By Maz Woolley
Cutters Model Cars (CMC) was a small artisan producer with Gerald Cox making the masters. Production of this range finished several years ago when CMC was closed down and anyone wishing to collect these models would now need to find them on the secondary market.
CMC models were home cast in solid resin to 1:87 scale with separate wheels. Earlier ones even had separate hubcaps. They were similar to the range still made by Stoney Mountain which is not surprising as Gerald Cox made some of the original masters of the Stoney Mountain vehicles.
CMC covered a wider time scale than many other ranges going from the early 1950s to the late 1960s Mercury Cougar. CMC also covered vehicles from the smaller US makers and not just the big three. This article looks at a Nash and a Hudson well established makers struggling to find success in the 1950s.
091 1952 Nash Ambassador Sedan
The Ambassador was Nash’s top of the line car. The 1952 model was a significant makeover of the previous model which had introduced the pontoon styling and faired in wheel arches. Visually similar in some ways to the contemporary Hudson the Nash was intended to be streamlined and modern. The styling assistance of Pinin Farina influenced the shape of the car and his name even appeared on the front wings but Italian design was not perhaps best suited to full size American sedans. Another area Nash fell behind in was in engine options with the big three heavily advertising their V8 power Nash could only offer a straight six Jetfire unit to buyers.
Nash were also hit by other problems in this year with steel strikes and material shortages caused by the Korean War. With the imact of these problems this 1952 model stayed in production essentially unchanged until the 1954 model year at which point Nash-Kelvinator merged with Hudson to form American Motors. So the 1952 model line was essentially the last Ambassador made by an independent Nash.
109 1956 Hudson Hollywood
Only 1,640 of the top of the line Hollywood hardtops were made, but sales of the Hudson Hornet range as a whole was in decline.
Despite the availability of a Packard V8, or later in 1956 AMC’s own new V8, buyers kept away despite the heavy makeover created by designer Richard Arbib who provided the Hornet and Wasp with “V-Line Styling”. Taking the traditional Hudson triangle, Arbib applied its “V” form in every conceivable manner across the interior and exterior of the car making sure that the Hudson’s look was different and noticeable.
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