The mystery model as it sat in Marty Martino's garage.
Recently a question came up on a public FaceBook page, RETRO AUTOMOTIVE PROTOTYPES & Concept Designs, about the origins of a 3/8ths scale styling model believed to have come from one of the major automobile manufacturers. Photographs accompanied the query of the model as it sat in master builder Marty Martino's garage. Martino is well-known in automobile concept circles as the man who recreated the 1956 GM Club de Mer show car, restored the 1955 Chevrolet Biscayne Motorama concept car, recreated the 1955 Ford Futura, and is currently recreating the 1956 Ghia/Chrysler Norseman, the one that's still in the hold of the sunken Andrea Doria ocean liner.
Just a few of Marty Martino's many automotive accomplishments.
BACKGROUND
In the 1990's, the model was discovered by noted automobilia collector Sam Sandifer in a yard sale in Wixom, Michigan, with absolutely no other concrete information about its history. It was thought it may possibly have come from Ford and the Wixom location may have indicated a possible Lincoln connection.
In the 1990's, the model was discovered by noted automobilia collector Sam Sandifer in a yard sale in Wixom, Michigan, with absolutely no other concrete information about its history. It was thought it may possibly have come from Ford and the Wixom location may have indicated a possible Lincoln connection.
With little to go on except the photos of the model itself, Steve Tremulis sought to find an answer as to whether or not it really was a Ford-originated model, but found so much more in his quest that this story deserves to be told.
Clues as to the model's origins came from several unique design elements in the model itself, with two design structures of particular interest: The Chevron-shaped taillights were integrated with the rear bumper, and the canopy was a pillarless design. Hopefully, those two features would provide all the necessary identifying marks to pinpoint who the original designer may have been. Below is a more recent photo that better represents the mystery model.
Clues as to the model's origins came from several unique design elements in the model itself, with two design structures of particular interest: The Chevron-shaped taillights were integrated with the rear bumper, and the canopy was a pillarless design. Hopefully, those two features would provide all the necessary identifying marks to pinpoint who the original designer may have been. Below is a more recent photo that better represents the mystery model.
A copy of the mystery model recently restored by Marty Martino
ALEX TREMULIS ARCHIVES
Alex Tremulis was one of the most influential automotive stylists and was head of Ford's Advanced Styling Studio for several years in the mid-1950's. He kept a large archive of his work throughout his life, including many of the design concepts that were developed at Ford. Part of his responsibilities was to train new employees and art students in the many aspects of automobile design. It was thought that a new designer learning the trade could exercise his imagination unhindered and if he was to mess up, it would be better to do it in the Advanced Styling Studio rather than in production where mistakes could be very costly. In all, Tremulis mentored over 140 future designers and he maintained a significant file of many of their incredible design studies. If the mystery car came from Ford during Tremulis' tenure, there was a good chance it would be found in his files.
Alex Tremulis was one of the most influential automotive stylists and was head of Ford's Advanced Styling Studio for several years in the mid-1950's. He kept a large archive of his work throughout his life, including many of the design concepts that were developed at Ford. Part of his responsibilities was to train new employees and art students in the many aspects of automobile design. It was thought that a new designer learning the trade could exercise his imagination unhindered and if he was to mess up, it would be better to do it in the Advanced Styling Studio rather than in production where mistakes could be very costly. In all, Tremulis mentored over 140 future designers and he maintained a significant file of many of their incredible design studies. If the mystery car came from Ford during Tremulis' tenure, there was a good chance it would be found in his files.
THE SEARCH FOR A SKETCH
In 1955, Alex Tremulis prepared a speech to be given to Henry Ford (II) during his tour of the Advanced Styling Studio. Along with the script of the speech, he had maintained the photographs of dozens of concept renderings that accompanied his tour. Also included were numerous photos of the students who came through the studio. The complete tour and photos can be found HERE. One particular photo contained a drawing that incorporated both the Chevron taillights and the pillarless greenhouse. The top center drawing had all the hallmarks of the mystery car! To add even more possibility that it was the original sketch for the mystery car is that it is directly above a drawing done by a young Jim Powers of his 1955 Palomar concept. The Palomar also had a pillarless canopy and was also chosen to be modeled in 3/8ths scale, so the sketch was displayed in the right place and in very good company.
