Dec 10, 2015

Tacking on Tail Fins

Single fins of the vertical stabilizer kind found on aircraft occasionally were found on low-production, aerodynamically-styled cars during the 1920s and 30s.  But tail fins mounted on rear fenders of cars can, for practical purposes, be treated as something initiated in Detroit styling studios after World War 2, though the style also was adopted by several non-American brands in the late-1950s and early 60s.

For the most part such tail fins were decorative, having little or no value regarding improving directional stability at high speeds.  I recall an article in a contemporary car magazine stating that fin's shapes could easily be modified from one model year to the next as an inexpensive way to freshen a car's design.

Small tail fins appeared on 1948 Cadillacs and occasionally later as modest little humps on cars such as 1953-54 Pontiacs and Dodges.

Fins became a major styling fad when the sensational (at the time) 1957 Chrysler Corporation line appeared.  Fins for these cars were part of the original design, but 1956 Chrysler products featured fins tacked onto 1955-vintage bodies in an attempt to allow the car-buying public to become familiar with the concept.  During the rest of the 1950s some automobile makers included fins on new designs.  Others did what Chrysler did for 1956, adding tail fins to existing designs.

The present post deals with the "tacked-on" variety on American brands of that era.

Gallery

1956 Chrysler Corporation's Transition Fins

1956 Chrysler New Yorker - Barrett-Jackson auction photo

1956 DeSoto - Barrett-Jackson auction photo
Chrysler and DeSoto had a nice fender line for 1955, kicking up behind the door as seen here, but then running slightly down from horizontal towards the rear.  The 1956 fins destroyed the original design theme, so I never liked them even though my father owned a '56 DeSoto.

1956 Dodge - brochure page

1956 Plymouth Belvedere 2-door sedan - Barrett-Jackson auction photo
Dodge and Plymouth bodies were different from those of the senior Chrysler Corporation lines, so we find a different fin treatment.  This one works better because the basic fender lines are not altered.  At the same time, the fins are clearly fin-like in the context of a jet fighter or a Gold Cup racing hydroplane.  Nevertheless, they detract from the 1955 styling themes for these brands.

Competing Brand's Fins on Older Bodies

1957 Ford Thunderbird
Thunderbird was introduced for the 1955 model year with a design that included details found on regular '55 Fords.  One was the treatment of the tail light ensemble that gave T-Birds a slightly pinched look at the rear.  Ford sedans were redesigned for 1957, but Thunderbird had to carry its '55 vintage design until 1958.  One gift from large Fords to T-Birds was the canted tail fin shown here.  This is one instance where an imposed tail fin actually improved matters, adding interest to the rear and achieving better balance for the car's side appearance.

1957 Lincoln
I consider the 1957 facelift for Lincoln one of the worst, most character-destroying of its day.  (Though 1958 Oldsmobiles, Buicks and Cadillacs managed to top Lincoln on that score.)  The fin shown here is an overly-large, characterless blade that doesn't integrate with the rest of the body.  A more modest, more vertical fin would have worked better but still would have degraded a nice design.

1956 Lincoln
I include this photo of a 1956 Lincoln to illustrate the damage done by those fines.  These Lincolns were large cars, but the '56 design was graceful.

1957 Hudson Hornet Hollywood
The final Hudson.  Whatever virtues its 1952-vintage Nash body design had are thoroughly corrupted  through ad-hoc ornamentation at this point, so the silly little tacked-on fins almost get lost in the confusion.

1956 Studebaker Golden Hawk - Mecum auction photo
The basic body is that of the classic Raymond Loewy 1953 Studebaker Starliner, but it got modified repeatedly after 1954.  It's interesting that the Golden Hawk got fins the same year Chrysler began that fad.  Moreover, they look better despite the intrusive two-tome paint scheme.

1957 Studebaker Golden Hawk
Still tack-on in the sense that the fins were not part of the original design, the '57 Hawk's fins are nicely integrated, as compared to most other examples shown here.


1958 Studebaker Commander
On the other hand, the fins added to Studebaker sedans are awkward, misshapen objects.

1958 Packard sedan - auction photo
Sadly, by 1958 Packards had been reduced to using Studebaker bodies such as the one in the previous image.  The fins shown here are fussy, two-tiered affairs that unbalance the basic design.

1958 Rambler - brochure page
Rambler's new fins are modest, horizontal affairs.  They aren't attractive, but the Rambler body introduced for 1956 was ill-proportioned and unattractive to begin with.

