A little more than 65 years ago, in the Spring of 1968, Ford Motor Co.’s Lincoln Division released the Lincoln Continental Mark III for 1969. Unlike its namesake released a decade earlier, this Mark III reflected the styling quality that the handsome Continental Mark II had presented when unveiled in the fall of 1955, but on a bit more economical scale. It was indeed a continuation of the personal luxury car theme.

During the 1960s, Lincoln automobiles were assembled at only one location, the modern Wixom facility in Michigan. From the time it opened in the fall of 1957 up into the 1960s, only full-size uni-body vehicles had been assembled there. This included the 1958-and-newer Ford Thunderbird coupes and convertibles and all Lincolns, whether a Capri, Premiere or Continental Mark III model. In 1961, all Lincolns were marketed as Continentals (without the Mark designation) and were offered only in four-door sedan and convertible-sedan models. These Wixom-built Thunderbirds and Lincolns shared many engineering traits, and the quality of the build at Wixom for both was the best in the industry.

Looking to expand Lincoln market penetration, a two-door hardtop version of the slab-sided Lincoln Continental was released for the 1966 model year. While this new model did boost overall sales figures for Lincoln by 36% over 1965’s figures, Lincoln’s total sales of 54,755 units still lagged far behind Cadillac’s more than 196,000 total for that selling season.

Ford Vice-President of the Car and Truck Group, Lee Iacocca, wanted that to change. For 1967, the Ford Thunderbird had been completely redesigned and returned to body-on-frame construction. With Thunderbird’s redesign came a four-door version for the first time. According to reports of the day, Iacocca directed Gene Bordinat, Ford Motor Co.’s Vice-President of Design, to create a Lincoln based on the new Thunderbird platform, and to “put a Rolls-Royce grille” on it. To get the proper proportions for this new model, Bordinat’s team started with Thunderbird’s longer four-door chassis, then essentially mounted a two-door hardtop body a bit farther back on the frame. This resulted in a design that closely matched the proportions of the Continental Mark II. Helping shave off thousands of dollars of development expenses, the team either used or adapted numerous existing Thunderbird parts wherever possible. Yet from the exterior, there was no family resemblance between the two brands, and both models appealed to a new breed of upscale customer shopping in the luxury car market.

While the 1956-’57 Continental Mark IIs had been effectively hand assembled, this new Mark III would be an assembly-line product, instilled with the same famous built-in quality of preceding Wixom-assembled Lincolns and Thunderbirds. After all, the official parade vehicle for the president of the United States was still a Lincoln, despite the tragedy in November 1963!

When placed on sale in April 1968, response to the new Continental Mark III was immediately successful, placing another feather in Iacocca’s cap following his previous success with the Ford Mustang.

A car’s front-end design is what most people see when looking at a car, and the Rolls-like grille on the Mark III was similar enough to draw comparisons, but different enough to keep Lincoln’s legal team from having to defend design infringement concerns. Ford Motor Co. didn’t skimp on the quality of the car, and that extended to the new Continental Mark III grille. This part was built as a high-quality, chrome-plated die-cast piece. At the peak of the grille was the elegant Continental four-point star rather than the Rolls-Royce winged “Spirit of Ecstasy.” Reportedly, this Continental grille alone cost about $200 each to manufacture, a pretty hefty price, but well worth the expense.

The new Continental Mark III also presented instantly noticeable modern features such as hide-away headlamps, a low silhouette, integrated wrap-around taillamps, open wheel wells and limited use of side trim and ornamentation.

Overall, the all-new Mark III carried on the tradition of past Continentals, and in the smartest of modern fashion. Offered only as a two-door hardtop, just like the Mark II, the Mark III’s long hood, compact passenger compartment and short deck lid design exemplified the ideal of a “personal” car of the present and the past. Adding to the exclusivity of the Mark III were its wide sail panels at the rear of the greenhouse that concealed back seat passengers and added a bit of mystique, much like the original Continental coupes of the 1940s and the 1956-’57 Continental Mark II coupe. There was even a simulated spare tire hump on the Mark III to complete the car’s ancestry.

