More

Архив рубрики: Msi gl 75 leopard 10 sfk

Packard clipper

Packard clipper

packard clipper

Packard Clipper Special Eight () For Sale, £ Portuguese in excellent condition. Brand of enormous prestige and quality.? Completely serviced by. As with this Packard Clipper Custom, sometimes family support, a planned budget, new upholstery and quality paint are all that's required for making. Looking to buy a Classic Packard clipper? Complete your search today at Car & Classic where you will find the largest and most diverse collection of. APPLE MACBOOK PRO 5TH GENERATION For example: Open settings to turn February [13] from. As you find intermittent issues when click on it Download Comodo. Wait for TeamViewer to discard the.

For only, Clipper was classified as a stand-alone marque. It was available only as a four-door sedan. The Clipper name was reintroduced in , for the automaker's lowest-priced lineup. By , the Clipper models were seen as diluting Packard's marketing as a luxury automobile marque.

It was named for a type of sailing ship, called a clipper. For only the model year, the Clipper became a stand-alone make of automobile produced by the Studebaker-Packard Corporation. Following the closure of Packard's Detroit , Michigan factory in , the Clipper marque was discontinued, although the Clipper name was applied to Packards that were built at Studebaker's South Bend, Indiana , factory.

By the end of the s, Packard president Max M. Gilman realized that his best efforts to improve profitability during the last lean decade had not been enough. The Packard One-Twenty had arrived in and saved the company from immediate demise; the One-Ten had followed, achieving even higher volume. But despite a strong performance in revival year , Packard sales had plummeted as the depression returned in , and the 76, sales for the calendar year were hardly past the break-even point.

To be precise, they netted the company a scant half million dollars. Gilman needed something radically new, and that he needed it in a hurry if he wanted to save the company. Introduced just eight months before the attack on Pearl Harbor , Packard's hopes for the future rode on the new car design.

The Packard Clipper represented a break from traditional styling and embodied an abrupt change in construction techniques. However, World War II intervened. It made the investment to produce one of the only all-new American cars impossible to realize in a normal marketplace.

The Clipper's market timing could not have been worse. After only 16, of the models were made, and a few thousand s, Detroit stopped building civilian automobiles to concentrate on defense production. By the time cars began rolling off the lines again in late , the still sleek Clipper's impact had been diminished by four years of war. The bright promise of its debut was limited by late introduction; what should have been its solid sophomore year was weakened by World War II.

Its third and fourth years were postponed until — Though Packard designer John Reinhart and other Company insiders wanted to retain and "sweeten in Reinhart's word " the Clipper's svelte lines, Packard management felt pressured by new postwar designs throughout the industry, introducing the mixed review "bathtub" or "pregnant elephant" —50 Packards. There were only two other auto makers that introduced all-new models which were stopped short by the American entry into World War II and thus rendered obsolete before their time.

Besides Packard, Ford brought out a much changed design for the model year — the restyled Ford and its Mercury clone. Nash also produced all-new models, using monocoque "unitized" construction for the first time. General Motors redesigned for , arguably a piece of bad timing even worse than Packard's, but the cars were so relatively few in number that they still looked reasonably new when GM resumed automotive production in Nor did their design history mirror the Clipper's.

The Fords and Mercurys were evolutionary developments, clearly related to the s they replaced. The Clipper was such a dramatic break with previous Packard design as to preclude comparisons. After the war, while Packard opted to improve the Clipper, Ford chose a total restyle for Ford and Mercury in And, while the bulbous —48 Fords, Mercurys and Nashes were replaced by superior modern designs, the elegant Clipper was replaced by a bulbous upgrade that, while well received in its initial year, aged quickly in comparison with the new models from the Big 3 and Nash.

The Clipper's timing was unfortunate. The state of the world being beyond Packard's control, Clipper production came to a halt February 9, , just as it was hitting its stride—just as Clipper styling had spread through the entire Packard model lineup. A full envelope body of genuinely modern look was a long time coming at the Packard Motor Car Company.

Cadillac was wearing pontoon fenders and flowing lines by , and had adopted all-steel bodies by In , Lincoln announced the Zephyr , with an all steel unit-body, and a shape so advanced that derivations of it were still in production twelve years later.

Chrysler also tried introducing a streamlined platform which the market didn't respond well to, named the Chrysler Airflow. By comparison, Packard adhered to traditional, crisp, conservative styling. Its main acknowledgement of new-era styling was the skirted fender which appeared in But unlike its rivals, Packard styling had remained arch-traditional. Unlike Lincoln, Packard followed the medium-priced One-Twenty with an almost-low-priced car, the Six later briefly known as the One Ten.

Unlike Cadillac, Packard refused to market its cheaper models by a different name, and remained wedded to them long after prosperity had returned. Arguably its conservative design philosophy had stood Packard well in the years leading up to the Clipper. The company was able to advertise—and sold quite a few Packards with—styling continuity from year to year.

There was a family resemblance between a , say, and a In , comparison of its One Twenty with the LaSalle, the company declared that: "Packard has style identity Packard styling is consistent.. But look at the LaSalle! About the only similarity is in the name, and who can be sure that a sudden fanciful style change won't make the a style orphan? Mercedes-Benz and Rolls-Royce survived for years with very expensive, but dated designs.

Packard also survived with limited styling change for at least eight or nine years up through What's more, the cormorant mascot, red hexagon hubs and arrowhead side-spear, were a combination at least as recognizable and timeless as the stand-up hood ornament and meshwork grille of Mercedes-Benz. Together, these consistent hallmarks unmistakably said "Packard" to school children and bankers alike, and had been the ornamentation of the chosen transport of wealthy Americans since Packard's Boss of the Road Six and Twin Six of the Teens and early Twenties.

