SKU: 78060759452

"1929 Bentley Blower" - 1930 Le Mans - Birkin & Chassagne - Race Weathered

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"1929 Bentley Blower" - 1930 Le Mans - Birkin & Chassagne - Race WeatheredLimited to just 30 pieces As raced by Sir Henry "Tim" Birkin and Jean Chassagne in the 24 Hours of Le Mans at Circuit de la Sarthe on the 21st and 22nd of June 1930 Weathering details precisely applied by artisans in Bristol using archival imagery Model accompanied by an archive quality print of the car at a pit stop 1: 8 scale model, over 54 cms 21 inches long Each model hand built and assembled by a small team of craftsmen Made using the finest

  • Limited to just 30 pieces
  • As raced by Sir Henry "Tim" Birkin and Jean Chassagne in the 24 Hours of Le Mans at Circuit de la Sarthe on the 21st and 22nd of June 1930
  • Weathering details precisely applied by artisans in Bristol using archival imagery
  • Model accompanied by an archive quality print of the car at a pit stop
  • 1:8 scale model, over 54 cms/21 inches long
  • Each model hand-built and assembled by a small team of craftsmen
  • Made using the finest quality materials
  • Over 4500 hours to develop the model
  • Over 450 hours to build the model
  • Thousands of precisely engineered parts: castings, photo-etchings and CNC machined metal components
  • Built using original CAD designs developed from a scan of an original car
  • Original drawings, archive photographs and material specifications supplied by Bentley Motors
  • Officially licensed 24 Hours of Le Mans product
  • We are thrilled to offer a special edition of thirty race weathered Bentley Blowers, as raced by Sir Henry "Tim" Birkin and Jean Chassagne in the 24 Hours of Le Mans on the 21st and 22nd of June 1930. This unique edition of only thirty models has been meticulously hand-painted and detailed by our master model makers to show every detail of the race dirt and damage as the car raced at the renowned Circuit de la Sarthe. Each of the thirty models will be accompanied by an archive quality Giclée print of the car mid-race in the pit stop, selected by the curator at Motorsport Images.

    The Fastest Car of its Day

    No other pre-war Bentley had an impact like the supercharged 4 ½ litre ‘Blower’ Bentley. While it never won an endurance race, the Blower Bentley was the outright fastest race car of the day, born from a philosophy devised by Sir Henry “Tim” Birkin, notable racing driver and Bentley Boy, to extract more speed from the racing Bentleys of the day using a supercharger. Birkin then persuaded Bentley Chairman Woolf Barnato to sanction production of 55 supercharged 4 ½ litre Bentleys, with five allocated for competition.

    Today, the Blower Bentley is the most iconic pre-war Bentley and is coveted by collectors globally. For many, the 4 ½ litre is to automobiles what the Supermarine Spitfire is to aircraft, as much an icon as it is an engineering marvel. Examples are regularly auctioned for millions, whilst an example sold in 2012 fetched over $7,000,000. Counted amongst its fans was the author Ian Fleming, who later decided that his famous fictional secret agent James Bond would drive a supercharged 4 ½ litre Bentley in the novels Casino Royale, Live and Let Die and Moonraker.

    The ‘Blower’ is born

    The Blower engine started life as the naturally aspirated 4 ½ litre engine, designed by WO Bentley himself. Like Bentley’s three litre before it, the 4 ½ litre brought together the latest individual engine technologies of the time – a single overhead camshaft, twin-spark ignition, four valves per cylinder and, of course, Bentley’s now legendary aluminium pistons. The racing version of WO’s 4 ½ litre engine developed approximately 130 bhp, but Birkin wanted more. WO’s focus was always on reliability and refinement ahead of absolute power, so his solution to finding more power was always to increase engine capacity. Birkin had a different plan: to supercharge the 4 ½, an idea that WO thought ‘corrupted’ his design, and he refused to allow any modifications to the engine itself.

    With funding from his wealthy financier Dorothy Paget, and the technical skills of Clive Gallop, Birkin commissioned supercharger specialist Amherst Villiers to create a supercharger for the 4 ½ litre. The Roots-type supercharger – colloquially known as a blower – was fitted ahead of the engine and radiator and driven directly from the crankshaft. Internal modifications to the engine included a new, stronger crankshaft, reinforced connecting rods, and a modified oil system.

    Record Breaking

    In racing tune, Birkin’s new supercharged 4 ½ litre engine was mighty, outputting around 240 bhp. The ‘Blower Bentleys’ were therefore extremely fast but, as WO predicted, also somewhat fragile. Over the 12 races that the Blowers contested, a victory was never secured, but the Blowers played their part in Bentley history, including helping to secure victory for a naturally-aspirated Bentley Speed Six at Le Mans in 1930.