For its first season, the Continental Mark III was offered in one of 21 different exterior colors, and came standard with six different and sumptuous interiors that featured pleated and overstuffed nylon tricot fabrics. Deep-pile carpeting greeted occupants on the floor and the lower portions of the door panels. Simulated wood trim was offered in a choice of English Oak or Indian Rosewood, which was applied to the instrument panel, steering wheel center and door panels. In addition to being visually pleasing as well as very comfortable, all the padding absorbed outside road noise, providing one of the quietest rides ever in a production automobile. For those who sought out a bit more prestige, leather-vinyl interiors were optionally available in nine different selections, each offering “sitting parlor comfort” for the well-pampered occupants of the Mark III.

Drivers knew they were in command of a brilliant machine by the instrument panel, which was equipped with a full array of gauges for oil pressure, fuel level, engine temperature and electrical systems, plus an electric clock.

Power was provided by the 460-cid Lincoln V-8 engine rated at 365 hp with 500 lb.-ft. of torque backed by the Select-Shift automatic transmission. Standard features included power steering, a dual power brake system with discs up front and heavy-duty drums to the rear, “Silent Strut” front suspension with coil springs, 64-in.-long rear leaf springs and all-around hydraulic shock absorbers, providing a silky-smooth ride on the 8.55×15-in. radial tires.

Creature comforts included individually adjustable front seats, front and rear seat armrests, power windows, flow-through ventilation and a host of warning lamps that warned of a door or the deck lid being ajar or a burnt-out taillamp. While an electric clock was standard, after the Mark III’s introduction, an upscale clock by Cartier was offered as an option. Other accessories included automatic temperature control, a tilt steering wheel, several sound systems including an 8-track tape player, plus several other items. At the start of production in the spring of 1968, the vinyl roof was listed as an option, but became a standard feature shortly after introduction. In the fall of 1968, a letter was issued to Lincoln dealers stating that Mark IIIs “were not” to be order without vinyl tops!

Lincoln pointed out that the Mark III was designed with safety in mind, with each car built with passenger seat belts plus shoulder harnesses, extra padding and an energy-absorbing steering wheel and column. Also touted was the Continental’s “controlled crush” front design that would collapse in stages should a front-end accident occur, plus a perimeter frame that provided solid body-side support.

Some period motorist magazines panned the Continental Mark III. One stated it “doesn’t quite turn you on” while another simply called it a “disappointment.” However, the buying public seemed to think differently. Introduced as a 1969 model in April 1968, a total of 7,770 Mark III coupes were produced before the Wixon plant shut down in mid-July 1968 for the switch over to the 1969 model year for both the regular Lincolns as well as the Thunderbird. During this change, a few improvements were made to the Mark III and when 1969 model-year production resumed in mid-August 1968, keeping up with Continental Mark III demand was job number one at Wixom. (To help relieve some of the production burden, Ford switched some production of the Thunderbird from Wixom to its Los Angeles assembly facility in Pico Rivera.)

Lincoln priced the new Mark III around the $7,500 mark for the 1969 model year, which was on a par with the Cadillac Eldorado. However, prices sharply rose to about $8,500 for the 1970 model, making it about $500 more than the Eldorado hardtop’s base price.

The Continental Mark III took a few sales away from the traditional Lincoln two-door coupes for 1969, though this impact was minimal. There was also a slight dip in Cadillac Eldorado sales for 1969 compared to 1968. Iaccoca ultimately surpassed his best expectations for the Mark III as Continental coupe sales almost matched the Eldorado totals that year, coming in with a production of 23,088 cars produced after July 1968 compared to 23,333 Eldorados—a spread of fewer than 250 units!

Lincoln would continue Continental Mark III production through the 1971 model year when it was superseded by the Mark IV for the 1972 model year.

In 1958, Ford pioneered a four-passenger personal luxury car for the masses with the introduction of the “Square” Thunderbird for 1958. Ten years later, it stepped up its game and took on its main competitor, showing the automotive world that Lincoln was every bit of what a luxury car should be. 

