This car apparently represents some of the early design work of put-another-hundred-pounds-of-chrome-on- it Harley J Earl. It may even be his very first. What I’ve discovered from this post is the shared nature of the patent for the 27 LaSalle. The other party was one Ernest W Seaholm, as evidenced by the drawing of the car’s front end on the patent application. Both Earl and Seaholm’s name are on the document. Ernie was the engineering chief at Cadillac, and my guess is he focused on the mechanicals of the car, particularly the front suspension in the frontal view. Earl’s chore was probably to create aesthetically pleasing sheet metal. Little did the guy know at the time.
DANG! I did NOT notice the Harley Earl signature! I didn't even look at the writing on the patent, I was simply admiring the design, and "before and after" aspect of the paper to production. Thanks!
In the June 2018 issue of Hemmings Classic Car, Mark J. McCourt writes about the 27 LaSalle. He calls it “Harley’s Hispano.”
From that piece we have this...”As you take in the lines of this four-passenger tourer—an "entry-level luxury" car, in today's parlance—you can't help but be impressed by its classical proportions, sharp detailing, and keen use of color and texture.”
What I find particularly pleasing to my eye is the way the aft upper horizontal line drops gracefully from the cowl, then proceeds to the rear with another refined descent.
Your preoccupation with the car design is understandable and justified. I get it. Something like not noticing a red light when you see a lovely, elegant woman standing nearby.
This car apparently represents some of the early design work of put-another-hundred-pounds-of-chrome-on- it Harley J Earl. It may even be his very first. What I’ve discovered from this post is the shared nature of the patent for the 27 LaSalle. The other party was one Ernest W Seaholm, as evidenced by the drawing of the car’s front end on the patent application. Both Earl and Seaholm’s name are on the document. Ernie was the engineering chief at Cadillac, and my guess is he focused on the mechanicals of the car, particularly the front suspension in the frontal view. Earl’s chore was probably to create aesthetically pleasing sheet metal. Little did the guy know at the time.
ReplyDeleteDANG! I did NOT notice the Harley Earl signature! I didn't even look at the writing on the patent, I was simply admiring the design, and "before and after" aspect of the paper to production.
DeleteThanks!
In the June 2018 issue of Hemmings Classic Car, Mark J. McCourt writes about the 27 LaSalle. He calls it “Harley’s Hispano.”
DeleteFrom that piece we have this...”As you take in the lines of this four-passenger tourer—an "entry-level luxury" car, in today's parlance—you can't help but be impressed by its classical proportions, sharp detailing, and keen use of color and texture.”
What I find particularly pleasing to my eye is the way the aft upper horizontal line drops gracefully from the cowl, then proceeds to the rear with another refined descent.
Your preoccupation with the car design is understandable and justified. I get it. Something like not noticing a red light when you see a lovely, elegant woman standing nearby.