Streamline Moderne?

NB: (from a correspondent): “Looking at it again the roofline looks too low to be original, I think it’s possibly been customised, by lowering the roof. This fashion started after the “American Graffiti” film, featuring a similar car, only not as well executed.”

The traffic in the picture above is approaching Richmond Circus on the A307 (Kew Road). I didn’t have time to spot the marque but the style suggests Streamline Moderne:

From Wikipedia:

“Streamline Moderne is an international style of Art Deco architecture and design that emerged in the 1930s. It was inspired by aerodynamic design. Streamline architecture emphasized curving forms, long horizontal lines, and sometimes nautical elements. In industrial design, it was used in railroad locomotives, telephones, toasters, buses, appliances, and other devices to give the impression of sleekness and modernity.
In France, it was called the Style paquebot, or “ocean liner style”, and was influenced by the design of the luxury ocean liner SS Normandie, launched in 1932.

The defining event for streamline moderne design in the United States was the 1933–34 Chicago World’s Fair, which introduced the style to the general public. The new automobiles adapted the smooth lines of ocean liners and airships, giving the impression of efficiency, dynamism, and speed. The grills and windshields tilted backwards, cars sat lower and wider, and they featured smooth curves and horizontal speed lines. Examples include the 1934 Chrysler Airflow and the 1934 Studebaker Land Cruiser. The cars also featured new materials, including bakelite plastic, formica, Vitrolight opaque glass, stainless steel, and enamel, which gave the appearance of newness and sleekness.
In 1939 and 1941 respectively, both Chrysler and GM came out with pick-up and truck lines, that had both distinct and similar looking designs that submitted to the Art Deco and streamline styling en vogue in the day, under various brand names.
Other later examples include the 1950 Nash Ambassador “Airflyte” sedan with its distinctive low fender lines, as well as Hudson’s postwar cars, such as the Commodore, that “were distinctive streamliners—ponderous, massive automobiles with a style all their own”.”

An Artist’s Discovery of Streamline Moderne Classic Car Designs

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