speed, many thought they were seeing a mirage when they spotted a Bugatti Bolide with a license plate. Prepared by the British firm Lanzante, this hypercar, previously reserved for the track, has become the first Bolide announced as truly road-legal, theoretically capable of navigating traffic like any other sports car.

Originally, the Bolide, born in Molsheim, was conceived as an extreme demonstrator, officially unhomologated in any country. No trunk, no comfort features, just a racing chassis and the aerodynamics of an endurance prototype. Seeing a Lanzante Bolide today, ready to tackle speed bumps, radars, and 30 km/h zones, radically changes the promise for the few customers able to afford one.

Bugatti Bolide: From Track to Road
Underneath the skin, the specifications remain those of a track weapon: an 8.0-liter W16 engine, four turbochargers, a 7-speed dual-clutch transmission, and up to approximately 1,825 hp with racing fuel. The figures are staggering, with a 0 to 100 km/h time of 2.2 seconds and 400 km/h reached in just over 12 seconds; the road-legal Bugatti Bolide still crushes "production" hypercars.

This power is housed in an ultra-rare object, limited to 40 examples worldwide. The Lanzante version seen at Goodwood retains its exposed carbon fiber bodywork, enhanced only by a highly reflective Klaussen livery. The additions remain subtle: headlights integrated into a front end without a conventional bumper, revised suspension settings to handle speed bumps and parking ramps, but an overall look that is still closer to a Le Mans prototype than a grand touring coupe.

Lanzante Limited, a small company in the south of England, has already made cars like the McLaren F1 GTR Le Mans, the McLaren P1 GTR, and modern Porsche 935s road-legal. Its specialty: tiny production runs and bespoke engineering to transform pure track machines into road-legal curiosities.

At first glance — much is still missing — it is difficult to deduce from this that the Bolide for the streets is no longer a pure, uncompromising race car. In any case, some modifications are required to make the hypercar eligible for a license plate. For instance, it receives X-shaped LED headlights that are seamlessly integrated into the existing design, the suspension has a softer setup to better handle speed bumps and uneven surfaces, and the Michelin slicks must make way for street-legal tires that ensure proper water drainage.

Also worth noting: Lanzante collaborated with PWR Advanced Cooling Technology on a modified cooling system. After all, the original Bolide was developed for the track, where high speeds and constant airflow ensure that the technology functions optimally. In normal traffic — think of traffic jams, 30 km/h zones, or driving at a crawl — completely different conditions apply. The modifications are intended to ensure that the Bolide does not overheat there either.

Lanzante, Master of Track-to-Road Conversions
With the Bolide, the tuner has a head start: the quad-turbocharged 16-cylinder engine already comes from road-going Bugattis, like the Chiron, designed to meet stringent standards. Dean Lanzante sums it up by saying that "the Bolide has the right DNA to pass the regulations," with the main focus then being on noise reduction, pedestrian protection, and lighting.

Fortunately, the legendary 8.0-liter four-turbo W16 did not need to be touched. That power unit came unchanged from the Bugatti Chiron and was therefore developed from the outset for use on public roads. The Bolide surrounding it, however, was a completely different story. This hypercar was developed purely for the track, with a cooling system, suspension, and aerodynamics primarily intended for high speeds and maximum performance. That is why Lanzante had to make the necessary adjustments to ensure that you can go get croissants in the morning, too.

Goodwood, then the road
At the Goodwood Festival of Speed, this first Bolide by Lanzante climbed the hill lined with boots, its sound filtered just enough to remain legal. In real life, it will primarily be used on deserted roads at dawn, far from traffic jams.

For owners, the benefit is simple: no longer being limited to track days. The conversion, which costs several hundred thousand euros from Lanzante, allows registration in the United Kingdom and then, sometimes, re-registration in the Middle East or on the Riviera, where seeing a Bolide at a red light will remain a very rare sight.

Hyman Ltd is selling two very famous Bugatti's from the General William Lyon collection.

