General Motors Companion Cars (5): More on Buick and Marquette

This is the fifth in a series of posts dealing with General Motors' companion brands launched during the late 1920s and 1930.  It adds details to this post about the Marquette, companion car for 1930 Buicks.

Other previous posts were about Oakland and Pontiac, Oldsmobile and Viking, and Cadillac and LaSalle.

Some background I provided earlier: "A major factor in the rise of General Motors during the 1920s was Alfred P. Sloan's establishment of a price-prestige hierarchy for GM's various brands.  Over the 50 years from 1941 to 1991, when the Saturn brand appeared, the hierarchy from low to high was Chevrolet, Pontiac, Oldsmobile, Buick and Cadillac.   But during the late 1920s so-called 'companion' brands were introduced to fill what seemed to be price gaps in GM's line.  In 1930 the hierarchy was approximately (there was price overlapping in a number of cases): Chevrolet, Pontiac, Marquette, Oldsmobile, Oakland, Viking, Buick, LaSalle, and Cadillac."

So Marquette was roughly atop the entry-level range, whereas Buick was positioned a little below the luxury line.  Buick's lowest line, Series 40, had wheelbases of 118 inches (2997 mm), while Marquette wheelbases were 114 inches (2896 mm).

Buick 40s and Marquette's are compared in the images below.  Unless noted, photos below are of for-sale cars.

Gallery

1930 Marquette Model 36S Sport Coupe
Marquettes had an interesting (for the time) slightly V'd grille design.

1930 Buick Series 46 Coupe - Mecum Auctions photo
The Marquette coupe and this Buick coupe might well have shared the same basic body -- note doors, windshields, and even fenders.

1930 Marquette Model 36S Sport Coupe
But the passenger greenhouse and hood are shorter than the Buick's seen below.

1930 Buick Series 46 Coupe - Mecum
The trunk / rumble seat zones do seem the same.

1930 Marquette Model 30 Sedan
Comparing sedans ...

1930 Buick Series 40 Sedan
Door hinging seems the same.  But the Buick's passenger compartment after end extends farther.

1930 Marquette Model 35 Phaeton - BaT Auctions photo
As noted, the grille is distinctive due to its V-profile.  The chevroned grille bars are another distinctive touch.

1930 Buick Series 40 Sedan
Grille framing is standard Buick, similar to Packard.

1962 Redesigned Plymouth and Dodge Compared

Chrysler redesigned its basic Plymouth and Dodge models for 1962.  But created a marketing problem because they were noticeably smaller than competing cars from General Motors and Ford.  I cite that in my post "1962 Plymouth Walkaround and Overheads" here.

Their styling is of interest because they represent final elements of Chrysler's styling vice-president Virgil Exner's thinking.  For some background, link to my post "Virgil Exner's Final Themes for Chrysler Corporation" here that includes images of some of Exner's proposed designs for '62.  Management ordered a reduction in size for standard Plymouths and Dodges for '62, so Exner and his staff had to compromise his preferred designs.

Today's post compares the styling of hardtop coupe models of each brand.  Shared bodywork will be noted, as well as difference used for brand identity.

Gallery

1962 Plymouth Sport Fury - Mecum Auctions photos
Both brands share passenger compartment "greenhouses" along with related elements such as door cutlines.  The Plymouth has broad, horizontal sculpted elements front and rear.  At the front, this includes the horizontal lip above the grille that continues as side sculpting.  The grille is interesting due to its concave shape that reduces its brightness as reflected light.  Perhaps it was Exner's intention to de-emphasize grille brightness in order for viewers to focus on other aspect of the design.

1962 Dodge Polara 500 - Mecum photos
Dodges retain the front fender side sculpting, but there is no across-the-front carry-through as on the Plymouth.  The Dodge front end ensemble is complicated.  Some headlights are housed within the grille frame, the others are in sculpted housings at mid-level fender frontage.  This visual disconnect creates clutter that's enhanced by the small horizontal "eyebrow" chrome strips above the outboard headlights.  The bumper sags in the middle, but not in complete sympathy with the lower grille framing.

