Editor: Jaap Horst
This story is about my one unusual acquaintance with a Bugatti Type 54, #chassis 54201 to be exact. Yes, many, many years back I was ready to become the "life" owner of the above vehicle, from its then owner Mr. Zdenek Pohl via administrative & organizational assistance of his brother Jiri. Zdenek for many years ignored knocks on his doors, from the few people knowing about his jewel. He was not mentally in his best for many years, so did not want to deal with many people. But above all he cherished the ownership of 54201 as an undying memento for his lover and closest friend, Count / Prince Lobkowitz, who hastily purchased (but maybe not actually paid for?) that most powerful of Bugatti car racers. He ordered the car through the Czech Bugatti dealer Ing. V. Gut (Invoice from Bugatti for 54201), because he considered to enter AVUS! Barely trained, he was warned by a damaged gearbox, while testing the car around his Castle in Horin, just few days before the 1932 AVUS race. A new gearbox was delivered by air, bearing number 10 (from 208 car). This was with the help of Madame Junek, personal friend of the Bugatti family and it was installed just before the race on May 22, 1932.
Unfortunately the car was a bit too much for Jiri Lobkowitz. Well, even master race driver Achille Varzi, complained to Ettore after finishing 3rd in the Monza race on September 16, 1931, that 54201 is difficult to drive. During the race on the AVUS circuit, Jiri Lobkowitz lightly scraped another driver's (Levy) car, lost control of his Bugatti, slid sideways with the car front facing incoming racers, continued sliding sideways across the grass, over the south paved racing route, and down the trench below railway tracks where the car stopped. By that time Lobkowitz had already died. Jean Bugatti who was present at that AVUS race, promptly delivered a touching condolance note to Countess Josephine Lobkowitz, Jiri's mother, and also apparently spoke to Zdenek Pohl, who became the owner of that damaged 54201 (by order of Countess Josephine). Zdenek had also participated that day in the Voiturette race, becoming 4th in his T37A (chassis 37366). When I spoke to Zdenek during the late 60ties, he was not clear about it, but most likely he had agreed to ferry the damaged car back to Molsheim, where some major parts were exchanged, incl. chassis, which was exchanged with that from disappeared Lehoux racer #54202. However, it seems that for custom purposes #54201 was "re-used" with addition as "repairs" so 54201 was returned to its GP format and registered for the GP of Czechoslovakia on September 4, 1932. However, I could not find any appearance of Zdenek at that race, so likely NO show.
Above Right: When Prince Lobkowitz arrived in Berlin/AVUS with his Type 46, he had asked Uhlik for a “waterfall" radiator cover.
From my own short experience with the car, then fitted with the new fabulous body by Uhlik, the now heavier car had its own spirit. It wanted to go mercilessly, unwilling to slow down nor change direction, scaring by its exhaust blasts, birds kms away in process. It was one of the greatest manly feat any real man will appreciate, but I believe Zdenek got unsure, maybe mothballed 54201, visited Molsheim few times, searching no doubt for a way to control that racer more comfortably. This 1933/34 passed and suddenly Zdenek entered the Czech hillclimb “Jeneralka" (near Prague) in 1935, apparently again unhappy about managing that racer.
Zdenek continued racing his Type 51 and decided to change the 54201 racer to a fabulous sports convertible. This with the help of the master body maker Oldrich Uhlik. Here it becomes very interesting. Uhlik, well French spoken visited Molsheim and apparently discussed with Jean the body for Zdenek's 54201. I believe that Jean boldly suggested to use his unusual "beaded" design of flowing fenders, including "helmet" opening up from and a slight kick up at the end - all features present in the T57S Atlantic.
Years later; Zdenek Pohl and Eliška Junkova (Elizabeth Junek) When I saw the car first, the central bead was noticed though judging from Pohl's own sense of beauty he had that bead ground down and when seeing the car again in Peter Mullin's collection the beads further disappeared. Maybe it was considered obsolete or a primitive way to build the fender - we have huge presses, so why to connect 2 hand beaten pieces??
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