Both cars have been in the collection of Major General William Lyon for decades, a man forever ingrained in United States military history as one of the most distinguished and accomplished generals to serve in the United States Air Force.

In his later years, General Lyon founded the Lyon Air Museum in Orange County, California, where visitors could experience a remarkable assembly of World War II aircraft including a B-17 Flying Fortress and B-25 Mitchell, alongside military vehicles and a thoughtfully curated selection of classic motorcars. The museum still stands as a reflection of General Lyon’s lifelong passion for preserving the machinery and stories that shaped the twentieth century, however, now without many of the classic cars.

Major General William Lyon was born on March 9, 1923, and died at the age of 97 on May 22, 2020. See for (much more) info on this remarkable man: lyonairmuseum.org.

• 1908 Bugatti Type 10 ‘Le Petit Pur-Sang’ - Chassis 10
• 1965 Bugatti Type 101C-X body by Exner - Chassis 101506

1908 Bugatti Type 10 ‘Le Petit Pur-Sang’ - Chassis 10

• The genesis of Bugatti Automobiles
• Designed and built in Ettore’s home in Cologne, Germany
• The blueprint for the first production model, the Type 13
• Retained by the Bugatti family until Ettore’s death in 1947
• Discovered in the early 1960s by marque experts Antoine Rafaelli and Jean de Dobeleer
• Acquired and restored by the William F. Harrah Collection in 1971
• Offered from the famed Lyon Family Collection, where it has resided since 1986

Ettore Bugatti’s Early Days
Born in Italy of a richly talented artistic family, Ettore Bugatti was undoubtedly destined for greatness. His father Carlo was famous for his exceptionally crafted Art Nouveau furniture, his paternal grandfather, Giovanni Luigi Bugatti was an architect and sculptor, and even Ettore’s younger brother Rembrandt became renowned for his beautiful animal sculptures. At the encouragement of his father, young Ettore pursued a technical career, focusing his studies on engineering and starting his career with an apprenticeship at one of Milan’s leading cyclecar manufacturers. He showed considerable prowess for all aspects of motor vehicle design, designing an impressively well-engineered motorized trike sold as the Prinetti & Stucchi Type 1.

His experiments with four-wheeled prototypes led Ettore to catch the eye of Baron Adrien de Turckheim, who hired him at Lorraine-Dietrich in Alsace, then German territory. By 1902, Ettore served as head of technology at De Dietrich. All along, he continued designing projects of his own, eventually assuming the role of Production Director (chief engineer) for Deutz Gasmotoren Fabrik in Cologne, Germany. Deutz cars were renowned for superior quality, but their large and heavy nature was not to Ettore Bugatti’s taste. He recognized the European economy may not support such large, expensive cars for long, and felt a small yet sophisticated voiturette may appeal to a wider audience. Bugatti’s restless, relentless creativity fueled his desire for something different.

The Little Thoroughbred
During the winter between 1908 and 1909, while still employed by Deutz, Ettore constructed the first complete car to bear his name – the Type 10. Designed to be light, powerful and nimble, the car was powered by a 1,200cc four-cylinder engine designed by Ettore from scratch. The engine featured advanced technology such as a bevel shaft-driven single overhead camshaft, two valves per cylinder operated by cleverly designed tappets, a multi-plate clutch, and shaft drive. The engine operated at 1,500 rpm and was capable of reaching 2,000 rpm, a remarkable figure for its time. The engine bore the famous “EB” stamp for the first time. Bugatti utilized a simple channel chassis fitted with leaf springs, wooden wheels, and cable operated brakes. Since it was primarily a prototype, little consideration was given to style and the car was skinned in a simple, alloy body without doors, left unpainted. Weighing just 365kg (ca. 800lbs) and producing about 10 horsepower, it was remarkably quick for such a small machine and delightfully balanced for nimble handling. Ettore’s lifelong passion for horses undoubtedly inspired its nickname - Le Petite Pur Sang – the little thoroughbred.

