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Alan H. Leamy
Alan H. Leamy Jr. (b. June 4th, 1902 – d. June 12, 1935)
Associated Firms
Marmon, Auburn, Cord, Fisher Body Corp., LaSalle

While working for E.L. Cord, Alan H. Leamy created some of the most memorable designs of the late 20's and early 30's. Completely self-taught, he was one of a handful of Classic-era designers who got by on the strength of their portfolios. In addition to his brilliant work for Cord (L-29 and '31-'34 Auburn Speedster) he is also credited with styling the Duesenberg Model J. His promising career was cut short in mid-1935 after he became septic following a routine Diptheria vaccination required by General Motors Art & Colour, passing away just one week after his 33rd birthday.

Alan Huet Leamy Jr. was born in Arlington, Baltimore County, Maryland, on June 4th, 1902 to Alan (b. May, 1872 in Maryland – d. May 20, 1959 in Pensacola, Florida) and Margaret (Huet - b. Jan 1874 in New Jersey) Leamy. His father was a manager with the Baltimore sales branch of the Welsbach Co., a Gloucester, New Jersey based firm that held the rights to manufacture incandescent gas goods (mantels, chimneys, etc.) patented by Austrian chemist and inventor Carl Auer Freiherr von Welsbach.

In 1905 his father took a new management position with Welsbach, requiring the family to move to Columbus Ohio. The family’s new home was located at 1153 Fairview Ave, Grandview Heights, (suburb of Columbus), Franklin Township, Franklin County, Ohio.

Coincident with the move to Ohio Alan Jr. was stricken with spinal polio (Poliomyelitis aka infantile paralysis – an acute viral infection that causes permanent asymmetric muscle damage to the legs), and was forced to use a cane and wear a brace on his debilitated left leg for the rest of his life. He attended Grandview Schools until his junior year during which time he developed a keen interest in cars, engineering and architecture.

The 1911 Columbus directory lists the senior Leamy as manager of the Welsbach Co.’s satellite factory and wholesale sales depot, 116-122 E. Chestnut St, Columbus, Ohio. The 1910 and 1920 US Census lists a sister, Margaret (b. 1904 in Pennsylvania) Leamy. A brother-in-law, Frank Huet, was a Welsbach Co. supervisor and stayed in the Leamy household for a number of years.

Despite his significant handicap, young Leamy was a go-getter and after graduation enrolled in an architecture correspondence school (most likely with the International Correspondence Schools of Scranton, Pa.) and upon completion of his course of study was offered a potion with Samuel Bader, a real estate developer located in Ventnor City, New Jersey.

Leamy compensated for his disability through his 'fine sense of sartorial style' and 'meticulous attention to detail'. He was a life-long automobile enthusiast, and learned to drive through an unusual driving technique whereby his debilitated left leg controlled the clutch using his left arm, so adeptly that some passengers were unaware of his impairment.

During his 18-months of employment with Bader he assisted in the design and construction of a row house project in Atlantic City (where Bader’s cousin Edward L. Bader served as Mayor) and became engaged to a Jersey girl named Agnes Iveagh Garrett (b. May 8, 1905 in Elkins Park, Montgomery County, Penn. - d. Nov. 1985), the daughter of Sylvester Sharpless and Margaret (Maginnis) Garrett - her father being a partner in the Garrett-Buchanan Paper Co., a large paper products distributor headquarter in Philadelphia, Penn. The young couple was married on August 7, 1925 in Atlantic City, New Jersey.

In early 1927 his father called in a favor with an old colleague who had subsequently become chief engineer of the Marmon Motor Co. The man was Thomas J. Litle, Jr., the former chief engineer of the Welsbach Co., who had recently served as chief engineer with both the Cadillac and Lincoln Motor Co.’s. He was well-known in the industry and served as president of the SAE in 1926, the November 26, 1926 edition of P.W. Williams syndicated column announced his appointment to Marmon:

“Thomas J. Litle, president of the Society of Automotive Engineers, has been appointed chief engineer of the Marmon Motor Company of Indianapolis. Until quite recently Mr. Litle was chief engineer of the Lincoln Motor Company.”

The senior Leamy wrote to Litle outlining his son’s numerous talents and love for automobile design, asking that he be considered for an entry-level position in Marmon’s body design and engineering department. Litle responded:

“I am only too glad to champion the cause of a boy who is just starting out, and who has, I believe, considerable ability and I will watch him as closely as I would my own son and try to advise him accordingly.”

George Freers was Marmon’s assistant chief engineer and E.C. Blaine had recently been hired as chief body engineer, the department’s designers being filled out by Paul Bastian and Leamy, who was hired in March of 1927.

However the work Leamy was presented with as an entry-level stylist/draughtsman did not excite him and he found his supervisors were disinterested in his forward-thinking designs, so he began searching for a new position that better suited his talents.

There was a large buzz in the industry regarding the new front-wheel-drive car currently under development by Errett Lobban Cord using Harry Miller’s designs and in early April of 1928 Leamy wrote to E.L. Cord directly, expressing his interest in the project. In mid-April he received the following response:


“Mr. A.H. Leamy, 935 West 34th St., Indianapolis, Indiana

“Dear Sir:
Your letter to E.L. Cord had been brought to my attention and I wish that you would call at the Duesenberg plant to see me at your earliest convenience.

Very truly yours, C.W. van Ranst”

Leamy brought his portfolio to the meeting and van Ranst forwarded them to Cord who like what he saw, and shortly thereafter Leamy was offered a position as an Auburn designer. Leamy subsequently resigned from Marmon and at the beginning of August, 1928 he and his wife Agnes moved to Auburn, Indiana where his first assignment was to update the 1929 Auburn sedan, giving it bigger doors and other features to increase passenger comfort. John Oswald was Auburn’s body engineer and both he and Leamy worked on the project which marked Auburn’s first use of full-sized clay models.

