Amos Northup and His Automotive Designs -- The 1932 Graham Blue Streak

Amos Northup
 

1932 Graham Blue Streak

Tootsie Toy 1932 5 Wheel Graham Blue Streak

The 1932 Graham Blue Streak was one of the first American production cars to look and feel modern in a way that quickly became the industry template—especially in body integration and streamlining—at a time when many cars still looked like upright boxes with bolt‑on fenders.

What made it stand out:

• “Skirted”/faired-in fenders and a lower, longer stance: The Blue Streak’s fenders were visually integrated into the body with flowing “fender skirts” and a pronounced sweep, making the car look lower and more aerodynamic than most 1932 rivals.

• Integrated design (less “separate parts” look): Instead of a body sitting on a frame with clearly separate fenders, running boards, and lamps, the Blue Streak pushed toward a unified shape. That move toward integration is a big reason it’s often cited as a styling landmark.

• A design that influenced the whole industry: Its look was widely copied through the 1930s—especially the trend toward streamlined bodies and enclosed/visually blended fenders—so it’s remembered not just as a pretty car but as a trend-setter.

• Good engineering/value for the era: Graham also had a reputation for offering strong performance and equipment for the money during the Depression, which helped the Blue Streak’s design impact reach real buyers, not just show stands.

The person most often credited as the key designer behind the 1932 Graham “Blue Streak” is Amos Northup (Graham-Paige’s chief stylist/designer at the time).

Northup is widely associated with the Blue Streak’s signature features—its low, integrated look and skirted/streamlined fenders—making him the figure generally regarded as most responsible for the design.

• Northup worked early in his career for cabinet maker C. J. Wadsworth in Painesville, Ohio, doing design work before moving into automotive styling.

Note that the 1932 Graham Blue Streak was not an all-metal sedan. The framing was in wood, although the dash was metal and steel channel sections in the forward door posts gave access to the wiring.

Pierce-Arrow (Buffalo, NY) — circa 1919 

• Some histories place Northup at Pierce-Arrow beginning in 1919, working on truck/styling-team design work.

• Northup worked for Wills Sainte Claire under Childe Wills, and multiple sources describe this as a key early automotive design role 1 3 4 .

• He is credited with styling 1924 Wills Sainte Claire 

• Northup joined Murray Corporation of America (often described as a major body supplier) in 1924 and promoted to  chief designer in 1927.

• At Murray, he was responsible for regular/production body designs, while Ray Dietrich handled custom work .

Major designs associated with Murray work:

• 1928 Hupmobile Century Eight — often cited as one of the first high-profile production designs he influenced at Murray.

• Willys-Overland / Willys-Knight / Whippet (Toledo) — late 1920s (art director/chief designer; disputed dates)

  • Sources agree Northup worked for Willys-Overland and related marques (Willys-Knight, Whippet), but the timing is inconsistently reported (e.g., one source says appointed at Willys-Overland in March 1928; another says he left Murray, joined Willys the next year, then returned to Murray).

  • He is credited with designing Willys Whippet lines and Willys-Knight models around 1929–1930 in these accounts.

  • One account notes he hired assistant Jules Andrade at Willys-Overland.

  Notable design items linked to Willys:

  • 1929 Willys Whippet and 1929 Willys-Knight lines are attributed to him in one summary 1 .

  • “Plaidside”/plaid show roadsters for Willys-Knight are mentioned as Northup work in a detailed historical account. .

  • Some sources also attribute the 1933 Willys 77/99 and later Willys designs to him via Murray work, 

• 1931 REO Royale Eight — explicitly credited to Northup as a major, innovative design achievement.

• 1932 Graham “Blue Streak” — his best-known work; sources credit Northup with key features like fender skirts and a rearward-sloping grille. 

• Worked for Packard Lincoln bodies built by Murray

• Graham-Paige (Wayne, MI) — early-to-mid 1930s (styling leadership; final work)

• Northup is most firmly tied to Graham-Paige through the 1932 Blue Streak.

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• He worked on Graham’s later “Spirit of Motion.” “Sharknose” theme; one source says he did most of the work with assistance and did not live to see it in production after his fatal accident in 1937.

• (Note: Some sources date the “Sharknose/Spirit of Motion” to 1938–1939; Northup died in February 1937, so his role is generally described as principal designer whose work was finished by others)