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The Final Act of a Groundbreaking Trilogy
The Alfa Romeo B.A.T. 9, the final installment in the Berlina Aerodinamica Tecnica trilogy, stands as one of the most refined expressions of design vision and aerodynamic experimentation in automotive history. Conceived by Franco Scaglione and hand-built by Carrozzeria Bertone, the B.A.T. 9 exemplifies the rare moment when artistic ambition and engineering insight merge in perfect harmony.
Scaglione, whose early background in aeronautics heavily influenced his design philosophy, approached the B.A.T. series not merely as concept cars but as kinetic sculptures. The B.A.T. 5 and 7 had already pushed boundaries of what automotive design could look like—radical, flamboyant forms with flowing fins and avant-garde silhouettes that bore little resemblance to production vehicles. But with the B.A.T. 9, Alfa Romeo issued a new directive: the final concept needed to be more practical for road use.
Design Evolution: From Radical to Roadworthy
This design pivot resulted in a slightly more restrained—but no less arresting—interpretation of the B.A.T. ethos. The exaggerated fins were scaled down to enhance rearward visibility, the wheel skirts were removed for better access and practicality, and a more conventional beltline emerged. Importantly, the front was revised to include the traditional triangular Alfa Romeo Giulietta grille and Milano crest, reconnecting the concept to the brand's identity. Mechanically, it remained based on the Alfa Romeo 1900 platform.
Debuting at the 1955 Turin Salon, the B.A.T. 9 was met with high praise. It completed the triptych—B.A.T. 5 in 1953, B.A.T. 7 in 1954, and now B.A.T. 9—sealing the series as a singular achievement in automotive history. Each car, while groundbreaking on its own, becomes exponentially more significant when viewed alongside the others. Together, they reveal Scaglione's nuanced evolution of a singular aerodynamic vision over three years.
An Unconventional Journey Through American Hands
After its show debut, the B.A.T. 9 took an unexpected journey through American ownership. It was spotted at the Sebring endurance race in 1956 by dealer Harry Woodnorth, who, alongside Tom Barrett, acquired the vehicle. In 1958, it passed to Ed Beseler of Michigan, who repainted it red. After Beseler’s passing, Arlen Regis acquired the car and displayed it at Chapin Motors, where it caught the eye of 16-year-old Gary Kaberle in 1962. Kaberle, determined to own the car, eventually purchased it and retained it for 28 years, even using it as personal transport during dental school. Under his stewardship, the B.A.T. 9 was maintained carefully, shown publicly, and eventually repainted silver in 1987 for a Concours event.
Reunion at Pebble Beach: The Triptych Comes Together
Despite their shared legacy, the B.A.T. concepts had never been displayed together during their original show runs. It wasn’t until 1989—when Nuccio Bertone was honored at Pasadena’s Art Center College of Design—that all three were brought together at Pebble Beach Concours d’Elegance. Their reunion not only honored Scaglione’s work but also reinforced the trilogy's unified identity. A private collector later secured ownership of all three, and the trio began an international tour that included the Genoa Autostory, the 80th Anniversary of Bertone, and the Centre International de l’Automobile in Paris.
A Global Legacy of Automotive Art
For more than a decade, they resided at the Blackhawk Museum in California and continued to feature prominently in major exhibitions: London’s Museum of Science, Coys Historic Festival, Concorso Italiano, Cartier Style et Luxe at Goodwood, and Villa d’Este, among others. In 2016, they appeared at the Frist Center for the Visual Arts, a testament to their significance not just in automotive circles but also in the broader context of industrial design and modern art.
The B.A.T. 9 as Sculptural Crescendo
The B.A.T. 9, with its fusion of practicality and design purity, stands as a graceful conclusion to one of the most ambitious concept car projects ever attempted. Scaglione’s trilogy didn’t just explore aerodynamics—it redefined the automobile as a sculptural object. Rarely does a concept car survive beyond its initial moment, let alone remain relevant for over six decades. Even more exceptional is a trilogy of concepts, unified in vision, that continues to inspire designers, collectors, and historians to this day.
Within the world of concept cars, the Alfa Romeo B.A.T. series remains without peer—and the B.A.T. 9 is its final, elegant crescendo.