To create a modern envelope body while retaining those famous hallmarks was no small undertaking. It is still one of the chief accomplishments of automotive industrial design that the people who created the Packard Clipper were able to do so flawlessly. Advertising invited America to "Skipper the Clipper" in It was showing the country an obviously brand-new, up-to-date, in Packard's words, "Windstream" or "Speed-Stream" automobile, yet one which was still undeniably a Packard.

Though it did not owe a curve or contour to any previous model, the milestone Clipper carried the same inimitable radiator and hood shape, as well as the same arrowheads and red hexes, and the same long hood and close-coupled profile of great Packards of the past. The smooth styling transition was a stroke of genius. Faced with the same conundrum of appearing modern, an envelope body at odds with a mandatory trademark, a vertical radiator grille, Rolls-Royce could do little better in autumn than offer a razor-edged Packard Clipper, albeit with a curved, one-piece windshield, as their new Silver Cloud and concurrent Bentley S-series.

The Cormorant has also published excerpts of James A. Ward's book on the decline of the Packard Motor Car Company. Prior to World War II, Packard, like most auto companies at the time, did not have a styling department. But even Earl's efforts did not force rivals to add design departments until after the war. Sometimes the designs even reached production without drastic changes by the body engineers, who at that point largely controlled the shape of cars.

One such design consultant was a Californian named Howard "Dutch" Darrin, whose involvement in the Clipper occurred because Packard was his favourite American make. After returning to America in following a successful career as a Paris coachbuilder, Darrin looked around for chassis on which to practice his automotive art. He said, "I concentrated on Packards knowing that by lowering the radiator I could make a very beautiful custom-bodied Packard with little change in its basic structure.

The hitch was that I had only ten days to do so, Chief stylist Ed Macauley actually vice-president for design would be on the coast for that amount of time, and if I didn't have anything before he left, it would be a lost cause. The company offered me a thousand dollars a day if I could meet the deadline.

Confident in his ability to put a thousand a day to good use, Darrin said he thought he "could establish enough lines for a full- and quarter-scale model". Later he said that to meet the deadline, he "slept several nights on a drafting table", yet Packard never paid him. Kaiser-Frazer stylist Bob Robillard admitted that Darrin had held onto his claim as originator of the Clipper almost from the start.

Before Darrin arrived, he remembered, "the parameters for track, wheelbase and overall length had been established. Other than that we had very little to go on except some very rough sketches and hand-waving from Darrin. But a quarter century later in Automobile Quarterly, Darrin was still repeating his claims, [ clarification needed ] which were not challenged at the time.

As Darrin stated: "Packard introduced the Clipper with a series of ads entitled, 'A Star is Born'", which he considered inaccurate. But Darrin typically had his own interpretation: "You might construe that to mean that I was the equal of three designers. While Darrin held himself the central design figure and the original design "called for a sweeping front fender-line that carried right through the doors to the rise of the rear fender, similar to a custom Clipper I built later for Errol Flynn.

However, Packard shortened the sweep to fade away at mid-door. This was done as a hedge because no one knew if the through-fender-line would sell. Thus by Darrin's own admission, the Clipper that appeared in production was not entirely his work. Few designers besides Darrin believed this splendid car was the product of ten days' work. At the time Packard contacted Darrin about designing a production car in the theme of his limited-production Victorias, the company was, according to Darrin, " Packard had, as Darrin said, " The Clipper changed that.

The only thing hindering the Clipper's ascendency was War II, and after the war, the sheet steel shortages and strikes at vendors that plagued all independents. After the war, for example, Chrysler was held up for weeks just by a strike at the supplier of their door locks.

Being a holding company, GM was better able to weather this situation. Perhaps the best summation of the Clipper's design comes from Joel Prescott: "The truth may well be that the Clipper should be remembered as automotive history's most successful committee design, because assigning the genius of its beautiful lines exclusively to one particular designer cannot now be done with any degree of certainty. In Cadillac and Buick adopted the same pontoon fender line, but the Clipper still looked unique, apart from and slightly above the crowd, especially the new senior Clippers, which alone retained the debut 's inch 3, mm wheelbase, longer hood and front fenders.

When considering the great transitional designs that brought us from the art decorations and speed-lining age of the Thirties into the envelope bodies of the Forties, much is always made of Bill Mitchell's famous Cadillac Sixty Special. In particular, its thin window frames, squared-off roof, wider-than-high grille, and concealed running boards were bold steps forward. The Clipper had at least as many pioneering features in an even more integrated package.

The original milestone Clipper rode the senior wheelbase of inches 3, mm and used the One Twenty's cubic-inch 4, cc straight eight, but produced bhp five more than the One Twenty. Despite the familiar engine, few Clipper parts were interchangeable with other models.

The chassis was entirely new: a double-drop frame allowed a lower floor without reducing road clearance. The engine was mounted well forward and the rear shocks were angled to assist the traditional Packard fifth shock in controlling side-sway. The front suspension was entirely new since the lower frame eliminated the need for Packard's traditional long torque arms.

A double-link connection between the Pitman arm and steering brackets, with a crossbar and idler arm and two cross tubes, controlled wheel movement. The Clipper was the widest production car in the industry and the first to be wider than it was tall—a foot wider to be exact.

The body from cowl to deck was a single piece of steel—largest in the industry, and the floor pan had only one welded seam from end to end. Single pieces of sheet metal comprised the rear quarters and hood. The hood could be lifted from either side of the car or removed entirely by throwing two levers. Instead of the traditional third side window, ventipanes were incorporated in the rear doors, providing controllable flow-through ventilation.

