Pocher models aren’t toys, they’re a lifestyle

The Pocher Alfa Romeo kits have done a lot to immortalize what is one of the world's most successful race cars. Because this model does not have the cycle fenders over the wheels, it would usually be referred to as a corsa by the factory. Later on, after winning Monza, the version equipped with cycle fenders and road lights became the version more commonly known as the Monza. Whatever it is called, the Alfa Romeo 8c2300 deserves any attention that it receives, and is widely regarded as the masterpiece of Vittorio Jano who went on to create the 2.9 Alfas, and is known for his postwar accomplishments with Lancia and Ferrari. With scores of wins to its credit, the Corsa 8c2300 can be seen in many guises both before and after WWII, and was still actively campaigned into the fifties.

The idea of picking a chassis number, placing it in a particular time frame, and building a model has always been popular with model builders looking for the height of accuracy in a less than cooperative world. When it comes to prewar Alfas and "sport two-seaters" in particular, the plan becomes more dubious. Many of these cars were wrecked and rebuilt, some with different engines or even chassis, and many were re-bodied. As an example, the famous Touring Coupe-Spyder was only recently re-bodied as a Monza, adding to the confusion over production numbers and sometimes even over chassis numbers. In the face of such confusion, it is no wonder that many of us prefer to build a model that 'captures the look' of a specific car if not the exact details. Besides, after various wrecks and re-builds, who is to say what is correct for any one chassis.

Rick Levene's Alfa is just such a model, with the added delight of bringing to the project the American eye for finish and detail. Hard-working European Grand Prix racers accumulated the odd ding and the occasional scuff, and have been known to take the grid in less than showroom appearance, relying instead on the meticulous preparation of their sophisticated and complex engines. American racers tended to keep their engines simpler and their paint jobs more pristine. Add some gold leaf numbers and some sponsors to Levene's Corsa and it would have been welcome on the grid at Indy.

Taking staged photos along the way is a great way to re-live the project and to share it with others. It is so easy to forget important step. Avoid regrets: take pictures.

The prototype cars have been rebuilt so many times that it is hard to say what is correct and what is custom. The painted cam covers and firewall are unusual but surely not unique according to the photos in Simon Moore's three volume tome. The goal in this case clearly was to present the model as a car freshly out of the restoration shop. Neat assembly and lots of details carry the day.

Aluminum floor panels, shock absorber controller, instrument faces, and shock absorber hardware are among the after-market components used.

From this more conventional angle it is clear that the builder has gone to the trouble of adding the linkages for carburetor and distributor.

In this photo the complete model is beginning to reveal itself. Vintage Indy racing fans should swoon over this paint.

In this scrumptious shot of the instrument fascia the light is just right to show off 'leather' seat and fabulous aluminum floor. A polished aluminum fascia looks wonderful and was not rare as these cars aged and the factory-supplied leather covering gave up.

Complete with safety wires and Alfa script, the front of this Corsa is all business. Leaving the bronze hardware unpainted may be a bit unusual for the prototypes, but it looks dandy on the model.

Carefully lighted and posed portraits like this may outlast the model and surely will always be appreciated.

The black wheels and bright aluminum brake drums are a dandy combination because the effect is to reduce the bulk of the Pocher spokes and make the wheels look more spidery.