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Gene Epstein’s 14,000-mile 1956 Lincoln Premiere had been a beautiful example of just how a time-capsule mid-century car should look and drive, but in his estimation, it wasn’t quite finished.

“I had seen photographs of a ’56 Derham Continental Mark II, and one of Charlie’s employees told me there were original sketches for this car to be a Derham sedan, too,” said Epstein, whose friend, Charlie Cawley, had previously owned the Premiere. (Cawley was the famed car hobbyist who founded the banking institution MBNA.)

Coincidentally, Epstein acquired that 1956 Continental Mark II with a custom Derham-fitted padded top 18 years after seeing photographs of it and then restored it. In the meantime, he also acquired the 1956 Premiere from Cawley. With the experience of restoring that Derham Continental Mark II under his belt, Epstein felt it was appropriate to make the 1956 Premiere what it was destined to be by adding the Derham-style top that the original owner intended for it.

A 1956 Lincoln Premiere four-door sedan was an expensive car when new — $4,601 without options, and about $14 more than that year’s Cadillac Sixty Special sedan — so original buyers were usually a “someone” on a local (if not national) level. Epstein’s Premiere is believed to have been originally purchased by a someone who could not only afford to buy a new 1956 Lincoln, but could also pay the additional expense of having a coachbuilder such as Derham modify it with personal touches.

“This 1956 Premiere belonged to the Heinz family,” Epstein said. “It was John Heinz’s car, of the Heinz family — H.J. Heinz (he went by John Heinz). We figured it had to be the family car, because he was 18 years old at the time. That would be incredible for a kid who was 18 to have a Lincoln, but do you think it would be unusual that a kid… who came from the Heinz family, would have difficulty buying a car like that? So it was either the father’s car or the family car or the kid’s car.”

When Heinz and his Premiere split isn’t known. However, Heinz went on to become a U.S. senator from Pennsylvania, serving from 1977 until his untimely death in a plane crash in 1991. The Premiere eventually landed at a collector car dealership where Epstein’s friend, Charlie Cawley, bought it in 1997 as a new-looking car.

“Charlie Cawley, he had a collection of about 200 automobiles,” Epstein recalled. “He always wanted low-mileage cars and loved Lincolns. He bought this car with 11,000 miles on it from a dealer in Virginia.”

Epstein said that, when Cawley bought the car, the glovebox was full of documentation, including the plans for this Premiere to receive a padded top by Derham.

“When [Cawley] had that car detailed, they threw that out, but he didn’t care because he just liked the ride of the car,” Epstein said. “I said to [the detailer], ‘Why would you throw the documents away?’ He said, ‘Charlie wanted a clean glove compartment and a clean trunk, and Charlie didn’t want a rattle in it.’ And I was the same way.”

Epstein and Cawley regularly traded cars back and forth, and Epstein actually bought this 1956 Lincoln Premiere from Cawley twice, the second and last purchase getting sealed in 2000. At the time of Epstein’s second purchase, the car remained an excellent original down to its paint, upholstery, trim and mechanicals.

“What intrigued me more than anything was the history of the car belonging to H.J. Heinz, and besides that, one of Charlie’s employees told me that this car was destined to be a Derham sedan,” Epstein said. “It also had low mileage, it had provenance and then on top of it, one of the employees told me was there were the plans for this to be a Derham in the glove compartment.”

Due diligence to Derham

Having owned and restored that 1956 Continental Mark II fitted with a custom padded top by Derham — one of the Rosemont, Pa., coachbuilder’s specialties during the 1950s — Epstein became very familiar with the company’s conversions. Although the original plans were lost, one of the detailers who worked for Cawley well remembered the plans found in the Premiere’s glovebox and could compare them to the Derham 1956 Continental photographs. From that man’s recollections, plus the roof of Epstein’s Continental Mark II and surviving cars with Derham roof treatments, Epstein extrapolated a Derham-style roof treatment for his Premiere. Such roof treatments added a formal look and privacy to automobiles, along with an exclusive custom touch.

