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$1.3B worth of classic cars were auctioned in 2014

The collector auto market in the US just continues to expand with the values of vehicles seemingly only growing in the past years, especially if they have a prancing horse on the hood. This year was no different. According to data compiled by classic car insurance agency Hagerty, there were about $1.3 billion worth of vintage rides auctioned in North America in 2014, up just slightly from $1.2 billion crossing the block in 2013. If you want an idea of just how big a role the Monterey Car Week plays in the North American collector hobby, Hagerty's stats illustrate it perfectly. The company recorded $430 million in auction sales during the week – about a third of the entire market for the year. The event also hosted the biggest seller of 2014 when the hammer fell on a 1962 Ferrari 250 GTO (pictured above) for $38.115 million at Bonhams. In fact, vintage Ferraris in general were among the top buys in the classic auto world in 2014. Eight of the ten most expensive vehicles sold at auction were Prancing Horses (the other two were Ford GT40s). Also, the insurance company's price index for these Italian stallions showed a 43-percent gain in value for the year. The market for another Italian supercar is exploding, as well. The Lamborghini Countach showed a staggering 175-percent growth in auction value in 2014. According to Hagerty, the average price when they crossed the block was $736,599. Judging by Hagerty's numbers, there were still some places to look for those hoping to spend a bit less money. The Aston Martin Lagonda showed a strong gain in value with a 32-percent increase in auction price, but they still averaged $47,078. In addition, the company's index for '50s American cars showed only one-percent growth for these classics. These huge leaps in collector car value might be winding down, according to Hagerty. It predicts growth in the market to slow to an estimated five percent gain in 2015. Maybe a few of these classics might actually become a bit more affordable to fans without such deep pockets sometime in the future. Featured Gallery Bonhams Maranello Rosso Collection: Monterey 2014 View 21 Photos News Source: HagertyImage Credit: Copyright 2014 Drew Phillips / AOL Aston Martin Ferrari Lamborghini Auctions Car Buying Performance Classics aston martin lagonda ferrari 250 gto Lamborghini Countach collector cars 1962 ferrari 250 gto auto auction

Aston Martin finally drops the veil on its new Lagonda sedan

Aston Martin has finally released the floodgates, delivering official images of the all-new Lagonda sedan, the company's latest expression of its long-serving VH architecture and 6.0-liter V12. Set for an extremely limited production, the hand-built Lagonda's William Towns-inspired, carbon-fiber exterior has been a point of conversation since the new sedan first crept in front of a camera's lens some four months ago. While that evolved exterior isn't exactly new, we are getting our very first look at the Lagonda's beautifully crafted cabin. Aston Martin's Q branch had a big hand in the cabin work, adding wide swaths of leather and elaborate hand-stitching to the Rapide-based interior. Unlike the Rapide, though, those rear thrones look considerably more accommodating, particularly in regards to rear headroom. From a performance perspective, we have it on good authority that the Lagonda is currently exceeding 175 miles per hour in testing and that this first production model weighs no more than the Rapide, which we're guessing is thanks to the aforementioned carbon-fiber body. The first deliveries of the Lagonda are slated to begin during the first quarter of 2015. We're hoping we'll have much more info as that date approaches. Until then, we have ten images of the new Lagonda, several of which feature the beautiful, Q-spec interior. Have a look and then head down to Comments and let us know what you think.

Movie Review: Spectre

I had only been sitting for two minutes in the screening of the twenty-fourth installment of the James Bond franchise, Spectre, before I met a fanatic. Sporting a James Bond 40th Anniversary Omega Seamaster ("number 007 of only 1007 made", he told me, beaming with pride), he boasted of his travels to the Furka Pass in Switzerland, to visit the location of the Goldfinger car chase, and of his Silver Birch Aston Martin DB5, the same car Sean Connery piloted around those treacherous roads just over fifty years ago. He bought it a while back for $125,000, and foolishly sold it a few years later for $160,000 (a mint 1965 DB5 will easily fetch over $1 million at auction today). The discussion of his Aston Martins continued, including his current Vantage and DB9, until the theatre started to fill up and the lights went down. This kind of automobile and movie culture is unique to Bond. 007 may have his signature drink, "shaken, not stirred," but just as famous are his cars, which, for a great number of films, are Aston Martins. This started fifty years ago, in the aforementioned Connery flick, Goldfinger, and the tradition has continued in Spectre, with a bespoke two-door coupe fittingly tagged the DB10. This latest Bond car is more concept than production. Built around the current V8 Vantage VH platform, the DB10's handsome styling is a look into the future for the British manufacturer. Perhaps outshining Bond's chariot are the cars of the villainous organization after which the movie is named, a highlight being the beautiful the Jaguar C-X75, driven by the eye-gouging villain, Hinx (Dave Bautista). The Jag is introduced when Bond infiltrates a Spectre meeting. His attendance doesn't go unnoticed, leading to a C-X75 vs DB10 race around Rome's midnight streets. Those who are going to see Spectre for the great car cinematography, prepare to be disappointed. The scene ends early on when – spoiler alert – 007 dumps the DB10 in the bottom of a river. Spectre is the longest of the 24-film canon, and due to an overstuffed second act, it feels like it. The first hour is fantastic, revealing enough of Bond's backstory to get the audience hooked, but somewhere in the second act we lose our way, torn between two predictable story lines.