The chrome strips on the forward and aft side sculpted elements align, creating an interrupted continuity line.  However, the separation is so wide that recognition of the alignment is difficult.  This model does have a thin chrome strip running along the beltline, but it's so subtle that it doesn't really help tying the car's front and rear visually.  Otherwise, the car's sides are plain, uncluttered.

On the other hand, this Dodge features a strong, colored accent along the beltline, enhancing visual length.  The front fender sculpting has little visual reinforcement detailing.  The rear fender zone carries an awkward, upward sculpting that becomes horizontal at the same level as the horizontal front fender sculpting.  That relationship is difficult to notice.  That blue panel at the rear with chrome dashes is unnecessary visual jazz.

The frontal lip-cum-side-sculpting is echoed at the rear.  The separate rear-lighting assemblies add clutter, yet might serve as accents in what otherwise is a fairly simple theme.  (I can't make up my mind whether or not integrated light assemblies would be an improvement.)

Like its front, the Dodge's rear end contains fussy, unrelated elements.  The disconnected quad headlights are mimicked at the rear with respect to separated tail light assemblies.  The rear bumper, like the front bumper, is V'd, and unrelated to the otherwise horizontal aft end detailing.

Marmon Sixteen - Main Body Types

The Marmon Motor Car Company (Wikipedia entry here) produced 390 16-cylinder cars 1931-1933.   Interestingly, the basic design was contracted out to Walter Dorwin Teague, a pioneer industrial designer in the earliest years of that profession.

LeBaron built nearly all of the Sixteen's bodies, but apparently did not do design work on most of its Marmon Sixteens.

Below are side views of the Sixteen's body styles.

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1932c. Marmon Sixteen 7-passenger sedan - unidentified photo source
Five-passenger sedans and limousines looked the same as the car above from the outside.

1932 Marmon Sixteen Close-Coupled Sedan - RM Sotheby's photo
This was the original style that Teague proposed.

1932 Marmon Sixteen Victoria Coupe - Mecum Auctons photo
Also called a Five-Passenger Coupe.

1931 Marmon Sixteen Convertible Sedan - Driehaus Collection photo
This body type was still fairly common in the early 1930s, though losing favor.

1931 Marmon Sixteen Two-Passenger Coupe - car-for-sale photo
For sportier buyers.

1931 Marmon Sixteen Convertible Coupe - RM Sotheby's photo
Even sportier ... and with a rumble seat.

1955 American "Big Three" Best-Selling Entry-Level Cars Compared

1955 was a record-breaking year for American new-car sales.  The numbers for 1954, 1955 and 1956 respectively were (in millions): 5.8, 8.3 and 6.2.

That was a model year when many brands were restyled, featuring panoramic (wraparound) windshields, a feature considered futuristic at that time.

The best-selling entry-level brands were Chevrolet (1.830 million made), Ford (1.765 million), and Plymouth (743 thousand) -- Buick out-built Plymouth for third place overall (781 thousand).  As it happened, the best-selling models for Chevrolet, Ford and Plymouth were four-door sedans in each brand's most expensive model category, respectively: Bel Air, Fairlane and Belvedere.

Examples of each are shown below.  These are what many potential buyers with families had to evaluate when shopping for line-topping models of entry level brands.  By "with families," I mean buyers with children, who desired a practical car for everyday use that could transport up to six passengers.  Of course, sporty hardtop convertibles could carry six, but they lacked the convenience of having four doors, and were more expensive.  For example, Chevy Bel Air hardtops were listed at $2067, whereas Bel Air 4-door sedans were $1932.

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1955 Chevrolet Bel Air - car-for-sale photos
Chevrolet was the top-selling car brand in the USA in the post- World War 2 years.  Redesigned bodies appeared for the 1955 model year.  The panoramic (wraparound) windshield turned out to be a short-run fad, but was a big sales plus in 1955.  Its most controversial styling feature was the grille.  Some folks thought it was "Ferrari-like," but its lean-forward aspect reduced whatever flashiness it might have had.  This was in contradiction to GM design chief Harley Earl's preference for strong frontal styling.  (How did  that grille pass muster with Harley??  According to Old Cars Weekly, it was actually Earl's idea after viewing some Ferraris in Europe.)

1955 Ford Fairlane - car-for-sale photos
Although it seemed to be a redesign, the '55 Ford was actually a major facelift of the 1952-54 body.  I discussed that here.