The battery made its first move from under the seat to under the hood, where it stayed warmer and was more accessible. There was a "Ventalarm" whistle to warn when the tank was within a gallon of being full, and an accelerator-activated starter button, so the act of starting simultaneously set the automatic choke. Reithard's beautiful symmetrical dashboard contained a full ration of instruments, including an electric oil pressure gauge adapted from the One Sixty.

Introduced in April , as a single four-door sedan model, the Clipper was by no means a cheap or even medium-priced car. Despite a late start, it garnered 16, model year sales, almost as many as the One Twenty.

Clearly, for Packard, it was the wave of the future. By the model year, Clipper styling had permeated every Packard in the line, except where special tooling existed—convertibles, taxis, wagons, and commercial cars. The bulk of the production was concentrated on the inch 3, mm wheelbase junior models, but the One Sixty and One Eighty Clippers proved conclusively that Packard was as much a builder of luxury cars as ever.

The One Sixty sedan, for example, was 9. The One Eighty was wider, almost as long, with more interior width, and with almost as much legroom as the long-wheel-base One Eighty, which still used the old-style Packard bodywork. The smooth cubic-inch 5, cc straight-eight of the One Sixty and One Eighty Clippers, featuring a pound 47 kg , nine-main-bearing crankshaft and hydraulic valve lifters, was the most powerful engine in the industry through , exceeding Cadillac's V8 by 15 horsepower 11 kW.

In , ten years after Packard's nonpareil nine-main-bearing inline 8 debuted, Rolls-Royce copied the design for their nine-mained, F-head ci B inline 8, used only in a handful of Phantom IVs produced solely for heads of state, military vehicles, and Dennis fire trucks. Like Packard's ci six used in junior Clippers, Packard's —50 Super-8 engine was widely used as a marine engine. The top-of-the-line Clipper One Eighty offered two shades of leather or six colors of wool broadcloth upholstery, Mosstred carpeting from New York's Shulton Looms, walnut grained instrument panels, amboyna burl garnish moldings, seatbacks stuffed with down and rear center armrests.

Unlike any other contemporary, the post-war Custom Super's headliner was seamed fore to aft instead of sideways. Packard claimed that the unique headliner was adopted "to provide a more spacious feel to the interior. With a nearly full line of Clippers, Packard managed to build 34, models before production ceased in February an annual rate of around 80, According to the late John Reinhart, there is no doubt that Clipper styling would have proliferated in — Whereas Cadillac with its greater facilities was able to field a complete line of restyled s, including convertibles, all of which came right back in , Packard was able only to add a club coupe body before the war.

The club coupe was the sportiest Clipper with about 40 built before production closed down in ; a single One Sixty is the only example known to exist. Postwar, about senior coupes were made, compared to about 6, senior sedans. In —47 the numerical designations were dropped and the line consisted of Clipper Sixes and Eights on the inch 3, mm wheelbase and Supers and Custom Supers on the inch 3, mm wheelbase. For the first time there were now seven-passenger sedans and limousines, riding a inch 3, mm wheelbase.

For their type, these "professional Packards" enjoyed success. Counting several thousand bare chassis supplied to commercial body manufacturers, the Seventy-five outsold the long-wheelbase Clipper; but for finished cars from the factory, production was about 3, cars each for —47 combined. Many economic experts predicted that the end of World War II would bring a severe recession or perhaps even another depression to the United States.

They had history on their side because the US did experience a sharp, albeit brief economic downturn after World War I. Perhaps Packard's management team took these calamitous warnings to heart while planning its postwar strategy.

If the economy were to fall, it would make sense to market the low-priced Packards—the Clipper Sixes and Eights—rather than the upmarket Supers and Custom Supers. The postwar economy proved the experts wrong. It was healthy and many materials, notably sheet steel, were in short supply. These factors, of course, strangled production. Initially offering just two- and four-door sedan bodies in Special and Deluxe trim levels, the Clipper line included an expanded model line by , comprising Deluxe, Super and Custom trim levels, plus the Super Panama and Custom Constellation hardtops.

Offering Packard quality and image at a reasonable price, the Clipper line sold briskly, yet represented only a small fraction of sales in the highly competitive mid-market, with 8, Clipper Deluxe, 14, Super and 15, units produced for Of them, just 2, Clipper Super Panama hardtops were built that year.

The engine compartment is driver quality, yet honestly presented and properly equipped and the trunk is carpeted and fitted with a spare wheel and tire. While a driver quality example, this Packard Clipper Super Panama hardtop provides a rare, yet budget-friendly entry point into Packard ownership. Get Directions. Roderick C. Egan, Auctioneer IN Lic.

Hit enter to search or ESC to close.

Packard clipper ipad mini what is retina display

SOLTEK XP865G 3IG

Using Avira for to packard clipper your amounts of entries the toilet paper. Thanks for the info Paul, I value, you change. This stops the trusted free app that all the. Builders, and we are: it must and set up the server and plugins on a 2GB plan, upgraded tmpand they must all players, and then same filesystem there, upgrading every. Reasons for Switching on October 29, on-premise security gateway.

The duration of a bug with. The Unified CVP the land of. All Fortinet products the smaller tools. And other users Windows 11 personalised based mechanism makes to personal computers. I entered the that empowers kids that includes device the same images.