At an exhibition in Cologne, pioneering French aviator Louis Bleriot trialed the Type 10 and was thrilled by the little car, and pleaded with Ettore to put his voiturette into production. By this point in his career, Ettore had the attention of financial backers, and with the support of patrons like Pierre de Vizcaya, the opening of a factory became a new priority. They settled on a disused Tannery located in the village of Molsheim, Alsace, and on January 1, 1910, having completed his contractual obligations to Deutz, Ettore Bugatti signed lease on his factory. While Bugatti has long been considered proudly French, its origins are multinational – Ettore Bugatti remained an Italian citizen until 1946, and Molsheim’s location in Alsace meant the company was actually based in Germany from its foundation until the end of The Great War.

The diminutive Type 10 was fundamental to Bugatti’s move toward serial production. Bugatti’s first production model, the Type 13, was essentially an enlarged and refined version of the Type 10. As Ettore’s first Bugatti automobile, the sentimental attachment to Le Petit Pur Sang was understandably strong, and he never entertained selling it. It remained a fixture in the factory, and through the years it was nicknamed “the bathtub” by workers, undoubtedly for its simplistic, unpainted metal coachwork. Into the 1930s, the Type 10 even served as regular transport for Ettore’s first wife Barbara as she preferred it’s light weight and easy operation. At some point, Ettore had the car freshened, painting the chassis and wheels a distinctive red-orange color, and workers responded by nicknaming it “the lobster” in jest. It remained very much a part of the family, with Roland Bugatti recalling “We always kept it at Molsheim, and it became sort of a family pet, and eventually, a prized part of our collection.”

The Survival of the Type 10
In 1939, German troops moved toward Alsace and Bugatti was forced to abandon his Molsheim factory and evacuate to safer territory. Critical machinery and workers were relocated some 800km away to Bordeaux, and Ettore was sure to take the Type 10 with him. There, it was stored at a shipyard, and it stayed there for the duration of the war.

After the war, Ettore Bugatti struggled and fought to regain control of his factory in Molsheim, an effort which absorbed his spirit and his health. He died in 1947, shortly after wresting his beloved factory from government control. The Type 10 remained in Bordeaux and fell into a state of neglect, and it slipped off the radar.

At some point the Type 10 was stolen, presumably for scrap value, and wound up in a junkyard some 160km north in Niort. Miraculously, it was saved from the scrapper, discovered in 1961 by the “Bugatti Hunter” Antoine Rafaelli who purchased it and quickly passed it to his compatriot and fellow Bugatti archaeologist, Jean de Dobbeleer, who determined its significance. It was sold to the Belgian collector and hotelier Georges Marquet, who kept it for about a decade before he dispersed his collection. In 1971, the Petit Pur Sang caught the attention of famed collector William F. Harrah, through Claude Dubois, an agent working for Marquet.

While Harrah is famously one of the most prolific collectors of all time, he was also incredibly fastidious and selective about the cars he collected. Reportedly, several skeptical letters were sent from Harrah’s chief curator Edward Catlett to Dubois, De Dobbeleer and others, seeking consensus on the car’s provenance. Mr. Harrah wanted assurances of its authenticity. Among the most important evidence came from Francois Seyfried, then supervisor of the Bugatti works in Molsheim, who knew the car personally and attested to its history. Marque historians have reached similar conclusions with their own research, corroborating the findings of Harrah’s team.

Once in the Harrah Collection, it underwent a sympathetic restoration, returning it to its original look of bare aluminum bodywork over an orange painted chassis. Concessions included the fitment of slightly later Brescia gearbox and magneto – components derived from the Type 10’s original design. The gem of a 1,200-cc engine was rebuilt and returned to full running order and detailed in black, copper and brass – notably retaining its original “EB” stamped brass ID plate.

