Back in March 1963, my family embarked on what was intended to be a sunny spring break getaway to Fort Lauderdale, Florida. As a car-obsessed 9-year-old, armed with my beloved AMT model kits, I was excited. However, my model-building skills were, to put it kindly, rudimentary. Where instructions called for a dab of glue, I’d employ half a tube – enthusiasm far outweighed talent.
Fort Lauderdale greeted us not with sunshine, but relentless rain. Days blurred into a monotonous indoor confinement. Pre-internet travel planning meant my dad’s location research was limited to a quick question to the rental agent about proximity to the water. “Just two blocks!” was the cheerful reply. Of course, ‘water’ to my dad meant the ocean, not the less glamorous drainage canal conveniently located nearby.
Our beach vacation was rapidly becoming a washout. Salvation arrived unexpectedly when my dad, sensing my mounting boredom, took me to a local hobby shop. It was there, amidst rows of model kits, that I encountered the car that would alter my young life’s trajectory, setting me on a path filled with both enlightenment and a healthy dose of bewilderment. This path, I assure you, has been paved with head-scratching moments, occasional embarrassment, and a lifetime of explaining my fascination.
My discovery was the AMT 1:25 scale plastic Studebaker Avanti. To my young eyes, it wasn’t merely a car; it was a spaceship grounded on earth. The real Avanti boasted a radical, futuristic design: a nearly grille-less front, a sporty 2+2 seating arrangement, and an expansive glasshouse crowned by a rear window rivaling a Triumph TR2 in size. Constructed from exotic fiberglass and undeniably fast, the Avanti embodied the future of automobiles. In my 9-year-old hands, that model kit was a tangible piece of that future. Within hours, the Avanti and I were inseparable, boy and inanimate object, bound by a shared vision of a future accessed through this magical, car-shaped portal. Looking back nearly 60 years later, I can confidently say it was indeed that portal.
School was a struggle, friendships were elusive, but cars were my constant companions. My passion was portable; I could lose myself in car magazines, relish occasional car rides, endlessly daydream about owning them, and cling to the hope that surviving the eons between 9 and 16 might actually culminate in driving one. Cars were non-judgmental, uncritical, and never pointed out my flaws.
The Avanti and I forged a deep connection. Perhaps it was our shared status as underdogs, a bit quirky and often misunderstood. I recognize that some find its aesthetics challenging. I understand the narrative of it being a failure, unable to rescue a century-old company already teetering on the brink before its ill-fated merger with Packard in 1954. But these narratives held no weight for my younger self, and even less so today.
Around the time I secured my driver’s license, I managed to acquire my very own Avanti. It was parked at Sun Motors on Fairfax Drive in Arlington, Virginia: an Avanti Gold, a supercharged 1963 four-speed R-2 model, adorned with a fawn and elk interior. My boss, a seasoned character five years my senior, negotiated the deal for me, a process involving convoluted bartering reminiscent of a Silk Road merchant from centuries past.
Since then, I’ve owned well over 100 Avantis, a number that grants me just enough authority to guide you through the car’s initial four generations.
The Studebaker Years: 1963–64
The 1963 Avanti, a testament to Studebaker’s innovative spirit, came standard with a robust 289-cubic-inch Studebaker V-8 engine. Buyers could choose between non-supercharged (R-1) and Supercharged (R-2) variants. The standard, and seldom chosen, transmission was a three-speed manual, with options for a four-speed manual and a BorgWarner automatic transmission. Notably, air conditioning was not available on the R-2 models due to the Paxton supercharger occupying the space needed for the A/C compressor under the hood.
All Studebaker Avantis featured Dunlop disc brakes at the front and conventional drum brakes at the rear, a relatively advanced feature for the time. Optional extras included power steering, power windows, an AM or AM/FM radio (both rebranded Delco units), tinted glass, left and/or right “Stratovue” exterior mirrors, and numerous other convenience features. The 1963 interiors were characterized by two-tone vinyl upholstery, with fawn (a light tan) as the upper tone and contrasting lower tones such as black, turquoise, orange, elk (a darker brown), or red. The carpets were a distinctive tuxedo “salt and pepper” style, reminiscent of, but not sourced from, those found in the C1 Corvette.
For the 1964 model year, subtle refinements were introduced. The front fascia received square headlight glass lenses, replacing the earlier round lenses. Inside, a tilt steering wheel became an available option. The two-tone vinyl interior was replaced with single-color options, and the tan painted dashboard and console trim were substituted with woodgrain vinyl appliqués. The tan steering wheel also transitioned to a brown woodgrain finish. The bucket seats, cleverly disguised replicas of Alfa Romeo designs, were updated with thicker seatbacks in the final production run of a few hundred cars.
An even more potent R-3 engine variant was introduced, albeit exclusively for the last nine cars produced in December 1963. The R-3 engine featured a slightly increased bore and a Carter AFB carburetor enclosed in an airbox to enhance performance. A rumored twin-carbureted R-4 engine never progressed beyond the conceptual stage.
Production line variations resulted in some “1963½” models, which combined a 1964-style interior with the 1963-style round headlights. Even more obscure are the cars designated for the “Las Vegas Driveaway” program. These cars, initially intended to have vinyl appliqué on the dash and console, were instead finished with black paint. The likely explanation is that heat exposure combined with early vinyl formulations led to excessive peeling, prompting the switch to paint to avoid customer dissatisfaction.