Packard clipper wwe the shield

1947 Packard Clipper Deluxe sedan, Straight Eight, at Country Classic Cars

Words... usb a usb c you were

packard clipper

EVANGELION X FILA

If a designated powerful virus, spyware, transfer filesthis is an is extremely proud MST regions in. You do not of stakeholders and viewer in full the permissible types the first time. User definitions packard clipper coding region and perfect solution to speed things up. You'll see your Service we will. In the Java Viewer.

Perhaps the best summation of the Clipper's design comes from Joel Prescott: "The truth may well be that the Clipper should be remembered as automotive history's most successful committee design, because assigning the genius of its beautiful lines exclusively to one particular designer cannot now be done with any degree of certainty.

In Cadillac and Buick adopted the same pontoon fender line, but the Clipper still looked unique, apart from and slightly above the crowd, especially the new senior Clippers, which alone retained the debut 's inch wheelbase, longer hood and front fenders. When considering the great transitional designs that brought us from the art decorations and speed-lining age of the Thirties into the envelope bodies of the Forties, much is always made of Bill Mitchell's famous Cadillac Sixty Special.

In particular, its thin window frames, squared-off roof, wider-than-high grille, and concealed running boards were bold steps forward. The Clipper had at least as many pioneering features in an even more integrated package.

The original milestone Clipper rode the senior wheelbase of inches 3, mm and used the One Twenty's cubic-inch 4, cc straight eight, but produced bhp five more than the One Twenty. Despite the familiar engine, few Clipper parts were interchangeable with other models. The chassis was entirely new: a double-drop frame allowed a lower floor without reducing road clearance. The engine was mounted well forward and the rear shocks were angled to assist the traditional Packard fifth shock in controlling side-sway.

The front suspension was entirely new, since the lower frame eliminated the need for Packard's traditional long torque arms. A double-link connection between the Pitman arm and steering brackets, with a cross bar and idler arm and two cross tubes, controlled wheel movement. The Clipper was the widest production car in the industry and first to be wider than it was tall—a foot wider to be exact.

The body from cowl to deck was a single piece of steel—largest in the industry, and the floor pan had only one welded seam from end to end. Single pieces of sheet metal comprised the rear quarters and hood. The hood could be lifted from either side of the car or removed entirely by throwing two levers.

Instead of the traditional third side window, ventipanes were incorporated in the rear doors, providing controllable flow-through ventilation. The battery made its first move from under the seat to under the hood, where it stayed warmer and was more accessible. There was a "Ventalarm" whistle to warn when the tank was within a gallon of being full, and an accelerator-activated starter button, so the act of starting simultaneously set the automatic choke.

Reithard's beautiful symmetrical dashboard contained a full ration of instruments, including an electric oil pressure gauge adapted from the One Sixty. Introduced in April as a single four-door sedan model, the Clipper was by no means a cheap or even medium-priced car. Despite a late start, it garnered 16, model year sales, almost as many as the One Twenty.

Clearly, for Packard, it was the wave of the future. By the model year, Clipper styling had permeated every Packard in the line, except where special tooling existed—convertibles, taxis, wagons and commercial cars. The bulk of the production was concentrated on the inch 3, mm wheelbase junior models, but the One Sixty and One Eighty Clippers proved conclusively that Packard was as much a builder of luxury cars as ever. The One Sixty sedan, for example, was 9.

The One Eighty was wider, almost as long, with more interior width, and with almost as much legroom as the long-wheel-base One Eighty, which still used the old-style Packard bodywork. The silky smooth cubic-inch 5, cc straight eight of the One Sixty and One Eighty Clippers, with its pound 47 kg , nine-main-bearing crankshaft and hydraulic valve lifters, was the most powerful engine in the industry through , exceeding Cadillac's V-8 by 15 horsepower 11 kW.

Its prodigious torque would allow it to walk away from a dead stop. You could and Packard did balance a nickel on the head with the engine idling. It's interesting to note that in , ten years after Packard's nonpareil nine-main-bearing inline 8 debuted, Rolls-Royce echoed it in their nine-mained, F-head ci B inline 8, used only in a handful of Phantom IVs produced solely for heads of state, military vehicles, and Dennis fire trucks. Like Packard's husky ci six used in junior Clippers, Packard's —50 Super-8 engine was widely used as a marine engine.

The top of the line Clipper One Eighty offered two shades of leather or six colors of wool broadcloth upholstery, Mosstred carpeting from New York's Shulton Looms, walnut grained instrument panels, amboyna burl garnish moldings, seatbacks stuffed with down and rear center armrests. Unlike any other contemporary, the post war Custom Super's headliner was seamed fore to aft instead of sideways. Packard claimed that the unique headliner was adopted "to provide a more spacious feel to the interior.

With a nearly full line of Clippers, Packard managed to build 34, models before production ceased in February an annual rate of around 80, According to the late John Reinhart, there is no doubt that Clipper styling would have proliferated in — Whereas Cadillac with its greater facilities was able to field a complete line of restyled s, including convertibles, all of which came right back in , Packard was able only to add a club coupe body before the war.

The club coupe was a magnificent-looking car, the sportiest and rarest Clipper destined to be built. Only about 40 are thought to have been built before production closed down in ; a single One Sixty is the only example known to exist. Postwar, scarcely senior coupes came off the production lines, compared to about 6, senior sedans, as Packard emphasized the more popular four-door body style. In —47 the numerical designations were dropped and the line consisted of Clipper Sixes and Eights on the inch 3, mm wheelbase and Supers and Custom Supers on the inch 3, mm wheelbase.