Leamy taught a group of Auburn draftsmen and pattern makers how to make a full-sized wooden styling buck which would be plastered with clay then sculpted into a 1:1 representation of the vehicle under development using templates which transferred the curves of the full-sized body drafts to the clay. Once the exterior shape was finalized it could be painted and outfitted with wheels, windows and other accessories, allowing E.L. Cord to get a good impression of the finished product. Auburn draftsman A.E. Williams recounted:

“Al* taught us the tricks of the trade. We made our tools out of heavy wire which was ground to fine cutting edges. Without his expertise, we wouldn't have gotten to first base.”

(*Alan H. Leamy)

Leamy’s next project was to design the front end components (grill, radiator shell, hood, cowl, fenders, bumpers, lights etc.) of the new front-wheel-drive chassis which had been engineered and constructed by racecar builder Harry A. Miller (1875-1943) in his Los Angeles plant.

Upon its arrival in Auburn Leamy set about working on the L-29’s component design after which John Oswald created a full-sized body draft which was presented to E.L. Cord in October who gave chief engineer van Ranst the go-ahead to construct a prototype.

Auburn’s body engineer John Oswald recalled the subsequent process of building the L-29 prototype in Dan Post’s ‘Cord—Without Tribute to Tradition: the L-29 Front Drive Legend’. A provisional radiator shell was rejected by Cord, causing Leamy to come up with a Model J-style surround that covered up the transaxle. Again Cord protested saying he wanted a design which would emphasize, not hide, the final drive housing - after which Leamy came up with a design that flowed down and around the housing, with an exposed convex plate serving as the functional cover of the final drive. Leamy also eliminated the cross-bar, cleverly supporting the headlights on a short strut running between the radiator shell and front fenders, making them appear to float when viewed from the front, each fender flowing in a downward arc that highlighted the beautifully engineered front end at its center. Cord heartily approved, and Leamy’s front end became the most distinctive feature of the production L-29.

The L-29’s debut in New York was preceded by an article Leamy wrote for the July, 1929 issue of Autobody entitled ‘Cord Front-Drive Car Offers New Opportunities in Body Designing’, a few excerpts of which follow:

“Cord Front-Drive Car Offers New Opportunities in Body Designing This Chassis Permits Low Center of Gravity Without Sacrifice of Headroom. Simplicity of Line Marks the General Design, No Attempt Having Been Made to Create a Car of Radical Appearance.

“By A.H. Leamy (body designer, Auburn Automobile Co., Auburn, Indiana.)

“From the standpoint of appearance, the Cord front-drive car is different, but not sufficiently so to be radical. The front-drive principle makes it possible to build a chassis with the following characteristics: 1. – Extreme lowness (frame height 17 in. above ground.), 2. – No kick-up over real axle. 3. – No propeller shaft or rear-axle assembly peculiar to rear-drive cars. 4. – Much stiffer construction.

“Advantage For Body Design

“With these favorable factors, it will be appreciated that the body designers of the new Cord car had a freedom never before experienced by the body builders of standard American automobiles. This new chassis construction enabled them to do the following things with the body. 1.-Front and rear seats on the same level. 2.-Headroom in excess of the majority of cars. 3.-Overall height from 6 to 10 in. less than normal. In addition to the above there were no restrictions placed upon the designing of the exterior or interior featured of the body.

“Exterior Features

“At this point it may be well to give a general description of the exterior. Instead of the conventional front bumper, there are attached directly to the axle a pair of units, the core and the differential housing, before mentioned. The tube connecting the two fenders brackets passes entirely through the radiator shell instead of the front as is customary and here the Cord engineers have made unusual strides in the mounting and bracing of the fenders. The tub is bolted to two light brackets that are in turn bolted to the fender brace, as normal. In addition to the above there were no restrictions placed upon the designing of the exterior or interior.

“The brake housings which are mounted on each side of the differential case form an admirable bottom support for the fender braces and a starting point for the fender skirt. The fender skirt continues aft in a sweeping line and forms the hood sill. The front fenders which are extremely flowing in line continue without a break through the running boards to the rear fenders. The enclosed tips of the fenders carry out the same design that is found on the top of the radiator and there is a definite bead on the outside edge.

“A through molding starts on each side just back of the radiator sweeps across the cowl and into a wide belt that contracts at the rear quarter and passes around the back where it is carefully rounded and tapered. The windshield post is swept out of the molding through a curved line to the visor which is noteworthy as it is an integral part of the front roof panel enclosing the dual windshield-cleaner motors. The cleaner blades and arms are the only exposed parts. The front face of the visor is embossed with the characteristic ornamentation of the fenders and radiator. The deck and rear-quarter panels are covered in one piece, without the customary seams, welts or mouldings across the upper corners. This was done because the top of the car had to be made attractive, being visible to a person of average height.

“The running board is 3 in. below the top of the frame and includes the valance which follows the sill line of the body, eliminating the usual joint between valance and running board. The surface of the board is fluted and has rubber strips mounted in the grooves. The outside edge of the board is radiused and presents an elongated panel in which is mounted a strip of rubber matting. The dust shield at the rear of the car is embossed to carry out the design on the radiator and fenders. This dust shield covers the fuel tank and frame, leaving no exposed parts except the spring hangers. The bumper, tail and traffic-signaling tail lamps are mounted on streamline aerofoil-section castings. Turning to the interior, the instrument board presents a novelty in design. There are two groups of instruments and controls on each side with a cabinet in the center. The instruments are set vertically with the indicators reading up and down; to facilitate reading, the dials have curved glass over them and the bezels are beveled. With the exception of the lights and the horn, all controls are mounted on the panel, including the choke, starter, manifold head, spark, throttle, windshield wipers and instrument lights. The gear-shift lever is also mounted here, eliminating the customary cut-outs in the floor. The finish of the panels is black crackle.

