THE GREAT IMPRESSION

This Chrysler Imperial’s fine engineering and Bohman & Schwartz Deco style proved to be the perfect extravagance for Hollywood’s first black superstar

- MICK WALSH

Think of the world’s most beautiful automobiles, and it’s surprising how many are painted black. Both sexy and sinister, the darkest hue gives a great shape more dramatic presence. Fashion magnate Ralph Lauren certainly thinks so, and most of his pre-war collection is presented in a lustrous ebony finish, some authentically so. The drama of the Count Trossi Mercedes-Benz SSK and the Bugatti Type 57SC Atlantic are certainly enhanced by black bodywork, as were many pre-WW2 Paris motor show sensations including those by Voisin and Bucciali.

If you review the Pebble Beach Concours d’Elegance winners right up to last year’s fabulous Mercedes 540K Autobahn-Kurier, I’ll wager black is the most common colour. Racing and record cars from the giant Mephistopheles to Can-Am Shadow also look faster and meaner this way, as do the coolest hot rods headed by the Doane Spencer ’32 Ford Hi-Boy Roadster.

Too often today the great American classics of the ’30s are finished in multiple pastel hues or bright tones as new owners try to stand out on the concours field, but occasionally they keep it simple and authentic with stunning results.

The 1932 Chrysler Imperial range is among the most beautiful of the American coach-built greats, but one custom CH Cabriolet made during the depths of the Great Depression by the newly formed Bohman & Schwartz partnership in a cramped Pasadena workshop has a special allure. Now finished completely in black after recently revised detailing, its perfect lines have been brilliantly enhanced.