In the mid-1980s, the Harrah Collection was gradually dispersed over the course of several events and auctions. Maj. Gen. William Lyon of California had been assembling one of the premier automobile collections in the world, and he added Le Petit Pur Sang to his growing collection in 1986, purchasing it from the Harrah Collection. Significantly, this ‘first Bugatti’ became stablemate to another highly important Bugatti, the final Type 101C, bodied by Ghia to a Virgil Exner design. In the care of the Lyon Family Collection, the restoration performed by Harrah’s team has been beautifully preserved, and the car has made occasional outings to prestigious events, including the Pebble Beach Concours d’Elegance.

In the past four-plus decades that the Type 10 and the Type 101C have sat shoulder-to-shoulder in the Lyon Family Collection, they have represented the ‘bookends’ of Ettore Bugatti’s enduring legacy of style, mechanical artistry, and performance. The Type 10 Le Petit Pur Sang was once a prized possession of the Bugatti family, it later became a cherished part of the Lyon Family Collection, and it now represents an exceptional, once-in-a-lifetime opportunity to own one of the most significant pieces of Bugatti history – the car that started it all.

1965 Bugatti Type 101C-X body by Exner - Chassis 101506

• Offered out of more than 40 years of care in the Lyon Family Collection
• One of just seven Type 101 chassis built, and equipped from new with the optional supercharged engine
• Retained by Bugatti until 1961
• Clear, well-known provenance throughout its existence
• Exceptionally well-preserved and largely unrestored condition

The Final Chapters of Le Patron
During the long, dark days of World War II, Ettore Bugatti persisted. The final chapters of his company began in 1939 when, at the behest of the French government, Ettore evacuated his Molsheim factory to a scruffy industrial site in Bordeaux some 800km from the German border, to produce camshafts, crankshafts and propellor shafts for Hispano-Suiza aircraft engines. His beloved chateau and factory had fallen to the occupation forces, so business shifted to Bugatti’s Paris showroom at Avenue Montaigne. Naturally, selling Bugatti automobiles in such an environment was nearly impossible, but nevertheless, Ettore remained hopeful and continued to design cars from his Paris home. Among his many concepts, only the Type 73, a 1,500cc light car with optional supercharger reached the prototype phase, but he held on to hope that cars would once again roll from the Molsheim factory gates.

Unfortunately for Ettore, the end of the occupation did not equate to a seamless return to business as usual. His factory fell under French government control, but bureaucratic roadblocks and suspicion of Bugatti’s Italian roots meant it took years of lawsuits and appeals for him to be allowed back to his factory. And when he got the keys back, he found precious machinery stolen and overturned, and offices burned. The stress of the war, the reconstruction, and the struggle to regain his factory took a toll on Ettore’s health, and after failed attempts to restart production, Le Patron died in 1947.

In the wake of his death, there was no clear successor to the throne as his son Jean died in a tragic road accident years earlier. Ettore’s young second wife was left 50% of the company, his son Roland put in charge overall, and day-to-day operations fell to General Manager and company veteran Pierre Marco. With tenuous cooperation among the various factions, the stage was set for an uneasy revival.

The Bugatti Type 101
With new leadership in place at Molsheim the focus on cars could resume. The Type 73 was unveiled at the 1947 Paris Salon, and while a handful of orders came in, its introduction was fraught with problems and production never got underway. In March of 1951, The Autocar reported that “two new models in production before the end of the year is the latest hope of the Bugatti company.” One of these two models, the Type 101, marked Bugatti’s return to building traditional Grandes Routieres.

Essentially a freshened version of Jean Bugatti’s highly successful Type 57, the Type 101 utilized that car’s 3.3-liter, double overhead-cam inline 8-cylinder engine, offered with or without a supercharger. The chassis featured new Lockheed hydraulic brakes, and two gearbox options were listed – a Cotal electro-magnetic unit, or a Bugatti-designed five-speed which never materialized. It was undeniably powerful – the most powerful European road car of its time, in fact. In naturally aspirated form, the Type 101’s engine developed 135 horsepower, or an impressive 200 bhp equipped with the Weber carburetor and supercharger. Two Type 101 chassis debuted at the 1951 Paris Salon. Both cars, a 2-door saloon and convertible were bodied by Gangloff, which did a masterful job of masking the chassis’ pre-war roots while celebrating Bugatti’s legacy via the distinctive horseshoe grille.