Dec 7, 2015

Bentley R-Type Continental: Oldsmobile Styling?

In the 1953 Fawcett Book Sports Car Album, John Wheelock Freeman made the following remarks regarding the Bentley R-Type Continental:

* * * * *
The Continental Sports [Saloon] is, frankly, a snob-appeal car.  From the first, its makers unabashedly publicized it as being for the rare discriminating owner who combines unlimited driving skill with an unlimited bank balance.  Production is limited to one per month, for export only, although this situation may change.  Bodywork is a two-door five passenger closed coupé, built in special light alloy by H. J. Mulliner, whose mother seems to have been frightened by a '51 Chevrolet shortly before H. J.'s birth.  The windshield is curved in the worst American style, is placed disturbingly far from the driver.  If you don't like this piece of work, you can take your chassis in a huff to the nearest Italian coachbuilder.
* * * * *

Freeman was a consultant for the 1953 Museum of Modern Art "10 Automobiles" exhibit -- but perhaps not for the famous 1951 8 Automobiles that featured an Army Jeep along with a Cord, a Cisitalia (lent by Freeman) and others.  And if you read his 1953 book, you might detect more than a whiff of elitism, if not snobbery.

For more on the car, built 1952-55, link here (scroll down).

But what of the connection Freeman made regarding Bentley Continental and General Motors styling?

Gallery

1949 Oldsmobile 98 Club Sedan advertising
Rather than the 1951 Chevrolet, I think the '49 Oldsmobile Ninety-Eight Club Sedan's styling is closest to the Bentley's.  Its design appeared for the 1948 model year and featured a horizontal chromed strip along the front fender and front door that aligned with the strip on the rear fender.  This was removed for 1949 98s, making for a better comparison to the Bentley.

1952 Bentley R-Type Continental (unknown photo source)
Perhaps the strongest resemblance is from the side.  The cars are 2-door models with fastback styling.  They feature a front fender that sweeps across the door, connecting to a separate rear fender.  General impression aside, details do not correspond.

1949 Oldsmobile 98 Club Sedan (unknown photo source)

1952 Bentley R-Type Continental - Fiskens sales photo
The front ends are considerably different in part because the Bentley retains its traditional grille along with headlamps placed close by.

1949 Oldsmobile 98 Club Sedan (unknown photo source)

1955 Bentley R-Type Continental - RM Auctions photo
Fastback styling differs considerably in that the the Bentley's back is a broad expanse, whereas the Oldsmobile's tapers towards the center with catwalks filling the space to the rear fenders.  The latter are raised over nearby sheet metal at the very rear in both cases, another superficial similarity.

Its sarcasm aside, Freeman's point has some validity.  The Continental, aside from the front ensemble, looks far more American than English, circa very early 1950s.

Dec 3, 2015

Squaring the Teardrops: Some Early 1950s American Facelifts

I touched on it here, but there's more to say on the subject of cars with rounded designs getting de-rounded via facelifts in the early '50s.

During the late 1930s and early 1940s, the general mind-set of American stylists was that future cars would feature rounded bodies whose shapes paid more than a little heed to aerodynamics.  This can be seen in sketches and, in the early '40s, some clay styling models.

Some designs in that spirit actually reached production after World War 2.  But the teardrop-shaped future proved to be a false one because General Motors' styling chief Harley Earl made one of his sudden direction-changes.  Although some new post-war GM cars had fastbacks, most were "bustle-back," with distinct trunks.  And rather than having fenders being almost totally absorbed into the car body, GM fenders had distinct shapes, even though they were in low-relief compared to 1930s practice.

Since about half the cars on the road were from General Motors, the 1949-vintage teardrop-influenced designs seemed somewhat out of touch with styling fashion.  So sales began to suffer and quick-fixes were put into place until completely restyled cars could reach dealers.  Affected brands for 1951 were Nash, Lincoln and Mercury, whose postwar designs debuted for the 1949 model year.  (I discussed Mercury styling in the above link, so will not deal with it here.)  Hudson's postwar design was launched for the 1948 model year, but didn't get a similar facelift until 1954.

In all cases, the styling fix involved grafting a higher aft portion of the fender with the goal of making the car look less rounded and more squared-off so as to compete better with the broader industry fashion exemplified by Studebaker, Kaiser, Frazer and Ford, as well as General Motors.  Packard, which got a rounded facelift for 1948, was totally restyled for 1951.