“What the fellow (who worked for Cawley) said was Derham had planned a small window in the back — this was in the sketches that he had seen — that he said looked like a ‘hot rod window.’ Well, that’s a privacy window. ‘And the door didn’t have little quarter vent windows in the back.’ Well, ’56 and ’57 Lincolns had a vent window in the back beside the back door. The sketches did not have that in it.”

“So I started sketching out what this thing would look like, and I sent it to an artist that I know and asked, ‘Can you show me this thing with a small window in the back and the vent windows removed?’ and he sent me back something where the roof looked squared off, and I said, ‘Keep the exact roof lines.’ He looked up Derham cars that were done from the ’30s to the late ’50s and some concept drawings for Lincolns… from that, he sent me back just the outline with the back window blanked in and I said, ‘That’s the look.’”

From that point, Epstein worked with a sheet metal shop to fulfill what he saw as Derham’s and Heinz’s original plan. Under Epstein’s direction, the Premiere began to receive the Derham-style top that was originally intended for it.

From that point, Epstein worked with a sheet metal shop to fulfill what he saw as Derham’s and Heinz’s original plan. Under Epstein’s direction, the Premiere began to receive the Derham-style top that was originally intended for it.

Work to fit the Derham-style top on the low-mileage and original Premiere began by removing its rear roof trim and backlight and rear-most side windows, then fitting a framework in the cavity left by the extracted glass. Epstein said that, on cars that originally received a similar roof treatment, the framework was crafted by Derham in metal and wood, but for this project, only aircraft-grade metal tubing was used to brace the metal (instead of wood) panels. To frame the Premiere’s new smaller and more private rear window, Epstein recalled that a 1936 Ford rear window garnish molding was used, because it was very close in size, shape and proportion to other rear window frames used by Derham during the mid 1950s.

Once the metal framework and panels were in place, original-type Landau padded material was laid over the entire roof. Over that, black Stayfast German fabric completed the conversion on the outside to Derham standards.

Epstein is careful to explain that his Premiere may now look like an original Derham-modified 1956 Lincoln, though it’s not one — but there’s a big hook.

“We did what was planned for the car sometime in the ’50s,” Epstein says. “I don’t want to pass it off as being an original Derham, but it was from Derham’s plan that we did this, and it just wound up beautiful.”

The Derham-esque roof with a smaller rear window required material to be added to the inside of the passenger compartment, where the car’s original rear window had been filled in. Epstein was able to source more original headliner material from SMS Auto Fabrics. Since the headliner had to come out of the car to complete its transformation, Epstein chose to add air conditioning to cool the black Premiere during hot summer days.

“The car did not originally have air conditioning in it — very few cars did in the ’50s,” Epstein said. “We got ’56 Lincoln ceiling roof vents, but I had the fellow that added the air conditioning go one step further. After we had the air conditioning unit put in the trunk and the compressor installed underneath the hood, we wanted the air to come out the ceiling, as Derham had done. So we had constructed new roof vents going under the headliner to the back, which means we had to get new headliner bows.”

“We put a modern compressor in there, because the original compressor really didn’t have enough… air pressure to really make it very cold in front. On most [1950s air-conditioned cars], it was cold in the rear seat, but there wasn’t enough power to move the air forward. So we threw [aside] the original H&H unit made in Wisconsin and went with a whole new modern unit. I just drove the car when it was 92 degrees out and it was nice and comfortable in front.”

Not just a looker, but a driver

Epstein says it took two years to have the Derham and air-conditioning conversions completed from his shop, where the craftsmen he chose did their work. Now that the Premiere is done and at its full original potential, he plans to put it to work by using it to replace his 14-year-old, 200,000-mile daily driver, and even his new ultra-luxury car.

“This ’56 Premiere, there’s nothing like it,” he says. “I wanted to get something that was gorgeous and comfortable. I took my wife for a ride in it two weeks ago and I asked, ‘What do you think of this car?’ She said, ‘It rides smoother than our new Maybach!’ It’s just a great car. I love it, and she does, too.” 

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John McCarthy is a Lincoln lover. Almost any year or flavor — he pretty much likes them all.