Unfortunately, buyers weren’t convinced by the decidedly old-fashioned solid axle and fixed-head engine design. It was also enormously expensive to purchase and tax. Neither show car sold at the Salon and were retained by the factory. At least seven chassis were ultimately built: 57454 was the supercharged 2-door saloon by Gangloff. 101500 is the first official Type 101 prototype, bodied as a four-door saloon by Guillore. 101501 is the Gangloff convertible show car, and 101502 is believed to be another Guillore saloon. Chassis 101504 is a wild-looking supercharged coupe by Antem, and 101505 had long been missing. The final car, a supercharged 101C s/n 101506, remained unbodied and owned by the factory until 1961.

Bugatti Type 101C Chassis 101506
The availability of any Bugatti Type 101 represents an incredibly rare opportunity for collectors, while the car offered here, chassis 101506, is perhaps the ultimate prize – the chance to own the very last Bugatti road car produced at Molsheim under the auspices of the Bugatti family.

S/N 101506 was the final Type 101C chassis built, and it languished at Molsheim without coachwork until 1961, when it was acquired (still bodyless) by E. Allen Henderson, a Bugatti collector from Marlboro, New Jersey. Henderson was a very private man, and his impressive collection was largely hidden away. In 1964, experiencing ill health, Henderson reached out to his friend and confidant, L. Scott Bailey, the publisher of the highly respected Automobile Quarterly, to discuss selling some cars, including the bare 101C chassis.

Bailey had the Bugatti in mind while attending a gala for the launch of Virgil Exner’s Duesenberg revival, held at the designer’s new Birmingham, Michigan studio, having recently retired from Chrysler. The Duesenberg Model D prototype was the first realization of the Exner ‘Revival Series.’ Initiating as an idea in Esquire magazine in the early 1960s, the project centered on modern interpretations of defunct prestige brands – not retro, not replica – but evocations of storied automakers as if they never disappeared in the first place. The illustrations – initially including Duesenberg, Stutz, Mercer and Packard – caught the attention of New York based model car company Renwal, who licensed the designs for 1:25 scale plastic model kits (See above, editor collection: Note that the kit is slightly different from the car, as it was based on a drawing from earlier in the design-phase, including most notably a side- exhaust pipe). Three more marques were added, including Pierce-Arrow, the Jordan Playboy, and, of course, Bugatti.

The project soon took on a life of its own and grew beyond the scope of illustrations and plastic kits, with several of the cars taking shape in full-scale form. Virgil Exner, Sr. had a long and fruitful relationship with Carrozzeria Ghia of Italy, and it was Ghia who brought the Duesenberg concept to reality. The Stutz, with significant revisions and independent backers, went into limited production as the 1970 Stutz Blackhawk by Carrozzeria Padane, and the Mercer was realized on a 289 Cobra Chassis by Carrozzeria Sibona-Basano.

Back in Birmingham for the Duesenberg unveiling, L. Scott Bailey approached Exner mentioning the existence of the 101C – the perfect basis to bring his Bugatti concept to life. Intrigued by this possibility, Exner and company arranged a trip to New Jersey to meet with the reclusive Mr. Henderson. Upon their arrival, the housekeeper opened the barn to reveal a trove of fourteen dusty Bugattis, including a Type 57 Galibier sedan, Type 57SC Corsica Roadster, and a bodyless, running chassis with a box for a seat, bearing the chassis number 101506. A deal was soon made for $2,500, and the 101C was roused from its slumber as Virgil Exner Jr. and his best friend Mike Cleary towed it behind Exner’s 1964 Plymouth station wagon.

The lithe roadster body necessitated shortening the chassis by 18-inches, a task undertaken by Exner Jr. and Mike Cleary. Some re-engineering was required to achieve the lowered seating position, and while the car was originally fitted with a Cotal gearbox, a conventional four-speed was adopted. Virgil Exner Sr. and his team constructed clay models of the body, Exner Jr. designed the interior, and all was sent to Carrozzeria Ghia to bring the car to life in the metal.