Gallery

1950 Lincoln Sport Sedan - MJC Classics photo
This is the standard Lincoln that shared its basic body with Mercury.  (The top-of-the-line Lincoln Cosmopolitan had a unique body.)  Like the Hudsons shown below, it featured what might be termed semi-fastback styling.  Still, it largely followed early-1940s ideas as to how cars of the future should be shaped.

1951 Lincoln
The most important changes for 1951 were a reshaped backlight (rear window) and extended, higher fender trailing edges.  Seen from the side, the fender modification does "square-up" the appearance a little.  But seen from the rear, the design looked more awkward (see the link above for the similar result of Mercury's '51 facelift.)

1949 Nash Ambassador - Mecum auction photo
1950 Nashes had larger backlights than in 1949, but otherwise were nearly identical.  Nash came closest to the 1940-vintage teardrop ideal, even to the point of having skirted front wheels.  Unfortunately, the car looked heavy, ponderous.  It was derided as looking like "an upside-down bathtub."

1951 Nash Statesman - Barrett-Jackson auction photo
Not the best side view because of the camera angle.  Nash restyled the rear part of the fender, giving it a slight up-kick along with an extension.  This reduced the "bathtub" look a little.  If the wheel openings had been enlarged as well, the car would have looked much better.  Unfortunately, Nash-Kelvinator president George Mason really liked those skirted wheels, and so they remained.

1953 (ca.) Hudson Hornet
This might be a '52 model because they were essentially identical with the 1953s when seen from the side.

1954 Hudson Hornet - Barrett-Jackson auction photo
Besides the fender extension, the side trim was revised.  Gone was the large chromed strip along the bottom.  The ends of the thin side strip lost their ornamentation.  Added was a chromed faux air intake shape seemingly inspired by side trim on 1952-53 Ford Motor Company brands.  All this create some visual distance from 1948-53 Hudsons, but the design was still stale.

Nov 30, 2015

Renault Loved Pontiac, Hudson and Chrysler in 1942

As World War 2 raged, car makers did something that in many cases they weren't supposed to do: plan post-war models.  This was a particularly difficult undertaking in France because much of the country was either occupied by German forces or subservient to Germany until late 1942 and completely occupied from then until the 1944 liberation.  The Germans used French industry to assist in their war production, and postwar French automobiles were not part of their agenda.

Nevertheless, Renault and other manufacturers had clandestine development programs underway.  Here we deal with design work done largely in 1942 on a potential postwar 14 CV Primaquatre (Type 104 E).  Source material is from Automobilia hors-série No. 26, Toutes les voitures françaises 1940-46: les années sans salon by René Bellu.

What I find most interesting is the borrowing of styling themes from Pontiac, Hudson and Chrysler by Renault's stylist Robert Barthaud.  The United States was neutral regarding the war until late 1941, so information on U.S. cars through 1942 models (introduced fall, 1941) was available in France.

Gallery

Renault 104 E prototype - 1st version
American influence is strong.  The main source here seems to be the 1939 Hudson with perhaps a whiff of 1940 Ford. Note especially the front fenders and grill compared to Hudson styling seen in the photo below.

1939 Hudson

Renault 104 E prototype - 1st version
But it's not all Hudson influence.  Those sure look like Pontiac's legendary Silver Streaks running down the hood centerline and over the grille.

1939 Pontiac grille
This narrow version of Silver Streaks is similar to what Renault seems to have borrowed.

Renault 104 E prototype - 2nd version - profile drawing
Hudson influence disappeared on the second version 104 E prototype and 1941 Pontiac details predominate.  Compare to the image below.

1941 Pontiac Custom Torpedo

Renault 104 E prototype - 2nd version
The running prototype differed from the drawing in that the Pontiac-like crease across the rear fender was eliminated.

Renault 104 E prototype - 2nd version
Pontiac influence ceased on the front end and borrowing shifted to 1941 Chryslers, as can be seen in the image below.

1941 Chrysler Royal - sales photo

Nov 26, 2015

"Eyeless" 1942 DeSoto

Model year 1942 saw every American car brand except Willys getting a facelift that included, at a minimum, a changed grille.

The '42 facelift that always interested me the most was that of DeSoto, Chrysler Corporation's middle-upper price range offering (the sequence was Plymouth, Dodge, DeSoto, Chrysler). This was almost entirely due to its hidden headlights feature.

Automobiles are perceived to have faces, the headlights serving as eyes.  DeSotos, therefore, had a curious, eyeless look because their headlights were hidden behind sliding doors when they were not turned on.  Cord 810 and 812 models from 1936-37 also had hidden headlights, but these pivoted open when switched on.  Door-based hidden headlights were planned for 1949 Lincolns, but instead they were left sunken and doorless.  Starting around the mid-1960s, several American makes began hiding headlights, a fad that lingered here and there for decades.