In 1955, Alex Tremulis prepared a speech to be given to Henry Ford (II) during his tour of the Advanced Styling Studio. Along with the script of the speech, he had maintained the photographs of dozens of concept renderings that accompanied his tour. Also included were numerous photos of the students who came through the studio. The complete tour and photos can be found HERE. One particular photo contained a drawing that incorporated both the Chevron taillights and the pillarless greenhouse. The top center drawing had all the hallmarks of the mystery car! To add even more possibility that it was the original sketch for the mystery car is that it is directly above a drawing done by a young Jim Powers of his 1955 Palomar concept. The Palomar also had a pillarless canopy and was also chosen to be modeled in 3/8ths scale, so the sketch was displayed in the right place and in very good company.
3/8ths scale renderings from various designers as they appeared in Ford's Advanced Styling Studio in 1955.
A closer examination of the mystery car model compared to the sketch shows that the greenhouse had changed from a rather complex contour for the C pillar to a simple support member. This would be a typical change that most concepts go through as they develop: The sketch would have been critiqued by Alex Tremulis and other stylists and their suggestions for improvements to the design would be incorporated into the next iteration under Tremulis' direction. So where did the model's new greenhouse come from? Well, they didn't have to look very far. It looks like it came directly from another one of Alex Tremulis' 3/8ths scale design studies called the Madame X!
Alex Tremulis' Madame X 3/8ths Scale Model
Examining the side trim of the sketch as compared to the model, it was clear that it too underwent improvements in its features. Gone was the trim-within-trim arrow and spear. Instead, a simple cove was incorporated down the side of the car. A quick photoshop of adding the Madame X's pillarless roof to the sketch and cleaning up the side trim results in a near perfect match for the mystery car in question!
With cleaner side trim and Madame X's greenhouse, the sketch is a near-identical match to the mystery model
THE MODEL IN VINTAGE PHOTOS
But how could the model in Tremulis' studio escape the camera with all the photos taken at the time? Well, it didn't. It's been there the entire time waiting to be discovered, just not as a featured model. Several other 3/8ths scale model concepts took top billing in the Advanced Styling Studio, namely the futuristic "La Tosca" and its companion, the proposed 200 mile per hour 1956 Thunderbird "Mexico". Both concepts wore the Thunderbird badge, Ford's most sporty vehicle in direct competition with GM's Corvette. La Tosca even made it to the cover of Car Life in 1955 and was also featured in LIFE magazine. Shown below are two photos of the La Tosca and the Mexico models in what looks like candid shots taken during the formal photoshoot by LIFE magazine.
But how could the model in Tremulis' studio escape the camera with all the photos taken at the time? Well, it didn't. It's been there the entire time waiting to be discovered, just not as a featured model. Several other 3/8ths scale model concepts took top billing in the Advanced Styling Studio, namely the futuristic "La Tosca" and its companion, the proposed 200 mile per hour 1956 Thunderbird "Mexico". Both concepts wore the Thunderbird badge, Ford's most sporty vehicle in direct competition with GM's Corvette. La Tosca even made it to the cover of Car Life in 1955 and was also featured in LIFE magazine. Shown below are two photos of the La Tosca and the Mexico models in what looks like candid shots taken during the formal photoshoot by LIFE magazine.
Alex Tremulis' La Tosca and Mexico 3/8ths scale models apparently getting prepared for a LIFE Magazine photoshoot
Sometimes it's not the main feature that's important, but it's what's happening on the sidelines that makes the headlines. And that's exactly what these photos show. In the background is the model and its mystery that would eventually be solved 62 years later. Magnified and contrast-enhanced, they clearly show the model in question, and even more detail with the two-tone paint used for the cove and body!
The mystery model found in the background of the photos featuring La Tosca and Mexico 3/8ths scale models
Lincoln sketch with the model's front end treatment THE LINCOLN CONNECTION
Further research suggests there may well have been a connection of the model to John Najjar's Lincoln studio. The sketch at left bears a striking resemblance to the model and is badged "LINCOLN" across its front trim. This sketch was also displayed in Tremulis' Advanced Styling Studio. It is well known that La Tosca was ordered over to Lincoln shortly after Tremulis' antics with the radio controlled model. As told, Tremulis would sometimes drive La Tosca across Oakwood Blvd to the training grounds. On one such occasion, its batteries were running low and held up traffic, including an unamused Ford executive, Earle MacPherson. It was just a short while later that Tremulis would be relieved of the model. So it wouldn't be too much of a stretch if the mystery model joined La Tosca in its departure from Advanced Styling and travelled over to the Lincoln studio (but probably not under its own power). In any case, the Lincoln sketch incorporating the mystery model's front end treatment indicates that the model was at some point associated with Lincoln.
