#RaymondLoewy

Rare Rides has featured a couple of Studebaker offerings in the past, both of which were family-hauling wagons. Today’s Studebaker is a more luxurious and less capacious hardtop coupe. Let’s have a look at a rare 1958 Golden Hawk.

A Brooks Stevens concept.

Aaron Cole’s post about automotive patent art gladdened my heart. Years ago, I decided to check out some of Les Paul and Leo Fender’s original patents on their electric guitars and I discovered the artistry of patent drawings. These days the United States Patent and Trademark Office, as well as patent offices around the world, accept digitally produced artwork. However, before the digital age, an inventor had to hire someone skilled at technical drawing to produce the various exploded and see-through sketches needed to describe the “preferred embodiment” of a process patent.

Of course the “inventor” of a design patent — a slightly different form of intellectual property that protects the design and look of a product — is more often than not, the actual designer.

Following up on Aaron’s post, I decided to put the names of some notable automotive designers into a patent search engine to see what I could find. My hypothesis was that in the case of a design patent, particularly for a car, the artwork for the patent application was likely to have been drawn by the designer. A patent is a big deal to any engineer or designer and he’d likely want to be the one responsible for representing his own idea best.

Full gallery here

A perennial candidate for most beautiful of all times lists is the Studebaker Avanti. It’s admittedly somewhat of a polarizing design since the Avanti also sometimes shows up on lists of the oddest looking or ugliest cars ever made. I’m in the former camp and think it’s a great looking piece of human creation, but I can understand those who think it looks a little funny. Perhaps that’s how it should be as the Avanti was created to get people’s attention for Studebaker, the last independent car company in America, which was quickly becoming irrelevant as its financials got worse and worse. Studebaker president Sherwood Egbert did what he could with limited resources and a board of directors that seemed determined to run the more than century old company into the ground. The Avanti was part of Egbert’s plan in the early 1960s to give Studebaker, a company with a dowdy reputation in consumers’ minds, a new image, a rebranding in today’s parlance.