“Front Unit of Body Is All Steel

“Although the body is of composite construction, the front end is all steel up to and including the front door-hinge pillar. A ‘”VV” windshield is used which together with two large tops and two side cowl ventilators, give adequate ventilation to the interior. As the transmission is ahead of the engine, it permits the floorboard to be fastened permanently and allows the use of a substantial cross member in the body close to the dash. Because of the unusual stiffness of the frame, it has been possible to make a number of the body members lighter than is common practice. The front seat is adjustable and is deeper and about 4 in. wider than is customary. The same comfort is provided on the rear seat except that the seat is not adjustable. The head and leg room is more than ample in both compartments. The hardware is in silver and has a plain hatched design which is also used on all the rubber grommets. It was found at the beginning that a car with average head room could be built on this chassis with a height of less than 60 in. from the ground to the top of the deck. Cord engineers, however, felt that it would be difficult to enter or leave a sedan of the height from the average curb and did not consider this sound design.”

Some of the captions for the numerous illustrations of the L-29’s catalog coachwork that accompanied Leamy’s L-29 article follow:

“Phantom view of the three-light sedan in the Cord front-drive chassis, showing the unit power plant and the comfortable seating and low center of gravity made possible by the chassis. The overall height is only 66 in., and 38 in. of headroom is provided over each seat. It is powered by a straight-eight, 125 h. p. Lycoming motor, having a piston displacement of 298.6 cu. in. and having a standard compression ratio of 5.25:1. Because of the front-wheel drive, the engine is reversed from the usual position, the flywheel being in front.

“Sport sedan in the new Cord front-drive car, which is now in production at the Auburn, Ind., plant of the Auburn Automobile Co. Four body styles are to mounted, all on 137 ½-in. wheelbase. No prices have yet been announced, but the Cord front-drive car is intended for those owners who can afford to pay for the latest developments in the automotive field. Production of standard Auburn rear-drive cars will be continued as heretofore.

“Three-quarter and front views of the new Cord front-drive cabriolet-coupe. Note the bumperettes attached directly to the front axle, the sweep and embossing of the fenders, the I-type radiator which shields the core and the differential housing, and the unusual mounting of the headlamps on brackets bolted to a tubular member passing through the radiator shell and to the fender brace. The molding and belt treatment is supportive of the European vogue. The overall height of this model is 61 in. but there is ample head and leg room.

“Front corner of the Cord three-light sedan. Note that the visor is integral with the front roof panel and encloses the dual; windshield-clearance motors; the cleaner blades and arms are the only exposed parts. The front unit of the body is of all-steel construction.

“Interior of the three-light sedan in Cord front-drive chassis. Note the ample head and leg room, and the use of broadlace across the door instead of the wood frieze commonly employed. This view also shows the combined running board and valance, eliminating the customary joint between the valance and running board. The surface of the board is fluted and rubber strips are mounted in the valleys. A courtesy light is set in the valance beneath the door pillar.”

Closed coachwork for the L-29 was designed by Leamy and Auburn’s John Oswald while the designs for the cabriolet and phaeton were supplied by one of Walter M. Murphy’s in-house designers, most likely Franklin Q. Hershey.

Murphy had previously designed some of Auburn’s convertibles and they also constructed a few custom-bodied L-29s. Murphy’s Philip O. Wright is specifically credited with the L-29 town cars that Murphy built for film stars Delores Del Rio, Lola Montez and John Barrymore, plus several other L-29 Cords; a Dual Cowl Phaeton for actress Toby Wing and a blind quarter sports sedan whose doors opened part way into the roof. Hershey came up with a flamboyant 3-toned L-29 dual cowl phaeton of which three examples were constructed, two of them for W.A. Clark III, president of Pilot Ray Corp., and the third for the King Carol II, of Romania. One of them was exhibited by Murphy at the 1930 Salons, the November 1930 issue of Autobody reporting:

“In the Murphy stand will be found an interesting Cord phaeton if completed in time for the 1930 Chicago Salon. This is to be finished in black, enlivened by polished-aluminum concave moldings; the secondary cowl has a special hinge and will open without counterbalance and includes an extremely low top.”

On a trip to Detroit Philip O. Wright had a chance meeting with Cord’s president, Roy Faulkner, who persuaded him to join the automaker’s design staff - the culmination of their chance meeting was Wright’s Cord L-29 speedster, the star of the 1932 auto shows.

Another Wright was an enthusiastic fan of the L-29, stating in his 1943 ‘An Autobiography’:

“The Cord had taken several foreign prizes for body design and it was the nearest thing to a well-designed car I had ever seen outside Europe… The Cord seemed to have the right principle—front wheel drive pulling instead of pushing along . . . [It] certainly looked becoming to my houses—the best design from my 'streamline' stand point ever put on the market . . . The Cord was an innovator along right lines that changed the whole field of body design for the better.”

Frank Lloyd Wright (b.1869-d.1959) purchased his grey L-29 Phaeton Sedan when new using it into the late 1930s when it was discarded, his 1943 ‘An Autobiography’ stating that: “The Cord is gone.” In the same work he accurately predicts the almost universal adoption of front-wheel-drive just over a half century later:

“I believe the principle of the front drive to be logical and scientific, therefore, inevitable for all cars. The proportion and lines of the Cord come nearer to expressing the beauty of both science and logic than any car I have ever seen.”

Visitors to the first floor of the Auburn Cord Duesenberg Museum in Auburn are treated to a beautiful orange L-29 Cabriolet that placards relate was once owned by the Frank Lloyd Wright Foundation. However, the car on display it is not the gray four-door Phaeton Sedan that Frank Lloyd Wright owned and drove during the 1930s, pictures of which can be seen to the right. The occasion was not a happy one as Wright had just collided with a floral delivery truck. The event was covered in the November 13, 1933 issue of the Capital Times (Madison, Wisconsin):


“Fost Choles, Madison florist, was hurt and Frank Lloyd Wright, noted Spring Green architect, escaped injury this morning when their cars collided at Lakeview, on the Oregon Road. The two cars skidded about 60 feet after the crash, the sheriff's office reported.

“Mr. Choles’ truck was overturned and badly damaged. Mr. Choles was taken to the Methodist hospital and later to his home. He suffered head injuries.

“Mr. Wright's car was considerably damaged about the headend. He and his wife and a friend, John Howe, were on their way to Chicago where Mr. Wright is to deliver a lecture tonight. None of them was injured and Mr. Wright returned to Madison and went to Chicago by train.