Further research suggests there may well have been a connection of the model to John Najjar's Lincoln studio. The sketch at left bears a striking resemblance to the model and is badged "LINCOLN" across its front trim. This sketch was also displayed in Tremulis' Advanced Styling Studio. It is well known that La Tosca was ordered over to Lincoln shortly after Tremulis' antics with the radio controlled model. As told, Tremulis would sometimes drive La Tosca across Oakwood Blvd to the training grounds. On one such occasion, its batteries were running low and held up traffic, including an unamused Ford executive, Earle MacPherson. It was just a short while later that Tremulis would be relieved of the model. So it wouldn't be too much of a stretch if the mystery model joined La Tosca in its departure from Advanced Styling and travelled over to the Lincoln studio (but probably not under its own power). In any case, the Lincoln sketch incorporating the mystery model's front end treatment indicates that the model was at some point associated with Lincoln.
As further support for the Lincoln association, both the sketch and the model appear to have incorporated side trim styling cues from the production 1953 Lincoln 2-door hardtop. As styling exercises for his students in the Advanced Styling Studio, oftentimes Tremulis would supply a main theme for inspiration. It's very possible this assignment could have originated with the question "What could the Lincoln of the future look like?"
DESIGNER REVEALED
So who was the original designer of the drawing in Tremulis' studio? Thankfully, the original photos are 8x10 glossies from which the signature or the artist can be identified. The original 3/8ths scale rendering was signed by Wm. Crabtree and photographed in December, 1955. But Crabtree is not a marquee name when it comes to notable Ford concept cars of the 1950's... Yet.
So who was the original designer of the drawing in Tremulis' studio? Thankfully, the original photos are 8x10 glossies from which the signature or the artist can be identified. The original 3/8ths scale rendering was signed by Wm. Crabtree and photographed in December, 1955. But Crabtree is not a marquee name when it comes to notable Ford concept cars of the 1950's... Yet.
So who was William Crabtree? It turns out that he had a lifelong love of automobiles and dreamed of becoming a car designer. So in 1953, just out of high school, he entered a Motor Trend contest to design the car of the future where the winners would receive a scholarship to the highly esteemed Art Center in Pasadena, California. Crabtree's entry was chosen as one of the winners and he was awarded a four year scholarship. His accomplishment was noted in Long Beach's Independent-Telegram as well as the September 1953 Motor Trend as shown below.
The Independent Press-Telegram in Long Beach covered his winning in their August 30, 1953 edition. As they described: "The car of the future will be maneuverable so that it can be parked easily, and functional so that it can travel fast in heavy traffic. It will be highly specialized, and it is likely to be somewhat smaller than present day cars. So believes an enthusiastic 18-year-old, William King Crabtree - "Bill" to his friends - who has been interested in cars all of his life, and has sketched cars much of his life. Bill, 933 Terraine Ave., was one of the five winners of a national contest sponsored by Motor Trends magazine for new car designs. His award is a four-year $2000 scholarship to the Los Angeles Art Center, starting with the term beginning Sept. 28. Guess what he will do at the Art Center? "Design cars, mostly." says Bill. When Bill read about the contest in the spring, he already had most of the work done because he had been accumulating drawings for a couple of years. "I bundled off a portfolio of 25 or 30 sketches and 10 finished drawings, and got In just under the wire," says the lanky 6-foot 1-inch youth who works at a service station at 3565 Pacific Coast Hwy. His prize-winning drawing of a coupe done in two-tone gold and black, appears under the heading "From Dream to Drawing Board to . . . " in the current issue of Motor Trend.
