To fully appreciate this one-of-a-kind Nash Rambler, it is essential to understand the context and dynamic figures involved in its creation.

Based in Kenosha, Wisconsin, Nash Motors was the automotive arm of industrial conglomerate Nash-Kelvinator. Famed for the relatively affordable and economical family cars they produced before WWII, Nash earned a devoted following despite building rather austere, conservative products. Rarely had the company produced a daring car, and by the late 1930s, the company was beginning to see customers migrate to more exciting car manufacturers like Auburn, Ford and Plymouth. All that changed when Charles Nash hired the visionary designer George W. Mason as his successor.

Immediately following WWII, Mason began experimenting with aerodynamic, enveloping bodies for the full-size line. He organized a modern, in-house styling department in the manner of the Big Three. He then hired former General Motors styling executive, Edmund Anderson, together with a crew of talented designers from Ford and GM. Mason’s ground-breaking new model, dubbed the Airflyte, was a company mainstay until Nash was absorbed into the American Motor Company during 1957.

Beyond his interest in aerodynamics, Mason was also a major proponent of small cars. Convinced that a sporting compact car could find success in the US, he helped launch the Rambler and partnered with Austin of England to produce the Metropolitan.

Mason’s business, status and international projects took him around the world and his frequent trips to Europe influenced his perception of the American automobile. As early as the 1940s, Mason began to form a relationship with legendary Italian designer Battista “Pinin” Farina and, by 1951, he had successfully partnered with Donald Healey and Pinin Farina to create the Nash-Healey, a beautiful, albeit slow-selling, two-seat roadster.

Supported by a long-term consulting agreement with Pinin Farina, Mason was able to put in place the last major design proposals for Nash Motors during the mid-1950s. The most striking of the designs was this cutting-edge sports car – the Palm Beach – constructed with the running gear of the Rambler. The Pinin Farina concept was created as a replacement for the Nash-Healey and intended not just as a “dream car” with little hope of reaching the road, but constructed so that it could be introduced to the market in a short period of time.

Although founded on contemporary Nash components, Pinin Farina took a very different approach to construction than did the Americans. Rather than the standard, unitized body, a ladder-type chassis and box-section side members were fabricated and equipped with Nash suspension, engine, gearbox and brake parts sourced directly from Kenosha. The only substantial change to the drivetrain was the installation of a single side-draft Weber carburetor. Unusually, the Weber was fitted not for increased performance, but rather to accommodate the sleek bodywork. Once the details of the chassis were put to rest, Pinin Farina got to work on what really mattered – the shape.

During the mid-1950s, Pinin Farina had been experimenting with various “jet-age” themes. The influence of American car design, combined with aerodynamic and technical innovations, inspired Pinin Farina to create some spectacular designs that would pay tribute to the exciting new aerospace technology.

This dramatic theme first appeared in the PF 200, a one-off Lancia with a similar Pinin Farina design which debuted in 1953. In the years that followed, the instantly recognizable circular intake and tubular volumes could be found on a handful of custom bodies that graced everything from Cadillac to Maserati chassis. Several of these PF 200-style cars participated in the contemporary European Concours d’Elegance, often finding great success.

A more unique characteristic of the Palm Beach is that it possesses extraordinarily graceful proportions for such a small car. Ordinarily, on a car of this scale – roughly the size of an Alfa Romeo Giulietta – it is hard to cut a lithe, sporting outline, but here Pinin Farina succeeded, creating a light form and appearance. Not only did the car look trim, compared to the Nash-Healey it was an absolute featherweight.

The front of the car bears a low, sloping hood that transforms into a jet-like oval air-intake, horizontally split flanking vents and covered headlamps. As the profile gently tapers to the tail, one finds gracefully wrapped front and rear window glass, sculpted tailfins, chromed bumper caps, and stylized Rambler “R” emblems – the only hint of a connection with the production car. Between the outward curing fins is a beautifully sculpted rear cowl with two bubbles that exaggerate the two-seat nature of the Nash. Glamorous Palm Beach scripts are thoughtfully placed above the side trim, on the rear deck and within the ovular intake.

As befits a car named after an idyllic destination, the interior was luxuriously appointed and fashioned in the height of 1950s continental style. The adjustable bucket seats were richly upholstered in top-grain hides; the floor mounted 3-speed manual gearbox featured a classic leather boot; deep pile carpets spread across the cabin floor and trunk and all the hardware was bespoke. Once acclimated to the low-slung seating position, the pilot looked out to the road ahead over a wood-rimmed 2-spoke steering wheel and a fascia with two beautifully detailed instrument pods fitted with gold-faced instruments. A charming homage to its roots, the Palm Beach could be fired up with Nash’s trademark clutch pedal starting system.

Unlike many design studies produced during the era, the Nash was fully functional and could well be considered a production prototype. With only 2,500 lbs to move about, a sleek aerodynamic form and the straight six providing a rush of torque, the Palm Beach could do far more than just move itself on to a rotating show stand.

When completed, the Palm Beach was finished in a luminous metallic emerald green paint with a light silver top, dazzling brightwork, specially designed wheel discs and tall whitewall tires. An absolute gem of a car, the petite scale and intricate details made the one-off Nash a sight to behold.

The Palm Beach was prominently displayed on Pinin Farina’s stand at the Turin Auto Show alongside the Alfa Romeo Super Flow I and the Lancia America. It was shown at other European venues throughout 1956 before making its American debut at the Henry Ford Museum in spring 1957.

By the time that the beautiful Palm Beach arrived stateside, AMC had terminated the Nash and Hudson nameplate, ending any prospect for the beautiful Pinin Farina show car to enter production. That did not stop the American spectators from falling in love with the little car. One observer in Dearborn was heard to remark, “If AMC would only produce that job, there’d be hundreds of us buying American again.” During the following year, the Palm Beach received enthusiastic coverage in a number of American automotive publications including Motor Trend, who, in August 1957, placed the Palm Beach on the cover and devoted several pages to an analysis of the project.

source: Gooding & Company, www.goodingco.com