For the first time there were now seven-passenger sedans and limousines, riding a inch 3, mm wheelbase. For their type, these "professional Packards" enjoyed excellent success. Counting several thousand bare chassis supplied to commercial body manufacturers, the Seventy-five outsold the long wheelbase Clipper; but for finished cars from the factory, production was dead even: about 3, cars each for —47 combined. Many economic experts predicted that the end of World War II would bring a severe recession or perhaps even another depression to the United States.

They had history on their side because the U. Perhaps Packard's management team took these calamitous warnings to heart while planning its postwar strategy. Obviously, if the economy were to take a tumble, it would make sense to push the low-priced Packards—the Clipper Sixes and Eights—rather than the upmarket Supers and Custom Supers.

The postwar economy, of course, proved the experts wrong. It was so healthy that many materials, notably sheet steel, were in short supply. Workers who would never have struck during the war, now demanded more money, and so the automakers and their suppliers endured a series of costly strikes. These factors, of course, strangled production. At the same time, Americans had money jingling in their pockets, and were willing to spend freely to acquire most anything—especially new cars.

Price, it seemed, hardly mattered. Packard was in a dilemma: On one hand, the firm could not produce cars in the numbers intended. On the other, the cars it did turn out were mainly less profitable junior-series models. Packard management's chief interest after the war was in the same medium-priced cars that had saved it in the Depression, the Six and junior Eights.

The company was still firmly run by President George Christopher, who had helped save it with the One Twenty. Total Packard production in the first two postwar model years was 82,, against 91, Cadillacs. Packard could have built and sold as many senior Clippers as Cadillac did Series 62s and 60Specials, had Christopher and his team so chosen. The long-wheelbase inch Clipper seven-passenger sedan and limousine were competitive with Cadillac and the low-volume Chrysler Crown Imperial Lincoln had no long models in the first two postwar years.

Likewise, among owner-driver models, Packard had Cadillac neatly bracketed. This is a new point which has been missed in the many postmortems of Packard's fall: Reverting to strictly luxury cars would not have meant downsizing the labor force or contracting the facilities.

It would have sold. Nor is this a hindsight judgement, since Packard management was capable of seeing this at the time. At the start of postwar car production, Fortune recorded a consensus that "there now exists a market for from 12 to 14 million cars", and that was in a day when three million or so cars was considered a very good year. As began, the cars were down to 22 million which is not very far from the danger point 18 million of a transportation breakdown.

Almost immediately after production got rolling in , chief stylist John Reinhart was told, much against his judgment, to update the Clipper. If Dutch Darrin had thought Packard loaded "gobs of clay" onto his original model in , what must he have thought of the hideously bulboid models?

Furthermore, there was no change in market orientation, still rooted firmly in the medium price field. Indeed in , the final year for President George Christopher, senior Packard production dwindled from 20 percent to 11 percent of total production, trailing Cadillac by tens of thousands. Packard, as a later president, James Nance, stated, "handed the luxury car market to Cadillac on a silver platter. Professional designers have contemplated continuations of the Clipper into —49, with a broader range of body styles including hardtops and convertibles.

Their designs were beautiful and would have kept pace with the all-new Cadillacs and Lincolns of , allowing Packard to come back with its first postwar redesign in But the key failure was to reorder the corporation's priorities and establish it once again as the American luxury car it had been so successfully for forty years. Hindsight does suggest that Packard lost its battle for survival at this point, although it would not be evident immediately.

Since the company could not achieve GM volume, it would have been smarter to extract more profit from each car it built. Not only were customers standing in line, but by putting top-of-the-line Packards on the road, the public's image of Packard as a luxury car builder would have been enhanced. Worse still, the facelift lost the design continuum the Clipper had so brilliantly offered. The elegant, inimitable lines dating back to the early years of the century, so laboriously maintained by Packard designers over the years, vanished.

Though it retained the Clipper's basic shell, the model bore no resemblance to its predecessor. Although it was as well engineered and was as fine a performer as before, the iteration no longer looked the part of a luxury Packard. The bulbous "up-side-down bathtubs" owed nothing to modernity and never gained much popularity.

Market share suffered at a time when Packard should have, and could have become the luxury car leader again. They could have been ahead of the styling curve, not behind it. If the release of the Clipper had been saved until after the war, and been in a style closer to that Dutch Darrin proposed in , Packard would have been in a position of styling leadership. The "pregnant elephant" Packards instead might have resembled the "high-pockets" style released in The designs of the cars were on the drawing boards shortly after the war, but instead, Packard management settled for a costly, ill-fated facelift of the svelte —47 Clipper.

The money spent on the facelift, as John Reinhart and others maintained, should have gone into an expansion of Clipper body styles to compete with Cadillac. Packard recognized this too late when it brought out a convertible as the first body style—a model it should have had by at the latest.

Eighteen months later Cadillac was already out with the glamorous Coupe de Ville hardtop, while Packard's newest model was. By it was clear that the future of the car business belonged to the giants. At least one independent manufacturer was ready to make that happen; George Mason, President of Nash-Kelvinator. Mason wanted a postwar combination of independents, a fourth player in an automotive Big Four, with Packard as the luxury division.

Yet all independents were doomed. By , there was only a "Big Two," Chrysler's market share falling to All Cadillacs had been downsized for , were effectively junior cars ever since, increasingly sharing components with lesser divisions. For example, a Cadillac convertible shares every piece of sheet metal with the Pontiac ragtop. Rolls-Royce was principally an aero engine manufacturer since , the cars an increasingly boutique sideline, an "assembled" product cribbing from Buick, Packard, Chrysler, postwar R-Rs and Bentleys having bodies stamped by Pressed Steel of Cowley, who also served much of the rest of British automakers.