But only one Lincoln automobile qualifies as a “Holy Grail” car in McCarthy’s book. He dreamed about it for years, and now he’s got one.

“You go to a national Lincoln meet and see these there, and I call them ‘The Queens,’ says McCarthy, gazing at his glorious 1948 Continental convertible. “This is the first gen of the Continentals. I’m a Lincoln collector, I’ve had a number of them, but I’ve never had one as unique and special as this one. They made about 450 of these in ’48 and they made about twice as many coupes, and they’re very hard to find.” 

 Not that he ever gave up hope, but McCarthy never expected to own one of the post-war Continentals that he covets so much. He figured if he kept his eyes open and never quit looking around, he might get lucky. It finally happened in the summer of 2020.

 “I found the car actually on Facebook, and I had been looking for one,” he says. “It was at a price I could afford, which normally I can’t with these. I had to be in the right spot at the right time. And I was. “What really sold me was the color, Grotto Blue. I just love the color, and the car was just so structurally sound and good and straight that I bought it.” 

McCarthy found the car in Macomb, Mich. The man who had owned the Lincoln for many years had passed away and his widow decided to part with it. That meant McCarthy had to make the tough decision to sell off a ’36 Lincoln sedan to make room for the Continental in his garage. 

 “I loved that car, but I always wanted to have an open classic Lincoln,” he says.

 McCarthy had plenty of questions about the car’s history, and he got some answers with the help of the Benson Ford Research Center. 

“You can write to them and give them your serial number, and they will give you what they call a build card, which is similar to a build sheet. And that told me a lot about the car,” he notes. 

He discovered the car had been sold at a dealership in Oklahoma and was equipped with a radio and antenna, and was originally painted the same blue color. He also got some information from the widow who was selling the Continental. 

“She and her family and kids knew about the car for many years and it was a favorite of her late husband. It was restored, I was told, in the early 1990s, maybe middle 1990s. Before that it was owned by a pilot and it spent decades in an aircraft hangar in Oklahoma. For many years it sat and then this fella purchased the car in the ‘90s and had it restored and then passed away at the end of ’18.” 

 McCarthy was also able to track down the son of the man who restored the car. He remembered the Lincoln and confirmed it was very authentic and unmolested. 

“He confirmed that the car was built just the way you see it.” 

EDSEL’S BABY 

The Continental traces its roots back to 1939 when Lincoln built a special Lincoln Zephyr convertible for Edsel Ford, who over the years had several one-off vehicles built for himself that he used as vacation cars and PR vehicles to show off new ideas and drum up interest in new company designs. The impressive 12-cylinder machine, with teardrop headlights, long hood and long, low profile was apparently a hit with Edsel’s well-healed friends, who inquired about getting one for themselves. A production version was born in 1940 and dubbed the Continental. It was designed by famed Ford stylist Bob Gregorie. 

Edsel died in 1943, and when Gregorie left the company in 1946, the Continental began to lose steam with the Ford brass and disappeared following the 1948 model year, but not before becoming what many people consider to be the first American-built personal-luxury car. The first hand-built Continentals were based on the Zephyr, but with some noteworthy design changes, including a lack of running boards and a lower hood height that was almost level with the fenders. The passenger area was pushed rearward, reducing the size of the trunk and pushing the spare tire above the rear bumper. The 292-cid V-12 was the same as was used in the Zephyr. Styling updates during the Continental’s production run came a little at a time, including a boxier-looking body in 1942. A 306-cid, 130-hp V-12 took the place of the 292 that same year. Gear changing was done through a three-speed many shifter on the column. Few cars on the market could match the Continentals elegance or its list of amenities, which included fender skirts; power windows; whitewall tires; bumper guards; luxurious upholstery and the calling card “Continental kit” rear spare assembly. Production was halted in 1943 due to World War II, but the Continental made another big splash in its return after the war when Henry Ford II piloted one at The Brickyard as a pace car for the Indy 500. Only 446 Continentals were built in ’46 (201 cabriolets and 265 coupes) before production picked up slightly in 1947 when more than 1,500 were assembled. The following year proved to be the classic Continental’s swan song, when 847 coupes and 452 cabriolets were built. It remains the last time an American-built car carried a V-12 when it left the factory. 