Although 1942 DeSoto grilles were bold and had plenty of chrome plating, the overall appearance was attractive for the era.

Gallery

1941 DeSoto advertisement
An illustration, not a photo to set the stage.  For 1941, DeSoto switched to a vertical-bars grille theme that continued with variations through the 1955 model year.  1942 DeSotos had the same body as the '41s, the major difference being the frontal ensemble.

1942 DeSoto ad card
The tiny image at the lower right offers a fairly realistic version of the car.  I'm assuming the intent of the highly distorted main image was to stress the new design of DeSoto's front end and, in passing, make the car and its setting desirably futuristic.  Other DeSoto advertising material for 1942 featured equally distorted depictions.

Wartime ad featuring a 1942 DeSoto - Howard Scott, illustrator
A more realistic view of the DeSoto's front end.

1942 DeSoto 4-door sedan
1942 DeSoto coupe
1942 DeSoto convertible
Contemporary photos of '42 DeSotos.  Unfortunately, like circa 1942-1956 Studebaker sales images, they show the cars from about the same point of view.

1946 DeSoto 4-door sedan
The women in the car look like pasted-on images and airbrushing is also in evidence.  That's how American car advertising and promotion often worked in those days.  Otherwise, this offers a good view of the post - World War 2 DeSoto facelift.  Besides the return to exposed headlights, front fenders are extended over the front doors, and the grille has been widened.

Nov 23, 2015

First-Generation American All-Steel Roofs

Before the mid-1930s, American closed cars had weatherproofed fabric inserts covering much of their roofs.  But the time for a change to all-metal roofs was at hand.  General Motors was first with its "Turret Top" line on many of its 1935 cars, and by the 1938 model year almost every closed car built in America had a roof of steel.

This post presents most of the brands having first-generation steel-topped bodies.  In almost every case, bodies had strongly rounded shapes in the "greenhouse" area and fenders.  This was due to limitations in 1930s sheet metal stamping technology as well as, in some cases, the need to stack body components in a nested fashion for shipment to assembly plants scattered across the United States.

Seen from today's perspective, most 1935-38 American cars looked awkward and dumpy due to the rounded body shapes that were enhanced by strongly rounded-off window corners -- especially those on General Motors cars.  GM's styling boss Harley Earl soon realized that all this roundedness was a mistake, and had his staff making corrections on 1937 cars, as I explained here.

Gallery

1935 Chevrolet Master De Luxe
Photographed at Berger Chevrolet, Grand Rapids, Michigan.  Chevrolet's hood and grille were not rounded much, helping to offset the softness of much of the rest of the design.

1935 Oldsmobile
1935 Pontiac 2-door sedan
More examples of General Motors' early bodies featuring all-steel roofs.  These designs had a "streamline" theme that marked a strong break from the more angular designs of previous years.  These cars look "softer" than the Chevy because their hoods and grilles are more rounded to fit the rest of the theme.

1936 Dodge advertisement
For the following model year, many other brands followed GM's theme of rounded bodies and all-steel roofs.

1936 Chrysler Airstream
Photo by Lars-Göran Lindgren, Sweden.  Another example of Chrysler Corporation styling for 1936, but this in a photograph instead of an artist's distortions seen in the Dodge ad above.

1936 Hudson sales material
Another brand with a completely new design for 1936.  The side windows aren't as rounded as those of GM cars, but the rest of the car looks awkward and dumpy.  Interestingly, Hudson stylists were able firm up the exterior to keep up with the trend away from "soft" designs, as I discussed here.

1936 Nash DeLuxe Sedan
A busy, awkward design, but not as soft looking as the cars shown above.  The stretched teardrop shape of the hood air vent is comical in retrospect, but probably intended as a serious nod to aerodynamics when this model was styled.

1936 Studebaker President
Studebaker followed GM's lead from the cowling back, strongly rounded windows and all.  However, this was offset in the top-of-the-line President shown here by a long, straight hood.

1937 Ford DeLuxe Tudor - sales photo
An unfortunate, stubby design.  The crisp styling of the grille-hood ensemble along with the comparatively large windows made the Ford seem less bulbous than most of the cars pictured above.

1937 Plymouth Special DeLuxe - Barrett-Jackson photo
Plymouth didn't get rounded Chrysler bodies until the 1937 model year.