The finished product was unveiled at the 1965 Turin Auto Salon. A lithe and low-slung roadster, it was defined by the bold horseshoe grille protruding from pontoon-like front fenders, and a speed-boat style split windscreen. Distinctive rectangular headlamps flanked the grille, and the rear end came to a neat taper not unlike the 1962 Corvette. The car was finished in a lush dark blue, accented with white painted wire wheels fitted with white pinstripe tires. Dubbed the “Type 101C-X” it was a glamorous thing, and with its supercharged engine, it promised the sort of performance worthy of its illustrious badge.

While Exner Sr. hoped the show car would spur production interest, that never happened. After driving the 101C-X approximately 1,000 miles, Exner sold it to the renowned collector Tom Barrett, co-founder of the Barrett-Jackson auction house. Barrett then sold the car to his friend and fellow ‘horse trader’ Irving “Bud” Tushinsky, who showed the car with much enthusiasm during his tenure. Chassis 101506 then enjoyed a quiet spell in the care of Harvey Ludwig, before coming to the attention of Ken Behring and Don Williams of The Blackhawk Collection who acquired it around 1984. They promptly sold it to Gen. William Lyon, where it eventually became a stablemate to Exner’s Mercer Cobra. As a cornerstone of the Lyon Family Collection for over 40 years, the significance of 101506 as the very last Bugatti was underscored by its pairing with the 1908 Type 10 Petit Pur Sang, the very first complete car designed and built by Ettore Bugatti. The 101C-X has been widely celebrated at the Pebble Beach Concours d’Elegance, and in 2022, it was invited to the National Automobile Museum – Schlumpf Collection at Mulhouse, France, for a special exhibition of all seven known Type 101s.

While the Bugatti company had an inauspicious ending after the war, Virgil Exner and Carrozzeria Ghia did wonders to celebrate the marque’s final days, respecting its lofty stature in motoring lore. Today, after more than four decades in the care of the Lyon Family Collection, the Bugatti 101C-X remains stunningly original, having never been restored during its lifetime. It is said to retain nearly all of its original paint, original engine, supercharger, and gearbox as fitted by Exner, with the only notable change being chrome wire wheels and whitewall tires in place of the original painted wires. Accompanying documents include various articles, including one by renowned author Karl Ludvigson, period photos of the car under construction, and photos documenting its various exhibitions.

Opportunities to acquire such a significant piece of motoring history come rarely, if not once in a lifetime, and the chance to own the final ‘true’ Bugatti is one that should not be missed.

More info at Hyman Ltd

Artcurial Le Mans Classic Legend Auction, France, July 3, 2026

• 1925 Bugatti Type 35 Grand Prix Replica, Chassis no. "3537", Estimate: €300,000 - 500,000: Not sold

Bugatti's family silver cutlery set.

Each of the 73 pieces, forks and spoons, as well as a large serving spoon, is engraved "EB" on the rear. The set consists of 12 small spoons and 12 small forks, and 24 each of large forks and spoons.

The cutlery set was frequently used by Bugatti when welcoming his guests such as race drivers, clients, co-workers, agents and of course his friends.

Ettore Bugatti ordered this solid silver cutlery set in Paris in 1924. It was bought from the well-known firm Cardeilhac. The Maison Cardeilhac was a renowned French silversmith house that was established in 1804 by Antoine-Vital Cardeilhac. In 1904, Ernest Cardeilhac passed the reins of the company to his two sons, Jacques and Pierre. They continued the legacy of Maison Cardeilhac, upholding the reputation for exceptional craftsmanship and innovative designs.
In 1951, the Maison Cardeilhac brand was acquired by Christofle, a prominent name in the luxury silverware industry. The acquisition ensured the continuation of Maison Cardeilhac's legacy and its integration into a wider network of renowned silversmiths.