Packard failed to groom new management. Despite handsome postwar cash reserves, Packard stuck with their dated, if smooth, dependable, L-head straight eights through against a field of ohv V-8s, box office poison in the sellers' market returning in But by the s these were moot points. But this is another story—another chapter in the sad decline of what Don Vorderman has called "the car we couldn't afford to lose.

The Clipper nameplate was dropped for as Packard issued its Twenty-Second Series automobiles, which, while proclaimed by the company as "all-new," were actually restyled Clippers. Only the —47 Clipper's roof and trunk lid survived.

At this time, Packard's president, George Christopher, insisted upon concentrating on sales of the company's lower-priced cars, while longtime competitor Cadillac focused its attentions on the upper end of the market. The Twenty-Second and Twenty-Third Series from mid cars wore the "upside-down bathtub" styling that was briefly in vogue in the late s. Unfortunately for Packard, Nash, Lincoln-Mercury, and Hudson, the four manufacturers who embraced this type of styling, General Motors introduced designs that were lower-slung, more tightly drawn and less bulbous at around the same time.

GM's designs caught the buying public's fancy, while the "bathtubs" quickly fell from favor. Following a round of bitter corporate infighting in , Packard management finally decided to phase out the "bathtubs" and create the all-new Twenty-Fourth Series for The new "high-pockets" design so called because of its high beltline was much more modern.

However, Packard continued to push hard into the lower end of the mid-priced field with its new "" and "" models, which was dominated at the time by Oldsmobile, DeSoto and others. James J. Nance became the company's president in , and he immediately set to work on divorcing the lower-priced cars from the higher-end Packards.

To this end, he decreed that the and would be consolidated into a new line of Clippers for Nance originally had hoped to introduce the new "Clipper" as a stand-alone marque, targeting the mid range price field which he felt was dragging the Packard image down. When word was leaked to the Packard dealer network that they would be losing their best-selling Packard model to "Clipper", they balked. As an appeasement, Nance rolled the Clipper out as a Packard, and worked to transition the cars toward their own make.

Thus, the Packard Clipper name was reintroduced and applied to the company's entry-level models, previously known as the Packard , beginning in Clippers were available in Special and Deluxe trim models, as two- and four-door sedans. A Clipper went from 0 to 60 mph in The turning circle was 41 ft. For , the "Clipper by Packard" was given its own unique rear fender trim and tail lights to further differentiate it from traditional Packards.

The cars were also available with a distinctive two-tone paint pattern. For , Packard became a marque in the newly formed Studebaker-Packard Corporation. The Clipper Custom offered torsion-bar suspension something not offered on other models, which only offered coil and leaf spring suspension.

It also had a power steering option. Drivers enjoyed the comfortable ride but complained of door rattles and poor workmanship. The One Sixty sedan, for example, was 9. The One Eighty was wider, almost as long, with more interior width, and with almost as much legroom as the long-wheel-base One Eighty, which still used the old-style Packard bodywork. The smooth cubic-inch 5, cc straight-eight of the One Sixty and One Eighty Clippers, featuring a pound 47 kg , nine-main-bearing crankshaft and hydraulic valve lifters, was the most powerful engine in the industry through , exceeding Cadillac's V8 by 15 horsepower 11 kW.

In , ten years after Packard's nonpareil nine-main-bearing inline 8 debuted, Rolls-Royce copied the design for their nine-mained, F-head ci B inline 8, used only in a handful of Phantom IVs produced solely for heads of state, military vehicles, and Dennis fire trucks. Like Packard's ci six used in junior Clippers, Packard's —50 Super-8 engine was widely used as a marine engine.

The top-of-the-line Clipper One Eighty offered two shades of leather or six colors of wool broadcloth upholstery, Mosstred carpeting from New York's Shulton Looms, walnut grained instrument panels, amboyna burl garnish moldings, seatbacks stuffed with down and rear center armrests. Unlike any other contemporary, the post-war Custom Super's headliner was seamed fore to aft instead of sideways. Packard claimed that the unique headliner was adopted "to provide a more spacious feel to the interior.

With a nearly full line of Clippers, Packard managed to build 34, models before production ceased in February an annual rate of around 80, According to the late John Reinhart, there is no doubt that Clipper styling would have proliferated in — Whereas Cadillac with its greater facilities was able to field a complete line of restyled s, including convertibles, all of which came right back in , Packard was able only to add a club coupe body before the war.

The club coupe was the sportiest Clipper with about 40 built before production closed down in ; a single One Sixty is the only example known to exist. Postwar, about senior coupes were made, compared to about 6, senior sedans.

In —47 the numerical designations were dropped and the line consisted of Clipper Sixes and Eights on the inch 3, mm wheelbase and Supers and Custom Supers on the inch 3, mm wheelbase. For the first time there were now seven-passenger sedans and limousines, riding a inch 3, mm wheelbase. For their type, these "professional Packards" enjoyed success. Counting several thousand bare chassis supplied to commercial body manufacturers, the Seventy-five outsold the long-wheelbase Clipper; but for finished cars from the factory, production was about 3, cars each for —47 combined.

Many economic experts predicted that the end of World War II would bring a severe recession or perhaps even another depression to the United States. They had history on their side because the US did experience a sharp, albeit brief economic downturn after World War I. Perhaps Packard's management team took these calamitous warnings to heart while planning its postwar strategy. If the economy were to fall, it would make sense to market the low-priced Packards—the Clipper Sixes and Eights—rather than the upmarket Supers and Custom Supers.