1938 Packard Six - sales photo
Packard was late to the all-steel roof theme.  Windows are strongly rounded in the manner of the 1935 GM cars shown above.  This was a curious mistake, because the folks at Packard must have had inklings that GM and others were moving toward flatter roofs and small-radius window corners.

* * * * *

1936 Lincoln Zephyr
Now for examples of designs that were more graceful that those of most other brands.  The Lincoln Zephyr does have large-radius window corners.  But the rest of the design is sharper from the boat-prow front to the fastback rear.

1936 Cord 810
Photo taken by me at the National Automobile Museum, Reno, Nevada.  Cord styling was outstanding.  Side windows had tightly-rounded corners.  Like the Zephyr in the previous photo, its roof is not as bulbous as those of most of the other cars shown above.  But the key design element is the firm hood-grille ensemble that is strong enough to complement the curved elements of the rest of the car.

Nov 19, 2015

Lincoln's 1942 Facelift

Model year 1942 American cars have always interested me.  Comparatively few were built because the government ordered passenger car production halted early in 1942, shortly after the USA entered World War 2.  Production did not resume until late 1945, when 1946 models were introduced.

The 1946 crop of surviving pre-war brands was comprised of facelifted 1942 designs, some changes slight, others noticeable.  Slightly changed were Nash, Packard, Studebaker, and all General Motors makes except Oldsmobile.  Hudson, Chrysler Corporation makes and Ford Motor Company brands all got redesigned grilles.  Dodge, DeSoto and Chrysler cars received revised front fenders as well.

But 1942 was a model year of more extensive facelifts than 1946.  Every brand that survived from 1941 to 1942 except Willys featured noticeable grille changes at a minimum.  What this means is that 1942 Ford, Mercury, Lincoln, Plymouth, Dodge, DeSoto, Chrysler, Oldsmobile and Hudson cars had distinct appearances to a greater or lesser extent.  That, and their rarity are the main reasons for my interest.

Perhaps the most extreme 1941-1942 grille redesign was that for Lincoln Zephyrs and Continentals.  The images below cover model years 1941, 1942 and 1946.

Gallery

1941 Lincoln Zephyr 4-door sedan
Zephyrs were redesigned for 1940.  The previous aerodynamic theme was retained, though in a heavier-looking form that, in turn, seems to be due to its larger windows.  The grille and hood are similar to 1939 versions.

1942 Lincoln Continental Cabriolet - sales photo
The 1942 facelift was extensive.  The grille theme was changed entirely, and teardrop-inspired fenders were replaced by the squared-off "suitcase" style found on GM makes.

1942 Lincoln Zephyr 4-door sedan - sales photo
This photo shows the squared-off elements grafted on to a curved basic body.  Not a happy mixture.

1946 Lincoln Zephyr Club Coupe - sales photo
Post-war Lincolns got an even bolder, more chrome-laden grille-bumper ensemble that occupied nearly the same zone as the 1942's.  On this 2-door coupe we get another take on the awkward mixture of curved and rectangular.

How did this unsuccessful facelift happen?  Ford's styling director was E.T. "Bob" Gregorie, a once and future naval architect with a good sense of line and proportion.  His informal collaborator was Henry Ford's son Edsel, president of Ford, and a man of excellent taste.

This is hinted at in C. Edson Armi's book The Art of American Car Design: The Profession and Personalities (1988, Page 242) and covered in more detail in Henry Dominguez's book Edsel Ford and E.T. Gregorie: The Remarkable Design Team and Their Classic Fords of the 1930s and 1940s (1999, pp. 236-241).

Dominguez quotes Gregorie as stating that it was he who felt that Lincoln needed to better compete with Cadillac and other makes with bold, strongly horizontal grilles that provided an "important" image.  This meant abandoning the comparatively delicate frontal appearance of the Zephyr design theme.  It went against Edsel's preferences, but he eventually was persuaded by Gregorie.  (I'm paraphrasing here, but preserving his meaning.)

But Gregorie also came to realize that the facelift had problems.  Gregorie: "So that's when we developed the new hood, new front fenders, and horizontal grille.  Once we did that, though, the body began to look a little skinny.  We never changed the body.  The doors, the windshield, and the floor pan were all the same.  With its big, husky-looking front end, it looked a little out of proportion in places, like so many of those facelift deals.  But it was still a right decent-looking car.  The '42 front end was a nice-looking front end.  The horizontal bars were very nice.  It looked important, anyway."