1955 Plymouth Belvedere - BaT Auctions photos
Like Chevrolet, Plymouth was redesigned for 1955.  Its windshield was panoramic, but the A-pillar sloped backwards in the conventional manner.  Also conventional was the wide grille (also found on Ford).

Elaborate two-tone paint schemes were fashionable.  The scheme found on Chevy Belvederes and Two-Tens (but not on One-Fifty models) makes the cars seem stubbier instead of longer.  Unlike '55 Ford and Plymouth 4-door sedans, Chevy's passenger compartment greenhouse is a six-window affair.

Ford two-tone schemes featured an awkward "checkmark" chrome divider that did not provide extra visual length.

Plymouth's two-toning also does not relate well to the body shape.  However, its lean-forward front and the attached horizontal chrome strip enhance the car's length.  The slanted A-pillar makes for a better shaped greenhouse -- the other wraparounds shown above add to the visual "stubbiness" factor.

Rear ends were simple in those days.  All three cars have tail light assemblies that lean backwards, increasing actual belt line-level length (assisted by "Frenched" headlight assemblies up front).

Unlike Chevrolet, Ford and Plymouth two-toning had the main body color on pillars and window framing.

1955 Plymouth Belvedere - Mecum Auctions photo
Not all Belvederes had the two-tone scheme shown above.  This scheme is more conventional.  The long chrome side strip enhances the appearance of length.  When I was in high school, I liked the Chevy design best: now I favor Plymouth's.

Jeep-Like Segmented Grilles: Chevy Biscayne Concept, Cisitalia 505 DF, and More

I last wrote about the Chevrolet Biscayne concept car here.  It was displayed at General Motors' 1955 Motorama show along with other classic concepts from that Golden Age of Dream Cars.

Recently, I came across images of a 1953 505 DF Cisitalia by Ghia, designed by Aldo Brovarone -- one of 10 built.  This 505 (unlike some or all other 505s) featured a grille that, to me, evoked the Biscayne's grille.

Those grille designs differ in most details, yet their general feelings seem similar.  It's possible that GM stylists were aware of this Cisitalia, because another 1955 Motorama concept car (the LaSalle II Roadster) had a grille with openings fairly similar to the 505's.

Oh, one more thing.  Once one considers aspects of grille segmentation, it's hard not to think of Jeep grilles.

These and other matters are discussed below.

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1955 Chevrolet Biscayne - factory photos
I'll try really hard to ignore that bug-eye headlight assembly design and focus on the grille.  It's a simple horizontal opening featuring nine vertical chrome bars; one inset at each side and seven equally spaced over the opening.  This creates seven open segments -- like Jeep grilles.

1953 Cisitalia 505 DF by Ghia - factory photos
The Cisitalia grille is seven tall, vertical openings trimmed in chrome.  Between the openings are thin, chromed strips.  Although entirely different (aside, perhaps, of the just-mentioned strips), those seven primary vertical elements for each grille present a visual linking of the two designs.

Now for a few comparison images ....

1944 Willys Jeep - photo via Haggerty Insurance
World War 2 Jeep grilles varied, but Willys-built Jeeps eventually received seven-slot grilles and the firm trademarked that concept.  This clearly predates the grilles pictured above.

2014 Jeep Cherokee - factory photo
Compare the grille on this Jeep to that of the Cisitalia shown above.  As noted in the previous photo caption, World War 2 Army Jeeps were not consistent in the number of vertical grille openings.  Many had nine, others had seven.  Jeeps in use when I was in the Army (early 1960s) had seven openings.  Recall that the Biscayne featured seven openings -- not quite the same structure -- but numerically the same.

1955 LaSalle II Roadster - Petersen Automotive Museum photo
This is the other '55 Motorama car mentioned in the text above.  Its grille openings are similar to those on the Cisitalia, though there are only six of them.  This theme is a carryove from the 1940 LaSalle.  I can't rule out the possibility that those '40 LaSalles inspired the Cisitalia's grille.

2024 Kia Sorento - factory photo
I recently noticed this Jeep-like seven-segment grille while vacationing in Hawaii. I wonder what Kia stylists and marketing management were thinking.  I also wonder what the folks at Jeep are thinking.