“Mr. Choles reported to the sheriff that he was turning off the Oregon Road onto the highway leading to Stoughton when the Wright car struck his truck.”

The damage was repaired and Wright continued to own this car up until his death. The L-29 Cabriolet on display at the museum has no direct connection with Wright and in fact was purchased by Wright's son-in-law William Wesley Peters as a used car in the 1950s.

Some Duesenberg Model J accounts credit Leamy with the design of the front end of the prototype Model J chassis, one supporting account being included in George Philip & Stacey Pankiw Hanley’s ‘Marmon Heritage’ (pp.451 – pub.1985):

“Al Leamy, according to Joe Felts*, who worked with him at Marmon, presented art work with his application to Mr. Ames at Duesenberg which ultimately became the body, hood, and front end design of the Model J prototype.”

(*Jerome Felts)

Author Dan Burger in his 1983 Automobile Quarterly article on Leamy also raises the question of Leamy’s involvement citing certain statements made after the fact by automobile designer / instructor Strother MacMinn as evidence.

In his book on E.L. Cord, historian Griffith Borgeson theorizes:

“Because the front wheel drive project was underway at the Duesenberg factory until August of 1928, when Leamy was present, it seems likely that Leamy's fresh ideas gained acceptance within the Model J program.”

The fact that both cars were introduced almost simultaneously is sometimes referenced as evidence of Leamy’s involvement; however that merely proves coincidence and not fact. In his book ‘The Duesenberg’ J. Herbert Newport, Jr., Duesenberg’s chief body designer from 1934-36, is noticeably silent about who designed the front end.

In his book ‘Rolling Sculpture’ designer Gordon Buehrig, who didn’t come to work for Duesenberg until June of 1929, when the appearance of the Model J was already set in stone, clearly states that Harold Ames and E.L. Cord were responsible for the design of the car:

“Actually, I admired the standard equipment so much I felt sure I could not improve on it. The items to which I am referring were included with the chassis: fenders, running boards, radiator shell, hood, headlights, taillights, bumpers, horns, instrument panel, etc. These items were all designed by Harold Ames and Errett Cord. Neither of these men could sketch or make orthographic drawings, but they could visualize that they wanted and were able to get it by working with draftsmen and pattern makers.”

Although Leamy was never directly credited with the front end of the Duesenberg Model J, it’s certainly possible he was consulted by E.L. Cord regarding the matter and a comparison between the front end of the Cord L-29 and Duesenberg Model J reveals some similarities.

A drawing uncovered by Duesenberg expert and restorer Randy Ema shows a side and front view of the Model J’s fenders, providing their exact dimensions and distances between the various anchoring points commonly used by body engineers to create the master drafts used to creating the body dies needed to create sheet metal stampings. It’s signed by Leamy and marked ‘OK’ by Fred Duesenberg who dated it Aug. 20, 1928.

In Automobile Quarterly, Vol. 26, No. 4, Lee Beck states that the drawing is the proof that Leamy designed the Model J stating:

“At last, Leamy can be credited for this most graceful design”.

The drawing bearing Leamy’s signature concerns itself with the fenders only, the front end of the car only being included for reference. However in his Automobile Quarterly article, 'Chariots of the Gods: The Grandeur of the Model J Duesenberg' (AQ, Vol. 30, No. 4 (Summer 1992), Randy Ema states conclusively that:

“Alan Leamy styled the Model J sheet metal, which was the basis for some of the finest American coachwork…”

(and later on…)

“Al Leamy turned out stunning designs for the radiator shell, fenders, hood, and dashboard for the new model (Model J),”

Gordon Buehrig addressed the subject in a letter published in the ACD Club Newsletter during the Summer of 1979 (Vol. 28, No. 5):

"MODEL J DUESENBERG from Gordon M. Buehrig

"Dear Fred, The enclosed picture may be of interest in the question of whether or not Al Leamy helped design the Model J Duesenberg, fenders, radiator lamps, bumpers etc.

"Joe Felts sent it to me. Joe worked for Mormon and so did Al Leamy before working for Auburn.

"Joe told me that he remembered seeing drawings that Al made at Mormon that looked like the J Duesenberg. Joe has had this picture for years but unfortunately it is not signed or dated. It appears to be 143" wheelbase in 1/16 scale. The reproduction could stretch that much from the 142 1/2" Model J. Certainly the fenders are very close to the Model J."

He readdressed the issue in aanother letter to the editor of the ACD Club Newsletter, during the summer of 1984 (Vol. 32 No. 6; pp9):


“By Gordon M. Buehrig

“June 21, 1984

“It has been a few years since I last reviewed ROLLING SCULPTURE and in doing so today, I have found an error which should be corrected. The item was written in good faith at the time, however recent evidence has proven it to be in error.

“Many of your readers are owners of a copy of ROLLING SCULPTURE and this seems to be the best way I can make the correction and endeavor to make automotive history accurate.

“Regarding the Duesenberg, the item on page 22 of ROLLING SCULPTURE says, ‘The items to which I am referring were included with the chassis: fenders, running boards, radiator shell, hood, headlights, taillights, bumpers, horns, instrument panel etc. These items were all designed by Harold Ames and Errett Cord. Neither of these men could sketch or make orthographic drawings, but they could visualize what they wanted and were able to get it by working with draftsmen and pattern makers.’

“I wrote that because, on several occasions, Mr. Ames had told me so. I wish in writing the story I had made that clear.

“A few years ago Joe Felts, an engineer who worked at Marmon, when the designer, Al Leamy was there and later, when both men were at Auburn, told me that he was sure the Duesenberg sheet metal was designed by Al Leamy.

“Then in 1982, at Auburn, Mrs. Al Leamy presented the Museum with many of Al's original drawings and among them were a sufficient number of sketches to establish that the Duesenberg sheet metal design was in his style, however there has been no positive proof that he did the work.

“Certainly some gifted, experienced automobile designer had to put those lines on paper. We do know that Al was there and that he was capable.

