Vehicle Description
Immediately after young Howard Marmon earned his engineered degree
from the University of California Berkeley, he went straight to
work in his family business, The Nordyke & Marmon Company of
Indianapolis. The company, which specialized in flour milling
equipment, was already fifty years old at the time and prospered
during the industrial boom of the late 1800s. Howard Marmon rose
quickly through the ranks to become the chief engineer by 1902, a
position which he earned not through nepotism, but through his
undeniable talent. Howard was passionate about the automobile, and
he built his first in 1902 at age 23. His ability was evident in
the astonishingly well-constructed and highly advanced machine. The
experimental car featured a 90-degree V-twin with overhead valves,
multi-plate clutch, and 3-speed sliding gear transmission. Although
it was essentially a one-off prototype, Marmon's first automobile
was a sign of the brilliance to come. Against the wishes of his
brother, Howard Marmon began producing automobiles in 1905. He
experimented with V6 and V8 engines, and his production models were
soon renowned for their quality and performance. In 1911, the
Marmon Wasp - driven by Ray Harroun - was the first car to win the
Indianapolis 500 mile race. Marmon cars would compete with the
greats from Cadillac, Packard, and Pierce for supremacy in the
American luxury car marketplace. By 1926, Howard sold the flour
milling business to Allis-Chalmers to concentrate fully on motorcar
production. With the help of the low-cost Roosevelt line, sales
reached a robust 22,000 cars by 1929. Howard Marmon began work on a
flagship model to lead the company into the new decade, powered by
a spectacular new V16 engine. However, management had not counted
on the market crash, and sales - along with company fortunes -
plummeted. Despite being on the brink of collapse, development of
the mighty Marmon Sixteen continued, and the first prototype was
shown at the 1930 Chicago Auto Show to critical acclaim. Sadly, it
was too late to the market, and Marmon lacked the resources to
compete with the might of Cadillac's own sixteen cylinder models.
What Marmon lacked in funding it made up for with pure brilliant
engineering. The Marmon Sixteen is a masterpiece of the classic
era, with an overhead valve engine displacing nearly 500 cubic
inches and producing a full 200 horsepower, which bested Cadillac's
V16 by 25 horsepower. It is said that the Marmon Sixteen could out
accelerate a Duesenberg Model J, much to the annoyance of Marmon's
cross-town rivals. The styling is credited to Walter Dorwin Teague
Jr, who penned the gracefully curved fenders, bold and powerful
radiator shell, and a sleek profile devoid of unnecessary
detailing. It is estimated that between 370 and 375 Marmon Sixteens
were produced between 1930 and 1933, and despite their small
numbers, they are counted among the most important and collectible
of all American classic-era automobiles. It is a rare occasion when
a Marmon Sixteen comes available on the open market, and we are
especially pleased to offer this 1931 Victoria Coupe with coachwork
by LeBaron Carrosserie. According to information provided by Dyke
Ridgley of the Marmon Sixteen Roster, this chassis was delivered
new to Mr. Pollock of Sacramento, California. Pollock was a
Sacramento area contractor, and he purchased the car form a local
dealer in 1931. He ordered the Marmon when it was first announced
and was one of only six buyers who actually had the money to pay
for the car when it was finally delivered! Records show the car was
finished from the factory in all Maroon; however, Pollock had the
car repainted in Coronado Tan before accepting it from the dealer.
Marmon Roster information reveals the car reappeared in the early
1950s, where it passed through several owners including Charles
Jones of Dixon, CA. By the mid-1960s, Jones had begun the
restoration and retained the car through 1974. Subsequent owners
would continue working on the vehicle, including Charles Jones who
repurchased the Marmon (along with another Sixteen) in 1975, only
to sell it again to Mr. Nixon of Saskatchewan, Canada in 1978. In
1981, the Marmon found long-term, single-family ownership, where it
would remain until recently. As one of just 70 complete examples
known to exist, this Marmon Sixteen is one of only nine to wear the
handsome Victoria Coupe coachwork by LeBaron. The design is
beautifully proportioned, and despite being more than eighteen feet
in length, the profile is sporty and purposeful. The body is
minimally adorned, with only the dual sidemount spare wheels
breaking up the lines. In the years since its initial
refurbishment, the car spent significant time in storage and today
it presents as an ideal candidate for a straightforward
restoration. The body appears complete, with remarkably straight
panels, and the original radiator shell, lighting and trim pieces
in place. Similarly, the interior is intact and in good order,
though the materials appear somewhat dated from the 1980s
restoration. With that said, the essential elements of the interior
are intact and present in very good overall condition. Marmon's 500
cubic inch masterpiece rests beneath the long hood, appearing tidy
and complete. The Marmon Roster notes the engine was in running
order as late as 1995, and it presents with its significant
components intact, including exhaust manifolds, starter, generator,
Stromberg DDR-3 carburetor, and air cleaner housing. Not only was
this a powerful and advanced engine, but it was also a beautiful
one as well - with polished valve covers and extensive use of
aluminum in the construction. This remarkable find represents an
exceptional opportunity to acquire one of the greatest of all
Classic Era American automobiles. Few match the rarity and prestige
of the Marmon Sixteen, and the performance and refinement are
astonishing, even today. The importance of this car is perhaps best
summed up in Marmon's own words which stated: 'The Marmon Sixteen
looks like no other car. It borrows little from the past. It will
lend much to the future. It is the one example of unhampered
co-ordination of effort by artist and engineer.'