|Length Overall||65' 9''
|Draft Up||N/A||Person Capacity||N/A|
|Draft Down||N/A||Fuel Capacity||
|Air Draft||N/A||Water Capacity||
|Deadrise/Transom||N/A||Length on Trailer||N/A|
|Max Headroom||N/A||Height on Trailer||N/A|
|Total Package Weight (Trailer,Boat & Engine)||N/A|
|Prices, features, designs, and equipment are subject to change. Please see your local dealer or visit the builder's website for the latest information available on this boat model.|
|Std. Power||Not Available|
|Tested Power||Currently no test numbers|
The Pershing 64 is all about style, bella figura, speed and an interior so Bauhaus that it would make Walter Gropius proud.
Ten years ago when we ran our first Pershing test all of their boats were silver or gray which made them distinctive. Not only their style, put also their silver color was widely imitated by other builders for the last decade. Now there is a whole genre of what are hardtop express yachts as large as 135’. Pershing has the distinction of being one of the early pioneers of the type.
There’s a lot to notice in this shot… the wide open saloon that brings the outdoors in… the retractable aft sunroof… nice wide sidedecks. And check out the glass everywhere. Notice the retractable aft sunroof.
Let there be light...
One of the most striking things about Pershings, and indeed the Pershing 64, is the amount of natural light that enters the boat. In the main saloon/cockpit/bridgedeck, one almost needs sunglasses to tame the amount saturating from all angles. Most notably, is the single piece front windshield. This gives an unprecedented unobstructed view through an arc of over 12’. Looking aft, there’s not only tons of light from the side windows, but the aft bulkhead is glass that, at the touch of a button, retracts completely and literally brings the outside in. And as if that weren’t enough light, the sunroof over the helm is retractable, as is the aft end over the cockpit. This is a boat that will have redheads running for shelter.
With lots of light, this is a very open saloon. The entire glass aft bulkhead retracts to combine the outdoors with the in. Notice the aft overhead is retracted in this shot. To port (right side of shot) is the port side sofa that is not only high off this deck, but much higher off the galley sole, which is four feet lower than the deck you see in this picture. With not a handrail in sight, this is a precarious seat.
The deck layout...
The cockpit deck is expansive, ending at the aft end with the large sunpad/garage. Two stairs to either side of the sunpad allow access to the swim platform. The galley is also on a significantly lower level than the saloon deck, and sitting on the port side sofa can be a cause for concern at such a lofty height. Once down in the galley, it is extremely well equipped with a slew of conveniences short of one critical aspect... no grab rails and no fiddles.
The galley is well equipped with appliances, and while there are drawers everywhere, they are only 10” deep. The area, as well as most of the interior could benefit from handrails.
Leather is everywhere in this boat, and it’s provided by Poltrona Frau, Italy’s most prestigious and internationally famous leather furniture manufacturer. It can be seen here on the seat, console, and elsewhere throughout the boat on wall and ceiling panels. This is an exclusive partnership, and fitting as the two headquarters are only 35 miles apart.
The staterooms are exactly what you would expect from Pershing. Comfortable, good looking and well thought out. The master is full beam and nestled between huge hull side windows. This is one of the significant differences from the paired cabins that were seen on the 62. The side windows also allow an amazing view of the seascape seen at water level, and the natural colors of the furnishings only enhance the natural light.
Short of the spacious and airy master, since the beam is just shy of 18’, you won’t find any cavernous spaces down below, and this is especially true in the forward stateroom, with its converging bow lines, and even more so in the rather cave like guest cabin. There is, however plenty of storage space in all staterooms and the fit and finish is exquisite.
The master stateroom is very spacious and well lit. Notice the chaise lounge tucked next to the large hull side window.
The Pershing 64 has an LOA of 65’9” (20 m), a beam of 17’11” (5.5 m), and a draft of 4’4” (1.3 m). She has an empty weight of 79,146 lbs (35,900 kg), her fuel capacity is 925 gallons (3,502 L). Her fully loaded displacement is 92,815 lbs. (42,189 kg.) which means she is no featherweight and it will take a couple of very large mills to move her at high speed.
Speed and Use...
While we haven’t tested this beautiful yacht to verify the numbers, Pershing tells us that even fully loaded, with her Arneson surface drives trimmed, the Pershing 64 will reach 45 kts. That’s more than 50 mph! Of course... no word on what fuel burn is at that speed, but typically, fuel costs are of little concern to a customer looking for this level of luxury. This boat is clearly about the journey, not how far the destination is.
Typically, along the French Riviera in season these boats Med moor at places such as St. Tropez, Cannes, and Antibes and motor out a few miles and anchor off of a beach for the day. Charter parties might take them a bit farther. The boat has the range to make it from France or Italy to Puerto Cervo on Sardinia, the Mecca of Europe’s richest and most famous yachtsmen. But once there you will find that the cost of fuel is the least of your expenses.
From Bauhaus to Your Boat
Italian boat builders these days seem to be trying to each be more Modern than each other when it comes to interior design and décor. The interiors are stark, austere, and simple with straight lines, solid colors and sharp corners. The origins of all of this, of course, is the Bauhaus school.
From Wikipedia: The Bauhaus school was founded by Walter Gropius in Weimar. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.
The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1927, Hannes Meyer from 1927 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by the Nazi regime.
= Standard = Optional
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Full Warranty Information on this brand coming soon!