“Gordon M. Buehrig”

In a letter dated June 26, 1984, and included in Vol. 32 No. 6 of the ACD Club Newsletter during the summer of 1984, ACD Museum Director Skip Marketti concurs with Buehrig:

“We have spent many hours researching this point and have come to the same conclusion as Gordon M. Buehrig. The Model J Duesenberg radiator shell and fenders particularly are in the Alan H. Leamy style. Mr. Leamy was living in Indianapolis at the time (employed by Marmon). Mr. Ames and Mr. Cord were brilliant industrialists, but not artists. The Model J Duesenberg is a definite work of art.

“We support Mr. Buehrig's theory and will continue our efforts to prove that the Model J styling was the work of Alan H. Leamy.


“Skip Marketti, Executive Director, Auburn - Cord - Duesenberg Museum”

The drawings submitted to the Auburn Cord Duesenberg Museum by Mrs. Leamy provide additional evidence that Leamy produced more than one orthographic drawing of the Model J, a fact already acknowledged by all. However, crediting him with the entire design of the Model J front end is an entirely different matter and is still open to debate unless we take Joe Felt’s* word for it. As seen above, Skip Marketti, the ACD Msuem Director believes the matter is still open: “We... will continue our efforts to prove that the Model J styling was the work of Alan H. Leamy.”

(*Like Buehrig, Joe Felts ended up at Ford and served as executive engineer at the Mercury Advanced Studio.)

Griffith Borgeson addressed the subject in his 1984 biography, Errett Lobban Cord; His Empire, His Motor Cars; Auburn-Cord-Duesenberg:

“Authorship often is extremely difficult to define. As we have seen, Harold Ames felt that he and E.L. ‘designed’ the Duesenberg Model J chassis. ‘Of course we had designers,’ he says, ‘and they drew what we told them to draw.’ Accepting that statement at face value, the fact remains that, when esthetic factors enter the equation, different designers or draftsmen will interpret their instruction in different ways. And some will be better than others. For example, the draftsmen whose job it was to copy the Miller fwd for Earl Cooper managed in the process to lose all of the Miller’s exquisite refinement of line. Another draftsman might have improved upon it, had that been possible.

“In his Automobile Quarterly article on Leamy, Dan Burger raises the question of that designer’s possible contribution to the Model J chassis, pointing out that experts such as designer/educator Strother MacMinn and one-time Duesenberg designer Herb Newport see the Leamy touch there. The striking resemblance between the J chassis sheet metal and that of the L-29 and Auburn 8-98 can have other explanations. The J chassis had been under development for almost two years, and perhaps more, when Leamy arrived at Duesenberg, Inc. in April 1928. The J sheet metal may have been given its final form already. Perhaps it was shown to Leamy and he was told to give the L-29 form and character which would harmonize with ACD’s prestige leader and style-setter, the J. or the J sheet metal was in near-final form and Leamy was assigned to apply the last-minute touches which would assure the required family resemblance. That his role in the in the J was minor at most is indicated in correspondence which has been donated to the ACD Museum by his widow. In listing his accomplishments he cites ‘the complete exterior design’ of the L-29 and of the ‘Auburn 8-98 and subsequent models.’ He claims nothing concerning Duesenberg. While he looms as one of the great talents of his chosen art form, in seeking to explain the family resemblance one should not overlook the guiding intellect of the whole operation: E.L. Cord. Everything had to meet with his approval and conform with his taste.”

As a researcher I would like to see some 'concrete evidence', albeit orthographic or photographic, backing up Randy Ema's statements as he provides none in his AQ article. Perhaps he has some documents that he acquired from Marshall Merkes, Ray Wolff or others that prove Leamy did it – if so please share them.

Regardless, Ema’s reputation is such that it's now “accepted as fact” that Leamy styled the Model J. I don't dispute Ema’s AQ article, but based on what I've discovered, I can't verify it either – and neither could Gordon Buehrig.

It’s hard to reconcile the fact that while E.L. Cord had Leamy apply for design patents on the L-29 Cord, and 1931 Auburns, no design patents were taken out on the Model J. Correspondence donated by his widow Agnes to the ACD (Auburn-Cord-Duesenberg) Museum include a letter to the S.A.E. Employment Service, dated September 28th, 1933, where Leamy lists his accomplishments:

“The complete exterior design of the Cord Front Drive was entirely mine. Following the Cord, I designed the 8-98 model, and subsequent models of the Auburn. . . . I have designed the building of quite a few custom and experimental models on Cord and Auburn chassis. Previous to my association with Auburn I was with the Marmon Motor Company, and designed their last series of large eights."

No mention was made of the Model J Duesenberg, nor of the Auburn Cabin Speedster, another A-C-D project he is often credited with. Factory literature states the 1929 Auburn Cabin Speedster (a modern take on Harry Miller’s Golden Submarine – built for Barney Oldfield in 1917) and constructed for the 1929 New York Automobile Show, was designed by ex-Duesenberg racer Wade Morton.

In a November 1955 letter to Road & Track magazine, former Auburn draftsman R.H. Dick Robinson claimed he had designed the Cabin Speedster. Randy Ema later uncovered the original full-scale body drafts of the car, however they are unsigned, leaving the identity of their delineator unknown - although it’s likely Robinson or John Oswald, Auburn’s body engineer, created them. Leamy did design an updated Cabin Speedster in 1933 (image to the right), but as he always signed his work, it’s doubtful he was involved with the 1929 Cabin Speedster.

The 1930 US Census reveals that Leamy and his wife, Agnes, were living in an apartment building located at 315 E. Seventh Street, Auburn, De Kalb County, Indiana; his given occupation being body designer, at an auto factory.

At that time Leamy was busy putting the finishing touches on the all-new 1931 Auburn Model 8-98 lineup which grew to include an all-new boat-tail speedster which joined the 8-98 lineup in the fall of 1931 (only offered on the Auburn 8- & 12-cylinder chassis). In addition to the 8-98’s styling Leamy was awarded patents on the mechanical components of the cars’ steering and front suspension.