Such were the nuances of low-volume production; few Avantis from this era are identical. With six exterior color choices (including variations of red paint between 1963 and ’64) and a near-infinite array of option combinations, each car was, to some extent, personalized. The commonly accepted total production figure for Studebaker Avantis is 4643. The number surviving today is less clear, but a reasonable estimate would be “somewhat fewer than 3000—perhaps around 2600?” While not entirely immune to rust, the fiberglass bodies have contributed to their longevity, and the Avanti was always perceived as a “special” car, even when new.
The RQA Avanti II Years: 1965–69
When Studebaker shuttered its South Bend, Indiana, factory in December 1963, the Avanti was among the casualties. However, two South Bend Studebaker dealers, Leo Newman and Nate Altman, stepped in. They acquired the production rights and a substantial inventory of parts for the Avanti, relocating manufacturing to a former Studebaker interior finishing facility in South Bend. Within months, the Avanti II emerged.
The distinctive front-end rake of the original was slightly altered to accommodate a taller General Motors powerplant. These models are identified as RQA cars, indicated by the RQA prefix in their serial numbers (e.g., RQA-0XX). Essentially, they were 1964 Avantis, now meticulously hand-built and powered by a Chevrolet 327 V-8 engine. The earliest Avanti IIs hold particular appeal. An air-conditioned four-speed with the optional 350 horsepower engine would be an ideal configuration.
The Avanti II quickly evolved into a highly customizable vehicle, offering virtually limitless combinations of paint colors and interior fabric selections. A Grecian Bronze exterior paired with a marbled blue vinyl interior? Easily achievable. Red carpets to complement? No problem. Despite the potential for some unconventional choices, most Avanti IIs were tastefully configured, and surviving examples often represent excellent value for money. They offer a significant amount of car for the investment.
The RQB Avanti II Years: 1970–82
The later RQB cars, again identified by their serial number prefix, are easily distinguished by their high-back bucket seats with integrated headrests. Over time, the Avanti progressively leaned towards luxury, gradually sacrificing some of its performance edge. The 327 V-8 engine was replaced by a 350-cubic-inch GM unit, with a 400 cubic inch option available in certain years.
Leather increasingly supplanted vinyl in seat upholstery, door panels, and trim. The AM/FM radio gained cassette deck or 8-track player functionality. Sunroofs became a common feature. Carpeting, initially comparable to other 1960s cars, transitioned to a deeper pile and, in some instances, shag. Following Nate Altman’s passing, his brother Arnold assumed greater responsibility for the day-to-day operations of this niche automobile company in the 1970s. The challenges of operating as America’s fifth or sixth largest automaker (alongside Checker and Excalibur) were considerable. Meeting payroll, navigating evolving government regulations, and sourcing a dwindling supply of parts at escalating costs became constant pressures. Avanti was in need of its next savior.
The Steve Blake Years: 1983–85
Washington D.C. real estate developer Steve Blake had been in acquisition discussions with Leo Newman and Arnold Altman for a period. On October 1, 1982, the ownership transfer was finalized.
The initial “Blake Avantis” were 1983 models. Steve, a personal acquaintance, was known for his outgoing nature and forceful personality. His vision for Avanti, though never fully realized, was to create an American interpretation of the Porsche 911—a continuously refined and enhanced performance and luxury brand.
For the 1984 model year, the costly blade-style chrome bumpers were replaced with Kevlar-reinforced fiberglass units, a significant visual and weight-saving change. Blake brought in chassis engineers, initiated a racing program, equipped the cars with 305-cubic-inch L69 Camaro V-8 engines, and employed public relations and targeted advertising to revitalize the Avanti’s image and driving experience for the 1980s. A convertible version was introduced for the 1985 model year, with three production cars actually built. Despite increasing sales and ambitious plans, paint quality issues and other challenges led to Avanti closing its doors for the first time in early 1986.
Though the original Avanti design persisted through various iterations and a growing list of owners, the foundational chassis—a Studebaker design with roots in the 1950s—remained in production from 1963 to 1985. Whether admired or criticized, the Avanti is undeniably an American icon of the late mid-century.
What They’re Worth Now
Early Avantis, especially the exceptionally rare ’64 R-3 models, remain the most sought-after within the marque. Studebaker R-1 and R-2 models command values more than double those of Avanti II models, which represent accessible entry points into Avanti ownership. However, there’s a growing resurgence of interest in early Avanti II cars, as well as the Blake-era 1983–85 models. Collector interest across all Avanti generations is predominantly skewed towards baby boomers, although quote data indicates Gen X’s growing attraction to the early cars, while later models have garnered notable attention from Gen Z enthusiasts.
The Avanti’s journey mirrors that of the Cord 810/812: the final, valiant effort of a struggling Indiana car manufacturer, offered in both naturally aspirated and supercharged forms, sporty and fast, with styling that was initially divisive yet now appears timeless.
I still cherish memories of that rainy Fort Lauderdale vacation half a century ago, and I rarely ponder how different my life might be if I had chosen a Mercedes 300SL roadster model instead of the Avanti. The Avanti and I were kindred spirits then, and that bond remains unbroken.
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