    Though the cars were ultimately not for winning races, they were ones for breaking records and setting fastest laps, flying round the tracks of England and France. In 1930, the No. 9 Bentley Blower, driven by D.J. Benjafield and Eddie Hall, came 2nd in the BRDC 500 mile event, averaging 112.12 mph, and being awarded the coveted Brooklands 120 mph badge. Tim Birkin also set a lap record at Circuit de la Sarthe driving the No. 9 in 1930.

    The Bentley Boys

    Sir Henry “Tim” Birkin

    Dressed in a blue and white spotted silk scarf around his neck and sporting a neatly trimmed moustache, Sir Henry was every inch the British sporting hero. An ex-fighter pilot and baronet, he was driven by a passion for speed and famously persuaded the wealthy heiress Dorothy Paget to finance a team of 4 ½ litre Bentleys, known as the ‘Blowers’. Ultimately too fragile for endurance racing, the ‘Blowers’ were unbeatable in sprints with Birkin at the wheel, culminating in a speed record at Brooklands of 137.96mph in 1932. Birkin also celebrated two outright victories at Le Mans: his first in 1929 with Woolf Barnato behind the wheel of a Bentley Speed Six, and his second with Earl Howe piloting a Alfa Romeo 8C in 1931.

    Jean Chassagne

    Involved in automotive, aviation, and motorboat racing since 1906, Chassagne began as a riding mechanic before taking the wheel himself. At 47, he joined the ‘Bentley Boys,’ and any doubts about “Old Chassagne” being past his prime were swiftly dispelled at the 1929 Le Mans. There, the Frenchman ran three miles while carrying two pit jacks to retrieve his Bentley, which had suffered a rim collapse and had been abandoned at Arnage by teammate Birkin. His heroic effort secured a fifth-place finish for the duo and highlighted why he was held in the highest regard and affection by his peers. Meticulous, resilient, and amiable, Chassagne possessed a delicate driving touch to complement his loyal and unpretentious nature.

    24 Hours of Le Mans, 21st and 22nd of June 1930

    In the hands of Sir “Tim” Birkin and Jean Chassagne, the No. 9 was involved in an epic duel with the Mercedes-Benz SSK piloted by Rudolf Caracciola and Christian Werner. The SSK started strongly in the bright sunshine but, by the fourth lap, Birkin was on Caracciola’s tail at the Pontlieue curves. Accelerating to 195 km/h, he passed the Mercedes as they braked heavily for the Mulsanne corner, continuing on to set a new lap record of 6 minutes 48 seconds. On the next lap, however, the tread came off a rear tyre and forced him to pit for a rapid wheel change. Birkin quickly rejoined the race and caught up with the Mercedes again, but as he passed Caracciola on the Mulsanne Straight, the other tyre failed. Despite dropping two wheels off the road, he completed the pass, only for the tyre to blow at Arnage, prompting another pit stop. By nightfall, after five separate tyre failures, Birkin and Chassagne were running seventh. However, their pressure on the Mercedes soon became clear, the SSK retiring at the halfway point with a flat battery after a wire had come loose on its dynamo. The second half of the race devolved into a routine procession, with early morning mist and rain dampening the excitement. Just before midday, four hours from the end of the race, the Blower broke a conrod and had to retire, leaving the victory to the Bentley works team Speed Six of Woolf Barnato and Glen Kidston. Birkin’s fearless driving, especially his selfless harrying of Caracciola, is still celebrated as the embodiment of the Vintage Racing era, and is often credited as the key to Bentley’s success at the 1930 Le Mans.

    In 2019, Bentley revealed that the 1929 supercharged 4 ½ litre “Blower” would become the subject of the world’s first continuation of a pre-war race car, with 12 new models to be built to the exact specifications of the originals, one for each race the original Team Blowers competed in. These cars were individually handcrafted by Bentley’s bespoking and coachwork division Mulliner, blending traditional craftsmanship skills with the latest digital technology. Bentley’s own Blower, chassis number HB 3403, served as the template; it was disassembled and individual components were catalogued and meticulously scanned in 3D to create a complete digital model. Twelve sets of parts were then created using original 1920s moulds and tooling jigs, and an array of traditional hand tools alongside the latest manufacturing technology, before Bentley’s skilled heritage technicians assembled the new Blowers. Identical mechanically, aesthetically and spiritually wherever possible to the original, the cars included minimal hidden modifications to pass modern safety tests. Like the original Blowers, the Continuation Series models were designed for racing and passed a rigorous inspection programme to qualify for an Historic Technical Passport, allowing them to compete at FIA-sanctioned events for historic vehicles. In 2023, Car Zero, the prototype continuation model, participated in the Le Mans Classic, marking the first Blower entry at Circuit de la Sarthe in 21 years.