The Auburn 8-98 was re-christened the 8-100 for the 1932 model year, but remained nearly identical save for the addition of a new 12-cylinder model, the model 12-160. The Auburn V-12 was the most affordable V-12 of its day, with the entry-level coupe priced at $975 with comparable 12-cylidners priced from three (Pierce- Arrow at $3,450 – Cadillac at $3,495) to four times (Lincoln at $4,700) as much. The V-12 featured the same styling as the 6 and 8-cylinder Auburns save for an 8” stretch of the chassis, hood and running boards.

For 1933 the re-christened Model 8-101 and 12-161 series retained styling introduced in 1931 save for small embellishments that helped keep the Auburn fresh, which included a concealed radiator cap and convex-headlight and sidelight lenses. The rear section of the convertible cars was also redesigned to increase rearward visibility when the tops were lowered.

During the early 30s automobile styling was changing at an exponential rate and the classic-era styling introduced on the Auburn 8-98 looked dated by 1933 and an entirely new Leamy-design made its debut on the 1934 Model 6-52 and 8-50 Auburns. Although the car’s raked windscreen and skirted fenders were well received, Leamy’s shovel-nosed grill was not successful and the 1934 Auburn’s nose was panned by a number of influential automobile critics upon its debut at the 1934 New York Automobile Show. 

Harold Ames, who disliked the design from the moment it was introduced, blamed Leamy for what he saw as the commercial failure of the 1934 Auburn. ‘Dealers would not buy it,’ he told Griffith Borgeson, explaining that on their rail journey home from its debut at the 1934 New York Automobile Show, Auburn’s vice-president Lucius B. Manning agreed that the '34 Auburn would never sell and that a new design was crucial to the firm’s survival.

Ames enlisted Duesenberg’s body designer, Gordon Buehrig, to facelift the car, providing him with a $50,000 budget (including retooling) to get the job done in time for the 1935 Auburn’s accelerated reveal which took place in September of 1934.

The face-lift consisted of giving’s Leamy body a new hood and a significantly more imposing radiator shell and grill which eliminated Leamy’s unpopular waterfall treatment. Buehrig was also given the task of creating a new boat-tail speedster that would serve as the centerpiece of Auburn’s 1935 auto show exhibits. Although he deserves credit for the bulk of the design, the central portion of the speedster body - from the cowl to the portion above the rear axle centerline - was not his, as he was forced to use up the remaining inventory of Leamy-designed ’32-’34 speedster bodies – of which 60 to 100 remained (accounts vary). Buehrig grafted a new tail onto the existing coachwork, creating a body similar to his Duesenberg Model J boat-tail speedster.

Unfortunately Leamy served as the scapegoat for the poor sales of the 1934 Auburn line and his widow infers that he was asked to resign, telling ACD Museum director Skip Marketti that he was ‘relieved of his duties’. Apparently the dismissal came as no surprise to Leamy as a letter to the SAE Employment Service dated September 28th, 1933 reveals he was already looking for a new job. In fact he had been sending out sketches of interiors and exteriors to several manufacturers, including Graham and Packard during his final years at Auburn. His widow Agnes recalled:

”His ideas about cars in those days were considered so radical, so extreme… when he submitted drawings to an official of Packard, they were too far out for him; he wanted something more conservative.”

He was also indirectly involved in Vincent Bendix’ front-wheel-drive S.W.C. prototype, which was constructed by his friend Alfred Ney for the Steel Wheel Corp., the skunkworks Bendix subsidiary used to construct the car. Leamy supported Ney’s ambition to construct the car’s monocoque framework using Duramold, the same phenolic resin and birch plywood used to create Howard Hughes H-4 Hercules (aka ‘Spruce Goose’). Although Leamy had hoped to design the body, it was designed and constructed by a laid-off Fisher Body craftsman named William F. Ortwig who fitted it with the grill and headlight buckets from an Airflow DeSoto to save on time and money. The car, which ended up looking like a cross between an Airflow and Toyota Toyopet was never seriously considered for production, and served to highlight emerging technology for the Bendix Co. Soon after its construction Bendix was acquired by General Motors and the car was forgotten, although it miraculously survived and can be seen at the Studebaker Naional Museum in South Bend, Indiana.

Although 1935-36 Auburns are significantly more popular and valuable in today’s collector car market, sales figures reveal that back in the day the ‘34s sold better than Buehrig’s face-lifted ‘35s, although neither approached the overwhelming sales success of Leamy’s landmark 1931 Auburn 8-98. Kimes & Clark report the following Auburn sales figures, starting with the 1931 model year: 1931-34,228 cars; 1932-11,145 cars; 1933-5,038 cars; 1934-7,770 cars; 1935-6,316 cars; 1936-1,263 cars).

Leamy wasn’t out of work long, accepting a position with the Fisher Body Co. that summer. Harley Earl was impressed by his work and on June 1, 1935 Leamy became a member of the LaSalle design studio at GM's Art & Colour division. 8 days later Leamy developed acute septicemia (bacteremia or blood poisoning) from a routine diphtheria vaccination he received as part of GM’s annual physical and four days later, June 12, 1935, he was dead at the age of 33.

Following Alan’s untimely passing, his widow, Agnes T. (Garrett) Leamy (b. 1906 in Penn.) remained in Detroit, where she worked as a stenographer until her retirement at which time she donated Leamy’s personal collection of memorabilia to the recently-opened Auburn-Cord-Duesenberg Museum in Auburn, Indiana.

John Oswald, Auburn’s body engineer and Leamy’s co-worker, left Auburn for GM at about the same time. He received numerous patents while working for Ternstedt, Oldsmobile and after the second world war, Ford.

An occasional reference that Leamy served as a freelance consultant to Wills St. Claire has been made in various articles written in the 1980s.

An article on Harley Early in a 1985 issue of the Historical Society of Michigan’s Chronicle states:

“One who preceded him was J. Frank DeCausse, who designed the highly regarded Locomobiles of the late Teens on a consulting basis. Another was Al Leamy, who styled Childe Harold Wills' original Wills-St. Claire in the early Twenties”.

A second article states:

“The Wills' body design is attributed to Al Leamy and complements the light weight and solid construction of the chassis and drivetrain, an attractive and distinctive automobile with the top up or down.”

