Falcon Kestrel - Specifications & Review

Kestrel

Article Complete Info

Articleid532570
CategoryClassic
MakeFalcon
ModelKestrel
Year2010

Chassis, Suspension, Brakes & Wheels

FrontbrakesExpanding brake (drum brake)
RearbrakesExpanding brake (drum brake)
SeatSolo seat
WheelsWire spoked. Firestone tires.

Engine & Transmission

ClutchSuzuki GS550 clutch, tape
CoolingsystemAir
Displacement750.00 ccm (45.77 cubic inches)
DrivelineBSA A-10
EnginedetailsTwin, four-stroke
EnginetypeModified Triumph Bonneville engine
FuelsystemCarburettor
TransmissiontypefinaldriveChain

Other Specifications

ColoroptionsDark blue
CommentsThe Kestrel is a custom built bike by Ian Barry at the Falcon Workshop in Los Angles.
StarterKick

Physical Measures & Capacities

Overallheight914 mm (36.0 inches)
Overalllength2,096 mm (82.5 inches)
Overallwidth610 mm (24.0 inches)

About Falcon

Country of Origin: United States
Founder: Ian Barry (Falcon Motorcycles, Los Angeles)
Best Known For: One-off bespoke customs (The Falcon Ten) with obsessive metalcraft

Company History

Falcon Motorcycles operates at the couture end of custom building. Ian Barry’s studio in Los Angeles became famous for The Falcon Ten—an ambitious series of one-off motorcycles each built around a historically significant engine and finished with hand-formed frames, tanks, and controls. The work is archeology and sculpture as much as mechanics: original crankcases are rebuilt to jewel-like standards, while every bracket, lever, and fastener is fabricated or reimagined to suit the narrative of that specific machine. The result is functional art that wins concours trophies yet can be ridden—carefully—on real roads. Falcon’s cadence is slow by design; months or years can distill into a single tank seam or linkage detail. That monastic focus reset expectations for what a ‘custom’ could be in the 2010s, shifting conversation from catalog curation to total-environment design. Historically, Falcon’s influence is less about volume and more about raising the ceiling: it reminded the scene that bikes can be coherent works of art without sacrificing mechanical integrity. Owners become custodians rather than mere riders, and the public learns to read craftsmanship in weld beads and cable runs. In a disposable culture, Falcon argues for permanence—the motorcycle as heirloom, story, and standard of handwork.

Other Years

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