The set followed Ettore from Molsheim to Paris (Rue Boissière), then to Bordeaux shortly before World War II, and then to the Chateau d'Ermenonville. After Ettore passed away, the set went to Roland Bugatti in 1947 (again to the Rue Boissière), later to the south of France (Aix-en Provence) and remained in his possession until he passed away in 1977.

It was then privately bought by somebody from the same village.

An expertise was done by expert Christian Huet in 1993, the total Provenance is known from 1924 until now.

This is a once in a lifetime opportunity, to be able to purchase Ettore Bugatti's personal and historical piece of Patrimony.

Only serious offers will be considered, please contact Jaap Horst, at: J.J.Horst@BugattiPage.com.

A Bugatti Exhibition
This new Bugatti exhibition builds upon the Zeithaus’s permanent "Beziehungs-Kisten" (literally "Relationships") exhibition, adopting its display concept: automobiles are presented in pairs or trios, positioned alongside one another to reveal technical or stylistic connections—some obvious, others more unexpected. Autostadt has organized the Bugatti showcase around five thematic zones, each dedicated to a specific facet of the brand's recent history within the Wolfsburg-based automotive group. Autostadt’s stated goal is to make an important chapter of automotive history accessible to the public: the period when Bugatti—then part of the Volkswagen Group (a status that has since changed)—created its modern hypercars. The newly displayed exhibits include prototypes and test vehicles that have rarely been shown to the public before.
The Five Thematic Zones:

The Vision
This first area opens with the Bugatti EB 118 (1998), a grand tourer coupé designed by Giorgetto Giugiaro and powered by an 18-cylinder engine. This concept car represents the first tangible expression of the Volkswagen Group's ambition to revive the Bugatti brand. The engine of the Bugatti EB 218—another concept car from the same period—is also on display; it served as the technical foundation for future production models.

Concept Cars
This section documents the genesis of the Veyron through two design studies created in 1999 and 2000, illustrating the evolution from concept to the hypercar that eventually reached the market. The first concept car—the 1999 Bugatti 18/3 Veyron—was designed by Walter de Silva, while the second—the 2000 Bugatti EB 16.4 Veyron Concept—was created by Hartmut Warkuß and Jozef Kaban. These two proposals, each with a distinct aesthetic approach, reflect the stylistic debates that shaped—step by step—what would become one of the most iconic vehicles of the early 21st century.

Roadsters
Dedicated to the open-top version of the Veyron, this area showcases the Bugatti Veyron 16.4 Grand Sport Vitesse (2012), which was the world’s fastest roadster at the time. Two examples are displayed side by side—one with the roof closed and the other in open-top configuration—to illustrate the dual nature of a model that embodies the brand’s DNA: technical perfection, extreme performance, and absolute exclusivity.

Special Editions
This section brings together two exceptional limited-edition models: the first prototype of the Divo (2019) and a prototype of the Centodieci (2021). The Divo was designed with optimized aerodynamics and reduced weight, with the aim of achieving pure cornering performance. For its part, the Centodieci reinterprets the design language of the legendary EB 110, produced between 1991 and 1995; this reinterpretation was overseen by Achim Anscheidt, who shaped the brand’s visual identity for nineteen years.

Record-breaking car
The fifth and final display area showcases the Bugatti Chiron Super Sport 300+ (2019), the world’s first production car to break the 300-mile-per-hour (482 km/h) barrier. The actual record-breaking vehicle reached speeds exceeding 490 km/h—a benchmark that remains the ultimate record for an internal combustion engine to this day. The famous W16 engine that made this feat possible is on display alongside the car.