Another states:

“Before the great Harley Earl joined Cadillac and was given the task of designing the entire line of the new La Salle models in 1927, J. Frank de Causse (for the Locomobile) and Al Leamy (for the Wills St. Claire automobile) both had earned respect for their successful styling of a whole a line of automobiles, rather than just a few individual custom jobs.”

However, I found no concrete nor anecdotal evidence of a connection, and believe the sources may be confusing Leamy with Gordon Buehrig who, prior to working for Auburn-Cord-Duesenberg, worked as a body draftsman at Gotfredson Body Corp.'s Wayne, Michigan plant, serving under Walter L. Jones, Gotfredson's chief body engineer. During his 2 years with the firm Buehrig assisted Jones with shoring up closed body designs for Wills Ste. Claire, Jewett, Paige-Detroit and Peerless.

©2013 Mark Theobald for

Appendix One, Leamy Patents:

US Pat. No. D82269 – Automobile body - ‎Filed Jun 19, 1929 - ‎Issued Oct 14, 1930 to Alan H. Leamy, assigned to Manning & Co., Chicago, Illinois

US Pat. No. D82428 – Automobile - ‎Filed Jun 24, 1929 - ‎Issued Nov 4, 1930 to Alan H. Leamy, assigned to Manning & Co., Chicago, Illinois

US Pat. No. D82437 – Automobile - ‎Filed Jun 19, 1929 - ‎Issued Nov 4, 1930 to Alan H. Leamy, assigned to Manning & Co., Chicago, Illinois

US Pat. No. D84484 – Automobile - ‎Filed Apr 24, 1931 - ‎Issued Jun 23, 1931 to Alan H. Leamy, assigned to Auburn Automobile Co., Auburn, Indiana

US Pat. No. D84529 - Automobile - ‎Filed Apr 24, 1931 - ‎Issued Jun 30, 1931 to Alan H. Leamy, assigned to Auburn Automobile Co., Auburn, Indiana

US Pat. No. 1828327 – Front drive automobile - ‎Filed Jan 18, 1930 - ‎Issued Oct 20, 1931 to Alan H. Leamy, assigned to Manning & Co., Chicago, Illinois

US Pat. No. D85532 – Automobile - ‎Filed Apr 24, 1931 - ‎Issued Nov 10, 1931 to Alan H. Leamy, assigned to Auburn Automobile Co., Auburn, Indiana

US Pat. No. 1834164 – Automobile Construction - ‎Filed Oct 30, 1929 - ‎Issued Dec 1, 1931 to Alan H. Leamy, assigned to Manning & Co., Chicago, Illinois

US Pat. No. 1896797 – Running board for automobiles - ‎Filed Jul 24, 1929 - ‎Issued Feb 7, 1933 to Alan H. Leamy, assigned to Manning & Co., Chicago, Illinois

Appendix Two:

Cabin Speedster Evidence

The following letters concerning Leamy and his involvment with the Cabin Speedster were included in the ACD Club Newsletter during the late 1970s.

Vol XXVI No. 7 1978


This article was reprinted from ROAD & TRACK, November, 1955, and sent in by Don C. Howell.

I noticed in a recent issue of Road & Track an article entitled the "Auburn Cabin Speedster." You speak of Wade Morton having a lot to do with the Cabin Speedster. If he did it was mighty, mighty little! It seems that since the company has broken up, everyone and his brother are trying to bask in the glory that was. Auburn. Let me set your records straight. The late Al Leamy is to be given credit for styling the Auburn Speedster and the L29 Cord. I worked with Gordon Buehrig on the 810 Cord based on his original design. He is to have that credit. I designed the Auburn Cabin Speedster, of which only one was built.

This car was first shown in Boston in the fall of 1928. The show authorities had to call for police reserves to battle the crowds that fairly engulfed the car and threatened to wreck it. From here the car was moved to Los Angeles, where it ended its career in a blaze of fiery glory. The hall burned down and the car with it. It had served its purpose—that of publicity. No doubt, the stock market on Auburn shot up enough when the reports got out about this car to more than pay for the trouble!

R. H. Robinson, Fort Wayne, Indiana

Vol XXVI No. 7 1978

DESIGNS & DESIGNERS by Dave Henderson, June 27, 1978

Dear Fred,

I read with great interest the article submitted by Don C. Howell which had been written by R. H. Robinson for ROAD & TRACK back in 1955. Subsequent to this article, Robinson wrote one for MOTOR TREND titled "Weird Wisdom" appearing in May, 1957, after his death. Both these articles gave credit to Al Leamy for styling the L-29 and the 1931 Auburn Speedster, (a picture of it appeared in his MT article which referred to it as a 1930). Robinson was the last writer I know of who gave Al Leamy his due credits in Cord and Auburn articles in popular automotive publications. Afterwards, Leamy seemed forgotten. CAR LIFE published an article by the late Warren Fitzgerald giving C. W. Van Ranst kudos for the L-29, and the highly respected AUTOMOBILE QUARTERLY gave design credit to John Oswald. VanRanst had been chief engineer on the L-29 and had a fabulous engineering background including the Miller "Detroit Special" FWD car after which the L-29 was mechanically conceived; Oswald was a body draftsman or engineer, later to style for Olds. (Interestingly, he designed the '37 Olds grille, which had suggestion of front wheel drive in the form of an L-29 type "bulge" and trim strips hinting inboard brakes). The point is, although both these men were involved with the L-29 and made their contributions to it, the person deserving credit for the superb styling was Al Leamy.

Through the insistence of Al Leamy's widow that her husband had designed the L-29 and other great cars, I became interested in him and his work. With some research and the help of his contemporaries, it is clear to me that Leamy does deserve every credit Robinson gave and more. In addition to the L-29 and the '31 Auburn speedster, he styled the ENTIRE '31 Auburn Line, and Herb Newport suspects he may have styled the J Duesenberg front, hood and fenders. And here's a grabber—Robinson was right that Wade Morton didn't design the Cabin Speedster; Morton was an aviator/race driver and Duesenberg sales manager who enhanced the racy image of the ACID line. BUT—ROBINSON didn't style the Cabin job, AL LEAMY did! This is maintained by Mrs. Leamy, by Mr. Alfred Ney, (Bendix-Steel Wheel FWD car designer—see SPECIAL INTEREST AUTOS Nov./Dec. '71), Leamy's close friend and contemporary and even C. W. VanRanst in a letter to me stated Leamy was probably responsible for the Auburn (Cabin) Speedster.