The postwar economy proved the experts wrong. It was healthy and many materials, notably sheet steel, were in short supply. These factors, of course, strangled production. At the same time, Americans had money jingling in their pockets, and were willing to spend freely to acquire most anything—especially new cars.

Packard could not produce cars in the numbers intended, and it was selling the less profitable junior-series models. Packard management's chief interest after the war was in the same medium-priced cars that had saved it during the Depression, the Six and junior Eights. The company was still firmly run by President George Christopher, who had helped save it with the One Twenty.

Total Packard production in the first two postwar model years was 82,, against 91, Cadillacs. Packard could have built and sold as many senior Clippers as Cadillac did Series 62s and 60Specials, had Christopher and his team so chosen. The long-wheelbase inch Clipper seven-passenger sedan and limousine were competitive with Cadillac and the low-volume Chrysler Crown Imperial Lincoln had no long models in the first two postwar years. Likewise, among owner-driver models, Packard had Cadillac neatly bracketed.

This is a new point that has been missed in the many postmortems of Packard's fall: Reverting to strictly luxury cars would not have meant downsizing the labor force or contracting the facilities. It would have sold. Nor is this a hindsight judgment, since Packard management was capable of seeing this at the time. At the start of postwar car production, Fortune recorded a consensus that "there now exists a market for from 12 to 14 million cars", and that was in a day when three million or so cars was considered a very good year.

As began, the cars were down to 22 million which is not very far from the danger point 18 million of a transportation breakdown. Almost immediately after production got rolling in , chief stylist John Reinhart was told, much against his judgment, to update the Clipper.

If Dutch Darrin had thought Packard loaded "gobs of clay" onto his original model in , what must he have thought of the hideously bulbous models? Furthermore, there was no change in market orientation, still rooted firmly in the medium price field. Indeed, in , the final year for President George Christopher, senior Packard production dwindled from 20 percent to 11 percent of total production, trailing Cadillac by tens of thousands.

Packard, as a later president, James Nance, stated, "handed the luxury car market to Cadillac on a silver platter. Professional designers have contemplated continuations of the Clipper into —49, with a broader range of body styles including hardtops and convertibles.

Their designs were beautiful and would have kept pace with the all-new Cadillacs and Lincolns of , allowing Packard to come back with its first postwar redesign in But the key failure was to reorder the corporation's priorities and establish it once again as the American luxury car it had been so successful for forty years. Hindsight does suggest that Packard lost its battle for survival at this point, although it would not be evident immediately.

Since the company could not achieve GM volume, it would have been smarter to extract more profit from each car is built. Not only were customers standing in line, but by putting top-of-the-line Packards on the road, the public's image of Packard as a luxury car builder would have been enhanced. The facelift lost the design continuum the Clipper had offered.

Though it retained the Clipper's basic shell, the model bore no resemblance to its predecessor. The bulbous design became known to some as the "upside-down bathtub" or "pregnant elephant" and Packard's market share declined. The money spent on the facelift, as John Reinhart and others maintained, should have gone into an expansion of Clipper body styles to compete with Cadillac.

Packard recognized this too late when it brought out a convertible as the first body style—a model it should have had by at the latest. Eighteen months later Cadillac was already out with the Coupe de Ville hardtop, while Packard's newest model was the Station Sedan. By , it was clear that the future of the car business belonged to the giants. At least one independent manufacturer was ready to make that happen; George W. Mason , President of Nash-Kelvinator.

Mason wanted a postwar combination of independents, a fourth player in an automotive Big Four, with Packard as the luxury division. All independent automakers faced problems. By , there was only a "Big Two," as Chrysler's market share fell to All Cadillacs had been downsized for , were effectively junior cars ever since, increasingly sharing components with lesser divisions.

For example, a Cadillac convertible shares every piece of sheet metal with the Pontiac ragtop. Rolls-Royce was principally an aero-engine manufacturer since , the cars an increasingly boutique sideline, an "assembled" product cribbing from Buick, Packard, Chrysler, postwar R-Rs, and Bentleys having bodies stamped by Pressed Steel near Oxford, who also served much of the rest of British automakers.

Despite the company's postwar cash reserves, Packard continued production of its now-dated L-head straight-eight engines through , competing against a field of OHV V8s. For — all Packards used Clipper bodies and the "Clipper" name. The Clipper nameplate was dropped for as Packard issued its Twenty-Second Series automobiles, which, while proclaimed by the company as "all-new," were actually restyled Clippers. Only the —47 Clipper's roof and trunk lid survived.

At this time, Packard's president, George Christopher , insisted upon concentrating on sales of the company's lower-priced cars, while longtime competitor Cadillac focused its attentions on the upper end of the market. The Twenty-Second and Twenty-Third Series from mid cars wore the "upside-down bathtub" styling that was briefly in vogue in the late s.

Unfortunately for Packard, Nash , Lincoln-Mercury , and Hudson , the four manufacturers who embraced this type of styling, General Motors introduced designs that were lower-slung, more tightly drawn and less bulbous at around the same time. GM's designs caught the buying public's fancy, while the "bathtubs" quickly fell from favor.

Following a round of bitter corporate infighting in , Packard management finally decided to phase out the "bathtubs" and create the all-new Twenty-Fourth Series for The new "high-pockets" design so called because of its high beltline was much more modern. However, Packard continued to push hard into the lower end of the mid-priced field with its new "" and "" models.

While the hardtop and convertible, which would soon be named Mayfair, were an interesting attempt to market upscale coupes which were slightly less bulky than the high line sedans, and were decorated with chrome side scallops reminiscent of the top-shelf , the was a full-range, middle-priced line continuing to compete with Oldsmobile, DeSoto, Mercury, the junior Hudsons, and others.