1936-1937 Studebaker Overhead Views

Studebaker (Wikipedia entry here) suffered greatly during the early years of the Great Depression of the 1930s.  However, for model year 1936, new bodies were introduced.  These were up-to-date, all-steel, all-metal-roof bodies whose design was in line with style leader General Motors whose most recent redesign appeared on many of its brands for 1935.

I thought you might be interested in seeing some overhead views of examples of the new Studebaker design.  Note that these were created before Raymond Loewy's industrial design firm was hired to style Studebakers.

This and other 1936 Studebaker advertising claimed that Helen Dryden was responsible for the cars' design.  From what I've read, her contribution was mainly in regard to the interior.  As for the exterior, its styling is entirely in line with the styling fashion of that model year.  Since Studebaker (so far as I know) did not rely on body-making firms such as Murray and Briggs (which had their own styling staffs), it seems likely that Studebaker either had some internal design capabilities or hired consultants.  I'm drafting this post in Hawaii, far from my reference library, so readers who know the source of '36 Studebaker styling are encouraged to Comment.

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1936 Studebaker Dictator Cruising Sedan - car-for-sale photos
Some background on "Dictator" as a Studebaker model name is here.  Dictators were the firm's entry-level models.  The top of the car is pure sheet-metal -- no fabric insert that was common previously and found on some mid-late 1930s American cars.  The top is more rounded than flat, related to sheet metal stamping technology of the day.  Also rounded are window framing and, especially, fenders.  The hood plan view tapers toward the grille that avoided the current "fencer's mask" grille design fad.  Headlight assemblies are teardrop shaped, a common 1930s gesture to streamlining.

The trunk is a distinct shape attached to what otherwise would be a steep "fastback" profile.  In those days, a number of American cars with this configuration were deemed "touring sedans" because this feature allowed for greater luggage storage space than could pure steep-fastbacks.  The puffy fenders provide room for a broad running board.

1937 Studebaker Dictator Business Coupe - RM Sotheby's photo
The coupe design looks a lot less conventional 1936-37 than the sedan pictured above.  This especially has to do with the passenger compartment not-very-greenhouse with its distinctive wedge-shaped backlight window, a unique Studebaker feature.

Nash Metropolitan Walkaround

Ages ago when I was attending the University of Washington, one of my fraternity brothers had a Nash Metropolitan, a very small car with tiny wheels.   I never drove it nor rode in it, so I have no personal basis for evaluating its automotive qualities.  But then, I'm here to discuss its styling.  I also did that around ten years ago in this post.

In brief, the Metropolitan was styled in America, but produced in England using Austin components including the motor.  The first link above indicates that Metropolitans were intended as secondary cars for two-car families -- a growing market segment in the prosperous, post- World War 2 United States.

Metropolitans were marketed model years 1954-1962.  Nearly 100,000 were sold in North America, and others were sold in Europe.

Images below of a 1955 Nash Metropolitan coupe are via Bring a Trailer Auctions.

Gallery

Front view.  Later facelifts featured a mesh grille.

Styling features came from the 1952 Nash playbook.  Those included the high-fender, low-hood configuration, the short wheel openings at the front, and pressed-metal ribbing on the door.

1952 Nash Statesman - Mecum Auctions photo
For reference.  Again, note the wheel openings, fender shape, side chrome strip, and that sculpting below the windows.

The Metropolitan version in side-view.

Tail lights are similar to those on big Nashes.

The backlight window is a three-segment affair.  In the USA by 1954, this could be done using one piece of glass, but perhaps not in England.  Or maybe this was more economical to produce.

The dashboard was pretty Spartan -- all metal, no vinyl or padding.
Designing attractive small cars is not as easy as designing large cars.  One approach is to avoid having the small car look like a shrunken large one.  I suppose the original VW Beetle might be an example, even though it was not professionally styled, as best I know.  Another example is the original Austin Mini.  The alternative is to produce a shrunken version of a large car.  Sometimes, these can look pretty odd.  The Metropolitan is that kind of design.  Yet, though it isn't beautiful, isn't even very attractive, it sort of "works" in a strange way.  Especially the early, pre-facelifted ones.