Leamy had fabulous ideas for speedsters and boat- tailed cabin designs. Some of the most imaginative and beautiful designs produced during the classic era came off his drawing board. His approach to styling was so avantgarde that he could even envision boattailed four-door sedans, a feat probably unparalleled ever! One joyous design titled "F-D 4 Place Cabin Speedster", conceived even before it was announced that the new frontdrive Auburn car would be named Cord, featured the L-29 radiator, a V windshield, no running boards, sweeping, open-sided fenders, and a boattail. Date on the full color drawing is January 8, 1929.

Al Leamy died in 1935 at about age 35. His great contributions to classic era design have gone virtually unrecognized, even in our own club. I would -like to recommend that the board of directors make Mrs. Leamy an honorary member in remembrance of this great stylist. I will be happy to assist in liaison with her if requested. My phone number is 703-938-8954.


July 3, 1972 Mr. David S. Henderson

2509 Babcock Road, Vienna, Virginia 22180

Dear Mr. Henderson:

I am afraid that I am not going to be very much help to you with Auburn information.

Herb Snow headed up the Auburn organization and would have had all this information. I believe that Al Leamy was responsible for the design of the Auburn Speedster but I am also quite sure that Wade Morton instigated the idea, however, the program was not very successful.

As to the L-29 Cord program, it is all so long ago that I cannot remember the contributions made by the different individuals.

I am sorry that I am unable to give you more details on the Auburn-Duesenberg program.

Very truly yours, C. W. Van Ranst                            

Vol XXVII No 1 1979


by Bob Fabris, Editor ACD Newsletter

Dear Fred:

With reference to Dave Henderson's letter in '78 No. 7 and the comments on Al Leamy's contributions to the L-29 design.

I supplied a large amount of data for the Automobile Quarterly article (their Vol. 6 No. 4), and the credits given to John Oswald for the L-29 body design were "lifted" with permission from my L-29 history printed in the Newsletter of April 1962. That material was based on data I had collected in the years prior. Warren Fitzgerald's credits to Van Ranst were for the mechanism, and there is no argument over his contribution.

My data consists of a very strongly worded letter from Mr. Oswald dated March 16, 1961, in which he specifically states that E. L. Cord asked him to do the work, and outlines what he did. Oswald does allow that Leamy did the radiator shell treatment, but that is all. I then asked Herb Snow, who was Chief Engineer at the time, and his answer led me to believe that Oswald was indeed the person to whom credit should go. Referral to an earlier letter from Van Ranst gives some support to this. Copies of these letters are enclosed for your review.

I did not give too much credence to Leamy's name on the design patent drawings. There had been a practice for supervisors to take credit, but the patent was a protector of the company, not the individual. On the other hand, there may be some new material in Dave's possession that could change my mind, and I would like the opportunity to see it.

I had little luck in following up the data Mrs. Leamy had, she moved once or twice in the 1960 period, I never had the chance to see her data first hand, nor any luck in getting ACD members local to her to act as my agent. I am glad that Dave was able to accomplish this where I failed. I hope that he has convinced her to turn the material over to some repository before it gets 'lost'.

Yours truly, Bob Fabris







Beverly Rae Kimes & Henry Austin Clark - Standard Catalog of American Cars: 1805-1942

A.H. Leamy - Cord Front-Drive Car Offers New Opportunities in Body Designing, Autobody, Vol. 16, No. 1,  July 1929 issue, pp 9-12

Beverly Rae Kimes - E.L.: His Cord and his Empire, Automobile Quarterly, Vol. 18, No. 2, pub. 1980

Dan Burger - The Career and Creations of Alan H. Leamy, Automobile Quarterly, Vol. 20, No. 2, pub. 1982

Griffith Borgeson – Errett Lobbann Cord; His Empire, His Motorcars, Auburn, Cord, Duesenberg, pub. 1984

Randy Ema – Chariots of the Gods: The Grandeur of the Model J Duesenberg, Automobile Quarterly Vol. 30, No. 4, pub. 1992

Lee Beck - The Sun Sets on Auburn - Automobile Quarterly, Vol. 26, No. 4, pub. 1988 

Dan Post – Cord: Without Tribute to Tradition, the L-29 Front Drive Legend, pub. 1974

Carroll M. Gantz - Design Chronicles: Significant Mass-produced Designs of the 20th Century, pub. 2005

Nick Georgano - the Art of the American Automobile, pub. 1995

David S. Henderson - Al Leamy: Classic Stylist, Antique Automobile, Vol. 38, No. 2; Mar-Apr 1974 issue

Lane Slate - Mr. Cord... and the L-29, The Classic Car, Vol. 8, No. 4, Winter 1960 issue

Arch Brown - 1929-32 Cord L-29; Formula for Failure, Collectible Automobile, Vol. 4, No. 6, April 1988 issue.

Frank Lloyd Wright - An Autobiography, pub. 1943

Peter C. Kesling - Road Plane Flies Again; The Painstaking Re-creation of the 1929 Auburn Cabin Speedster, Automobile Quarterly, Vol. 25, No. 3, pub. 1987

L. Spencer Riggs - The Epic Life of C.W. Van Ranst, Automobile Quarterly, Vol. 29, No. 4, pub. 1991

John F. Katz – Unfinished Symphony: The 1934 Bendix SWC, Automobile Quarterly, Vol. 25, No. 2, pub. 1987

Roger Huntington - The CORD Front Drive: the intriguing story of a fabulous automobile, pub. 1974

Julia P. Henshaw & A. D. Miller - Detroit Style: Automotive Form, 1925-1950, pub. 1985

Auburn-Cord-Duesenberg Museum Library: Alan H. Leamy Collection, File No. 6820921

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