ROADWORTHY AGAIN 

McCarthy said he wasn’t worried that his Continental had been sitting idle for quite a while before he found it and brought it home. He says he was actually looking forward to digging into the car and finding some things to fix and update. 

 “A lot of things mechanically, electrically and hydraulically did not work,” he said. “So thanks to COVID, I spent a lot of time in the past year in my garage. When I got the car, the turn signals, fog lights, radio, antennal, windows — none of those were operable, which is OK, I love to fix things, so it gave me joy to turn all those things around and make them operable.” 

Fixing the radio, however, wasn’t as much fun as some of the other tasks. 

“Yes, that was very frustrating! I’ll tell you, taking the radio out of this car is a job and a half,” he added. “It’s the size of a bread box and probably weighs 10 or 12 lbs., and to fish that up in there and have it set with the retaining bolts, it’s incredible. I don’t know how they did it. It became so complicated because there was no room on the dash that I removed the dash and wound up taking it all apart and bench testing every system and putting it all back together. It would be torture to try to restore all those things and keep the dash in the car.” 

 McCarthy planned to spend this winter ironing out a few more bugs with the big convertible to make sure it runs as good as it looks — which is saying a lot. First on the list is tinkering with the overdrive, which doesn’t quite kick in as it should. 

“But that’s electrical, and I’ll take care of that,” he says smiling. 

Plenty of the surviving Continentals from the 1940s have been restored to near perfection, which largely takes them off the road. McCarthy’s car would be a great candidate to become a No. 1 condition car, too, but he has no desire to go to extremes with another restoration. He’s very certain that he doesn’t want a garage princess. 

“If I can put 1,000 miles a year on it, I’ll do it. I intend to drive it, definitely,” he says. “I bought this to drive and put miles on it — especially with the top down! “It just floats. It handles remarkably easily considering its weight. It steers well. The brakes are from 1948 so you’ve got to keep that in mind … I would take the car anywhere. It drives beautifully. The seats are extremely comfortable. It’s a delight. I just need to get more miles on it and I’ll take in anywhere. These cars were meant to be driven.” 

McCarthy almost takes some extra satisfaction in knowing that his ’48 will not be one of the cars vying for the biggest trophies and 1,000-point scores at big national shows. 

“It’s a really nice ‘driver’. That’s what it is. At some shows it might be a show car, but at the LCOC — the Lincoln [national meet] — no, it probably wouldn’t score very well. It’s got some flaws in the paint and all, but that’s fine with me. “I’m still learning about the car, but it gives me a great sense of joy every time I drive it, and of course it’s a magnet for people. It’s exciting. I never thought I’d own a car this beautiful. I’ve had a lot of nice cars over the years, but nothing like this. This one my kids will fight over. “

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PALM HARBOR, Fla. _ The Cigar City Concours will hold its inaugural event Nov. 10-1, 2018, on the grounds of the Innisbrook Golf and Spa Resort.

The theme for this first year event is “The Transformation of Transportation” and it will honor, as “Marks of Distinction”, Lincolns, including Zephyrs and Continentals, from Leland to the 1971 Mark III.

Saturday will be the Cars and Cigars event featuring exotic sports and luxury automobiles (classic and contemporary). Saturday evening is a meet and greet “Come as Your Car” reception for Concours participants, judges, sponsors, etc. Sunday will be the Concours d’Elegance field show featuring antique, classic and special interest motorcars.

A featured Special Class will be Period Correct Hot Rods from 1932 to 1955 and Muscle Cars from 1955 to 1970. 

For information, visit www.CigarCityConcours.com.

18501 Council Crest Dr.
Odessa, FL 33556
Hours: 9:00 AM to 5:30 PM
Monday – Friday

Contact:
Vic Piano: 813-792-8028, vicpiano@cigarcityconcours.com
Gregory Malecki: 727-916-7244, gregorymalecki@cigarcityconcours.com

The post Inaugural Cigar City Concours planned in Florida appeared first on Old Cars Weekly.