| #ffffff;" /> | | | | early '50's and finally went under in 1956. Consequently, |
| Richard A. Teague, who was born in Los Angeles in | | | | the entire design team moved to Chrysler Corporation |
| 1925, began his first career as child actor, Dixie Duval, | | | | where Teague started as chief stylist in their design |
| playing in several silent films of the 1920's. His brief | | | | studio. However, he soon became involved in conflicts |
| acting career was brought to a close at age six when | | | | with management and left Chrysler. He then began |
| he was involved in an automobile accident. His mother | | | | working for an independent design firm on |
| sustained serious injuries, which left her an invalid for | | | | non-automotive assignments. |
| life. Young Richard was also seriously injured and lost | | | | However, automobiles were his passion and Teague |
| his sight in his right eye. | | | | missed working on them so in 1959 he went to |
| Due to these injuries he was unable to join the armed | | | | American Motors as a member of Edmund |
| forces in World War 2 so he went to work for | | | | Anderson's design team. When Anderson left AMC in |
| Northrop Corporation as an aircraft technical illustrator. | | | | 1961, Teague became their principal designer. |
| His immediate supervisor was Paul Browne who had | | | | Teague was a unique individual in that he possessed a |
| previously worked on the design team for General | | | | rare combination of artistic and managerial skills. He |
| Motors. Browne soon recognized Teague's talent and | | | | was an excellent administrator as well as a talented |
| encouraged him to enroll in night classes at the Art | | | | designer. Consequently he was promoted to vice |
| College of Design in Pasadena. | | | | President in 1964 and remained in that position until his |
| When the war ended, Teague moved to Oakland, | | | | retirement in 1983. |
| California and started working for Henry Kaiser. There, | | | | Some of Teague's designs include the Gremlin Pacer, |
| he created a design for a pre-Henry J. economy car. | | | | the Matador coupe, the Rambler American, the AMC |
| He also illustrated covers for Road and Track | | | | Javelin, the AMX Hornet, the Rambler Classic and the |
| magazine. | | | | Ambassador. He designed the AMX GT as a concept |
| Then in 1948, Teague moved to Detroit and went to | | | | car that later went into production. |
| work in the General Motors Design Studio under | | | | His accomplishments and designs were particularly |
| Edmund Anderson. He gradually worked up to the | | | | remarkable due to the physical limitations imposed by |
| Cadillac advanced design group. In 1951 Packard | | | | his inability to perceive depth in a normal manner. |
| recruited Teague to replace Chief Stylist John Reinhart | | | | Teague had a great sense of humor and often joked |
| who had resigned. | | | | that the only automobile company he had never |
| Teague had a keen eye for detail and an uncanny | | | | worked for was Ford. |
| ability to make significant changes under tight budget | | | | Automobiles were his work and his passion. He was a |
| constraints. He could re-style bodies so that they | | | | well-known historian and an avid collector of classic |
| appeared new without altering the chassis. | | | | cars and rare models. |
| Packard Motor Corporation was struggling during the | | | | |