The common nickname for these Studebakers was “coming-going”. And has taken that to a new level, especially since he seems to have left the original steering wheel intact at the rear.
I have always scratched my head at Studebaker’s over-and-over ads that showed cars in a bright, vivid yellow that was never even close to the pale or pastel yellows they offered.
This reimagining kind of works. It make me think of a prehistoric version of the Volvo P1800 wagon.
It’s a shame they didn’t survive into the later ’60s and ’70s and finally offered the bright yellow seen in the ads.
Upholstery choices with it would be either “wet-look” black vinyl or burnt-orange plaid cloth-and-vinyl.
I never did care for the pontoon rear fenders on the ’47-52 Studes. A smooth envelope rear fender would have been as contemporary as the rest of the car. Perhaps it was deemed too boring and featureless.
The coming/going joke couldn’t have been about the wraparound rear window, because wraparound windshields didn’t happen until 1954. I think it was more about the proportion of hood and trunk, especially on the Champion. Studie had a long tapered trunk and a short blunt hood, which was exactly backwards from everyone else.
A rather Koenigseggish wraparound windscreen. The gradually sloping fastback appeals to me much like the Dodge Magnum. It’s the shooting brake Studebaker should have made. I’m in!
The 1948 Studebaker which is somewhat similar to the featured car plays a very prominent role in The Lincoln Highway by Amor Towles. The book is an excellent read and the way the author uses the Studebaker is quite clever.
I have always scratched my head at Studebaker’s over-and-over ads that showed cars in a bright, vivid yellow that was never even close to the pale or pastel yellows they offered.
This reimagining kind of works. It make me think of a prehistoric version of the Volvo P1800 wagon.
It’s a shame they didn’t survive into the later ’60s and ’70s and finally offered the bright yellow seen in the ads.
Upholstery choices with it would be either “wet-look” black vinyl or burnt-orange plaid cloth-and-vinyl.
Just opening up the rear wheel well makes this look sportier.
I never did care for the pontoon rear fenders on the ’47-52 Studes. A smooth envelope rear fender would have been as contemporary as the rest of the car. Perhaps it was deemed too boring and featureless.
The coming/going joke couldn’t have been about the wraparound rear window, because wraparound windshields didn’t happen until 1954. I think it was more about the proportion of hood and trunk, especially on the Champion. Studie had a long tapered trunk and a short blunt hood, which was exactly backwards from everyone else.
The suicide-door sedans do have a push me-pull you appearance from some angles.
Did term “hatch” (in reference to car styles) exist in the early “50’s”?
Now there’s a name I’d like to see them try and put on the back of the car!
Interesting, I wonder how it’d look with normal window height .
-Nate
Dang, I was hoping for another appearance by Mrs. Cleaver.
Dang, I too was hoping for another appearance by Mrs. Cleaver.
A rather Koenigseggish wraparound windscreen. The gradually sloping fastback appeals to me much like the Dodge Magnum. It’s the shooting brake Studebaker should have made. I’m in!
I’m seeing C3 Corvette glass.
The 1948 Studebaker which is somewhat similar to the featured car plays a very prominent role in The Lincoln Highway by Amor Towles. The book is an excellent read and the way the author uses the Studebaker is quite clever.