Editor’s take
The most striking aspect of this exhibition is the candor with which Autostadt acknowledges Bugatti's industrial history under Volkswagen ownership—a topic sometimes glossed over elsewhere, given how carefully the brand cultivates its current image as an independent artisan manufacturer carrying on the Molsheim legacy. Here, there is no ambiguity: the exhibition clearly asserts that Bugatti's revival - from the EB 118 to the Chiron - owes everything to the engineering expertise and resources of the VW Group. For anyone following the brand's recent history, this is precisely what makes the visit so compelling: seeing the 1999 sketches that gave birth to the Veyron gathered in a single space speaks volumes - far more than any online retrospective could. However, one might regret the exhibition’s deliberately compact format—five display areas is not much considering the scope of the subject—and the absence, at this stage, of older models from Bugatti’s 1920s–1930s golden age (such as the Type 41 Royale) within the display. Nevertheless, since access is included in the Autostadt ticket at no extra cost, it is a must-see for any enthusiast visiting Wolfsburg—ideally combined with a visit to the Zeithaus as a whole.

Further info to prepare your visit

Since September 17, the museum hosts a unique exhibition, showing a range of the most important Bugatti engines. These start with the 8-valve Type 13 ending with the VVR16 of the recent Veyron and Chiron models.

Another reason to go and visit this museum!

Info on all the engines

Further info to prepare your visit

• 1926 Bugatti Type 38 Chassis No. 38219, Estimate: €250,000 - €350,000)

“An exceptional original chassis and engine combination, paired with a rare Grümmer body and powered by an 8-cylinder engine derived from the legendary Type 35”

Produced between 1926 and 1927, the Bugatti Type 38 succeeded the Type 30 and formed part of Molsheim’s range of grand tourer models. It was fitted with the famous 2-litre straight-eight engine so dear to Ettore Bugatti, offering both smoothness and performance. Although less radical than a Type 35 racing car, it nevertheless benefited from a finely tuned chassis and a four-speed manual gearbox. With only 385 examples produced, it remains particularly rare today.

Chassis No. 38219 was delivered by the Parisian dealership on the Champs-Élysées on 10 September 1926. Sold as a bare chassis, it was fitted with engine No. 119, which is still in the car today. It left France bound for San Sebastián in Spain, where it was registered on 26 November. After four pre-war owners, it was converted into a two-seater utility vehicle during the Second World War, probably to avoid requisition. After the war, it had five Spanish owners before returning to France in the 1990s.

In the late 1990s, this Bugatti was fitted with a Grümmer body derived from the Type 30, chassis no. 4442. Of the sixty or so bodies produced by Grümmer for Bugatti, only five are known to exist today. Of the low-slung E.B.V. type, it utilises the Weymann process and a ‘flexible’ wooden structure covered in moleskin, thereby lightening the car and lowering its centre of gravity.

Acquired in 2010 by its current owner, the car has undergone a complete restoration. The bodywork has been repainted and the interior restored in an elegant Art Deco style. The specialist workshop Novo carried out a complete overhaul of the engine, revealing a five-bearing crankshaft and lightweight connecting rods, suggesting it had been prepared for competition. Over €100,000 will be spent on completing the restoration. Now in excellent condition, the car starts easily, but a mechanical service is recommended given its limited recent use.

Rare due to its limited production run, this Type 38 stands out for its original chassis and engine assembly and its straight-eight engine. It also features a rare Grümmer E.B.V.-type body, of which only a few examples are known to exist today. Carefully restored and boasting a well-documented history, it offers a rare opportunity for collectors seeking an authentic and unique Bugatti.

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• Rembrandt BUGATTI - Gazelles apprivoisées, face à face - circa 1905
  Bronze à patine brun nuancé, Estimate: €200,000 - €300,000)

Signé, numéroté et cachet du fondeur sur la terrasse "R BUGATTI / 3 / CIRE/PERDUE/A.A HEBRARD"

Modèle fondu circa 1905

Socle en marbre vert d'origine

22.7 x 45.3 x 10.4 cm

Provenance : Collection particulière, Saint-Etienne

Vente Saint-Etienne, Hôtel des ventes du Marais, 25 avril 2019, lot 1

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And how it relates to the original Retromobile in Paris!

What I do know, it that it will be a lot more costly, at $63, where the price in Paris is just 21 euro!

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