As Motor Trend described: William King Crabtree, Long Beach, designed and engineered for the future with these principles in mind: the safety, needs and comfort of the public. Born in Oklahoma 18 years ago, William Crabtree is approaching automotive design with ideas well ahead of his years. He believes in simplicity of style, maximum safety and design that is practical, attractive, comfortable -- yet low in cost. His coupe looks nearly 'sonic' in concept, but it utilizes all the desires of the designer, who feels that this car could be developed in the next 10 years. "The rear-engined car would be the size of present cars in the low price class. Controls are centrally located. As the door retracts into the rear fender, the window panel is raised. Air scoops are more than decoration; scoops on the sides cool the engine and the brakes; an air- scoop-on the car's roof provides fresh air for the air-conditioning system. The fact that this car, and variations of it, are designed to seat either two or four people at the most is an indication of the trend to specialization in our cars of the future." In Bill's model, the seats would lie separate and adjustable, similar to bus seats. Each seat also would have a safety belt. He planned the car for commercial use, and thinks it would make an excellent police car. How fast would it go? "I don't know," admits Bill. "I'm a designer, not an engineer."
Motor Trend gave out several scholarships in their contest and one other winner is of particular interest with ties to Bill Crabtree. It turns out that the other future designer was also hired by Alex Tremulis into Ford's Advanced Styling Studio as none other than McKinley Thompson, the auto industry's first African-American car designer. Thompson's story is also fascinating and was previously featured HERE.
So Crabtree and Thompson must have been classmates at Art Center as they learned the tools of their new trade. A search of photos from the Art Center archives brings up this gem, where indeed Bill Crabtree is at the far right of the photo beside his classmate McKinley Thompson, along with the great Art Center instructor and master at clay modeling, Joe Thompson (center).
So Crabtree and Thompson must have been classmates at Art Center as they learned the tools of their new trade. A search of photos from the Art Center archives brings up this gem, where indeed Bill Crabtree is at the far right of the photo beside his classmate McKinley Thompson, along with the great Art Center instructor and master at clay modeling, Joe Thompson (center).
Thanks to Art Center College of Design's Archives
Bill Crabtree and McKinley Thompson were to make such a positive impression on Tremulis that they both were offered styling jobs within Ford before their full scholarships at Art Center would conclude. Tremulis' main criteria for hiring potential designers and mentoring his students was not only talent, but if they showed a passion for design, a trait both Crabtree and Thompson clearly possessed. But life inside Ford would prove somewhat difficult for Crabtree as his other passion in life was to possibly become a minister. The fast lifestyle of the stylists often included smoking and drinking, sometimes too much, and that did not sit well with the budding automobile designer. After nearly two years at Ford, Crabtree decided it would be best for him to return to California where he would build his career and family.
Bill Crabtree, 1953 After he left Ford, he tried going back to Art Center. When that didn't work out, Bill went to UCLA for 3 1/2 years hoping to be a doctor. About this time he got married the first time at age 25. Bill then worked at North American on the Apollo command module program. After his first marriage ended, he remarried in 1973 and eventually went to work at Douglas Aircraft (which later became McDonnell Douglas and later Boeing). He worked for them for over 35 years, after which Bill worked for Flight Safety, Inc (FS took over the Flight Training Center for Boeing) from which he retired at 67. Bill Crabtree passed away in 2004 at the age of 69.
So now the new search begins for how Bill Crabtree's career within Ford progressed and which other designs and projects he may have contributed to. And once again, just as it was 62 years ago, Bill Crabtree's automotive styling talent and contributions to design are just beginning to get recognized!
A special thanks to Sam Sandifer, Marty Martino and especially to Sue Crabtree for sharing her husband's life story. And, of course, to Bill Crabtree for creating such beautiful artwork reflecting his passion for automobiles and the fascinating mystery that surrounds all great design.
Thanks to the archives of Art Center College of Design, Ford Motor Company, and the Alex Tremulis Archives.
So now the new search begins for how Bill Crabtree's career within Ford progressed and which other designs and projects he may have contributed to. And once again, just as it was 62 years ago, Bill Crabtree's automotive styling talent and contributions to design are just beginning to get recognized!
A special thanks to Sam Sandifer, Marty Martino and especially to Sue Crabtree for sharing her husband's life story. And, of course, to Bill Crabtree for creating such beautiful artwork reflecting his passion for automobiles and the fascinating mystery that surrounds all great design.
Thanks to the archives of Art Center College of Design, Ford Motor Company, and the Alex Tremulis Archives.
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