    This fine 1:8 scale model is a perfect replica of the No. 9 Bentley 4½ litre which competed at the 24 Hours of Le Mans on 21 and 22 June 1930. It has been handcrafted and finished in our workshops with the co-operation and assistance of the manufacturer regarding original finishes, materials, archive imagery and drawings. The use of original CAD and supremely accurate digital scanning of the original car has allowed us to perfectly recreate every detail at scale. Furthermore, the prototype model has undergone detailed scrutiny by the manufacturer’s engineering and design teams to ensure complete accuracy of representation.

    The Bentley Blower 1930 Le Mans Race Weathered Edition is limited to just 30 pieces.

    Handling Race Weathered Models

    Please note that Amalgam’s weathered models are incredibly fragile and require careful handling. We recommend you keep handling to a minimum to avoid removing the weathered effects from the model. When handling the model, please adhere to the instructions included with the product when purchased.

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    Exchange/Return Notes
    • We offer a 30-day return/exchange service after receiving.
    • Final sale items are not eligible for returns or exchanges.
    • To process your return/exchange, please contact us at [email protected]
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    SKU: 78060759452

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    4.0 ★★★★★
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    mojo_navigator
    Belleville, US
    ★★★★★ 5
    Excellent Blu-Ray Transfer - Big Improvement to the DVD
    I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on September 26, 2014
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    KEITH
    Lowell, US
    ★★★★★ 5
    Displeasure And Distance
    The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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    Reviewed in the United States on July 17, 2025
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    Parker
    Port Orchard, US
    ★★★★★ 3
    Dated, but....
    Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do. As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable. In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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    Reviewed in the United States on July 1, 2011
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    Clare Quilty
    Birmingham, US
    ★★★★★ 5
    A stark, brutish "Petulia" with a pistol in its pocket
    It's about time this movie got released on DVD. It's odd that a film could spawn a remake ("Payback"), a glib nod ("Grosse Pointe Blank") and countless homages ("The Limey," among others) and still be as underseen as "Point Blank." The lack of a disc certainly didn't help its low profile, but of course this is a challenging, idiosyncratic movie, even three decades later. The plot is simple -- a crook is betrayed by his wife and partner and spends the rest of the movie trying to get what he's owed -- but the editing and narrative structure is unusual. What in the world did audiences possibly make of this back when it was first released? It's a remarkable film, as startling and innovative as Richard Lester's "Petulia," although admittedly it's thematically much less complex. This edition is excellent, too. Great sound, great picture and a fantastic commentary by director John Boorman and big-time "Point" fan Steven Soderbergh, who laughingly admits to Boorman that he's ripped this movie off more than a few times. Their chat is more technical than gossipy and deals heavily with the editing, the production (the script was only 70 pages long), the studio's concerns about the picture, the actors, violence, surrealism (is it all a dream?) and Boorman's elaborate use of color (the tones of clothing and sets intensify over the course of the film). I've gotten a lot of good DVD's this year but in terms of content, presentation and extas, this is one of the best.
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    Reviewed in the United States on August 1, 2005
    J
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    Joe Movie
    Charlottesville, US
    ★★★★★ 4
    One of Marvins better offerings
    Like the Killers before marvin was almost destined to play the part of Walker in this fast moving gut wrenching but always realistic thriller brilliantly collaborated by Marvin and Boorman who had no peer in this type of film.For those unenlightened souls who downplay Marvins career this was the one that to my mind surpassed most of his prior efforts with the exception of the Killers which was above par in all respects.Marvin was ahead of the pack in the 60s playing this type of hard nosed no nonsense gangster type, no other actor came close and type casted him to some extent in this type of role which unlike may actors became a positive in his career. Just to show his brilliance as an actor he gave us later comedy roles which produced more acting accolades than that material for which he was better known namely what we see in Point Blank.He carries the whole movie as did all the great actors of that era and many since which in itself is the hallmark of greatness. Marvin was a man who so perfectly personified the parts he was playing that often other actors looked wooden in comparison.He was one of the rare individuals who could take a small co starring role and end up being the star of the movie, no mean feat when you were up against the best in the business at that time and there were plenty in the 60 and 70s.To my mind Point Blank will always be a MARVIN film and this is not to downplay other good workmanlike performances in the film but it will always rank highly in Marvins body of work which is a cut above his contemporaries in the roles for which he was known and appreciated.As for the film it played out in fairly predictable fashion until the final scenes under the golden gate brige which gave a nice twist and left the viewer unsure whether Walker did in fact take his money or simply leave the scene of the set up empty handed. The obvious answer is that he waited till the coast was clear and took his money. It is hard to accept that he did otherwise.In retrospect a movie that stands up 40 odd years later and is just as watchable as it was in 67. No mean feat.
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    Reviewed in the United States on May 20, 2010

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