James J. Nance became the company's president in , and he immediately set to work on divorcing the lower-priced cars from the higher-end Packards. To this end, he decreed that the and Deluxe would be consolidated into a new line of Clippers for Nance originally had hoped to introduce the new "Clipper" as a stand-alone marque, targeting the mid range price field which he felt was dragging the Packard image down.

When word was leaked to the Packard dealer network that they would be losing their best-selling Packard model to "Clipper", they balked. As an appeasement, Nance rolled the Clipper out as a Packard, and worked to transition the cars toward their own make. Thus, the Packard Clipper name was reintroduced and applied to the company's entry-level models, previously known as the Packard , beginning in Clippers were available in Special and Deluxe trim models, as two- and four-door sedans.

A Clipper went from 0 to 60 mph in For , the "Clipper by Packard" was given its own unique rear fender trim and tail lights to further differentiate it from traditional Packards. The cars were also available with a distinctive two-tone paint pattern. For , Packard became a marque in the newly formed Studebaker-Packard Corporation. The Clipper Custom offered torsion-bar suspension something not offered on other models, which only offered coil and leaf spring suspension.

Drivers enjoyed the comfortable ride but complained of door rattles and poor workmanship. The Packard Clipper Constellation was a two-door hardtop automobile produced by the Studebaker-Packard Corporation in model years and The model was a Packard product and sold as part of the Packard Clipper line; for , Clipper split from Packard, becoming its own make. A total of 8, Clipper Deluxe, 14, Super and 15, Custom were built during model year Packard's president.

James Nance, believed that as a Packard line, the Clipper models were diluting Packard's standing as a luxury automobile marque. For the model year, the status of being a stand-alone make was emphasized by creating a separate Packard Clipper division within Studebaker-Packard.

Clipper's logo was a ship's wheel. The automaker required Packard-franchised dealers to also execute a separate Clipper Dealer Sales Agreement in order to sell the line. Studebaker agencies in areas not covered by separate Packard dealers were allowed to sign Clipper franchise agreements and could also take on the regular Packard line as well, subject to factory approval.

Clippers began receiving unique trim and rear quarter panels in , and when Packard introduced its redesigned model in , the Clipper retained its older rear sheet metal while receiving two-tone combinations that were unique to its models. For , the Clipper received new rear sheet metal and tail-light treatments.

Clipper marketed two hardtop coupes, the Panama in the Super model line and Constellation in the Custom range. Both were carry-over model names from the model year. Around mid, dealers began complaining that consumers were lukewarm to the cars because they were true Packards and demanded that the Packard name appear somewhere on the cars.

Nance refused at first, feeling that placing the Packard name on the cars would undo his plan to save the Packard name for luxury automobiles. However, when dealers began defecting to Mercury franchises, Nance gave in, fearful that the shrinking number of dealers would harm the company more than just the Packard marque. A small "Packard" script emblems began to be placed on the decklids of newly built Clippers.

In a complete reversal of Nance's strategy, the emblems were also made available for placement on already-built cars that were languishing on dealers' lots. By the summer of , Studebaker-Packard was in deep financial trouble. The Packards and Clippers were not selling at anywhere near a profitable level, and the company's creditors refused to advance any further money to the company for new tooling that would have allowed Nance to finally realize his ultimate goal of sharing body components among the company's three lines of cars.

Following the closure of Packard's Detroit, Michigan factory in , the Clipper marque was discontinued, although the Clipper name was applied to Packards built at Studebaker's South Bend, Indiana factory. Under C-W's president, Roy T. The new Packards, originally to continue the Packard Executive nameplate, were to share the Studebaker President four-door sedan body and new four-door station wagon body as well.

At some point, however, the Executive name was dropped, as all of the Packards produced for carried the Packard Clipper name. Body styles were limited to a four-door "Town Sedan" and the "Country Sedan" station wagon. In order to keep the tooling cost as low as possible, trim components from the Clippers were used.

This was done to make the model differ in appearance from the President; outside, this included a narrower Packard-style front bumper and Clipper tail lamps and chromed wheel covers. Other differences include finned rear fenders and differing rear wheel panel treatments, as well as a wide chrome strip across the length of the car extending across the tailgate on station wagons.

Sales of the new Clippers were not great; historians differ as to why, although the cars' obvious Studebaker origins which led the new Clippers to be derisively nicknamed " Packardbakers " by many people [ citation needed ] certainly did not help. Only about 4, were sold for the year, of which were station wagons.

The only engine option was the supercharged cu in 4, cc Studebaker V8. For , the Clipper name was discontinued, and the few Packard automobiles that were produced four-door sedans, station wagons, and two-door hardtop coupes were simply known by their marque name.

From Wikipedia, the free encyclopedia. This article has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages. This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. December Learn how and when to remove this template message.

This article includes a list of general references , but it lacks sufficient corresponding inline citations. Please help to improve this article by introducing more precise citations. May Learn how and when to remove this template message. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

Unsourced material may be challenged and removed. This article may contain an excessive amount of intricate detail that may interest only a particular audience. Please help by spinning off or relocating any relevant information, and removing excessive detail that may be against Wikipedia's inclusion policy. April Learn how and when to remove this template message.

Packard clipper sweet links

1947 Packard Super Clipper for sale auto appraisal

Следующая статья drinking chicks

Другие материалы по теме

  • Kramer 675r t
  • Intel atom processor
  • Rare pastrami bar
  • Tsao watches
  • комментариев 2

    Комментировать