One Man’s Quest to Reunite With His First Love: A 1971 VW Bug
Kanebridge News
Share Button

One Man’s Quest to Reunite With His First Love: A 1971 VW Bug

Jeff Siegrist couldn’t take his mind off the car he sold in 1996. So he set out to track it down.

By A.J. BAIME
Mon, Dec 1, 2025 1:03pmGrey Clock 3 min

Locals in Pawleys Island have a special affection for classic vehicles. The coastal South Carolina town is home to many nostalgic retirees, and on weekends its streets see plenty of restored ‘60s-era muscle cars.

Of all the classics motoring past Parlor Doughnuts on Ocean Highway, none has captured the community’s attention like Rudolph the Red-Nosed Volkswagen.

“Everybody in town rubber necks and waves when this Beetle drives by,” says Rev. Wil Keith, a 47-year-old priest. “It’s one of the much-adored cars in our little town right now.”

It is a 1971 red Super Beetle and its story is special.

Jeff Siegrist was a student at the University of Tennessee when he first set eyes on her at a Knoxville dealership.

Siegrist pounced, handing over his father’s old Ford Falcon and $2,278.54 for the Bug. He kicked in $67.45 for an AM radio and $5.95 for a cigarette lighter.

“So that was my car from that day forward,” says Siegrist, an executive search consultant specialising in the forest products industry.

The Beetle was a sales phenomenon and a pop-culture hit that ushered in the era of mass European auto imports. It was also a Hollywood star, thanks to Herbie from the “Love Bug” movie franchise.

Siegrist road-tripped his Beetle all over. When he met his future wife, Mary, he took her on a first date in the red Bug. When the couple had their first child, the baby boy came home in the backseat.

“It was part of the family,” says Siegrist. Mary gave the car its name, around Christmas time in 1972: Rudolph.

The couple had two more children and ultimately sold the car in 1996. “It just wasn’t practical anymore,” he says. “There were tears in my eyes.”

Up to this point, the story isn’t much different from many of the more than 21.5 million original Beetles that Volkswagen sold.

But during the pandemic, things got interesting.

“I kept thinking, ‘Boy, I wish I knew where my old Beetle was,’” says Siegrist. “I wondered whether other people loved it the way my wife and I did.”

Eventually he got serious. He dug up the car’s original bill of sale, which had a vehicle identification number. He had sold the car to someone in Georgia, a quarter century earlier.

So he called the Georgia department of motor vehicles. Turns out the car was still registered and on the road. But that’s all the office would say.

Siegrist got an attorney involved. Two weeks later, the lawyer called with a name and a phone number for a woman he believed to be the current owner. So Siegrist called.

“I was shocked,” says Tracy Swift, who teaches dental hygiene at Albany State University in Georgia. “He started the conversation with, ‘You’re going to find this phone call very weird.’” Swift thought she had a stalker, and recalls Siegrist saying, “I’m not crazy, I promise. Just let me tell you my story.”

Swift did drive a 1971 Beetle. She checked the VIN number and it was a match.

Siegrist traveled to Georgia, met Swift at her office, and drove the car in the parking lot. “I didn’t want to sell the car,” she says, “but because of his story, I felt like it needed to go back to its owner. It was the sweetest story.”

They agreed on a price (he says “many times over the original cost”) and the car showed up on a truck in Siegrist’s driveway days later. It was just before Christmas in 2022.

The first thing Siegrist and his wife did was drive around the block, with tears in their eyes. “Rudolph is back!” his wife yelled as they drove.

Siegrist went digging in a bucket full of coins and junk for a key chain. At the bottom, he found Rudolph’s original key. He didn’t remember saving it.

The Beetle needed restoration. So Siegrist asked advice from someone he trusted. Enter Keith, the rector at Siegrist’s church.

“When you’re at church,” Keith says, “and the service is over and everyone is filing out, that’s when folks share, often, important information about their lives.”

Keith, it turns out, had grown up the son of a car restorer and worked on cars himself in his garage. He was not a professional. He worried if he would have enough time. But a parishioner needed help. How could he say no?

It took about a year. “Aside from the paint and some engine work,” Keith says, “I ended up doing more than I was expecting, with no complaints whatsoever. In some ways, it was like I gained a parishioner. Only it was a car.”

In 2024, Siegrist began driving Rudolph around Pawleys Island. “Rarely can I go anywhere where somebody doesn’t stop me,” he says.

“Because probably 50% of the people of my generation have owned a Beetle or have had an adventure in a Beetle. People want to know the car’s story. So I tell it.”

As for Keith, he says, “It’s a point of pride that I had a hand in it.” Like most classic car stories, this one continues.

“As soon as Jeff stops finding little things for me to fix, then the story will be over,” he says. “But he keeps finding things for me to do! Which I don’t mind one bit.”



MOST POPULAR

Australia’s housing market rebounded sharply in 2025, with lower-value suburbs and resource regions driving growth as rate cuts, tight supply and renewed competition reshaped the year.

From Tokyo backstreets to quiet coastal towns and off-grid cabins, top executives reveal where they holiday and why stepping away makes the grind worthwhile.

Related Stories
Lifestyle
OFF THE WALL: THE RISE OF TEXTURED ART 
By Sara Mulcahy  23/12/2025
Lifestyle
How Australia’s Business Leaders Really Switch Off
By Nina Hendy 19/12/2025
Lifestyle
The $1.6 Million Australian Coupe Built for the Driven
By Staff Writer 09/12/2025
OFF THE WALL: THE RISE OF TEXTURED ART 

From woven fibres to sculpted metal and clay, textural wall art is redefining high-end living spaces with depth, tactility and light.

By Sara Mulcahy 
Tue, Dec 23, 2025 4 min

In 2026, home interior trends are predicted to reflect our growing need for warmth, comfort and personal expression: a response, perhaps, to the fast-paced, always-on lifestyle many of us feel forced to embrace.

And where better to start than the four walls that define your living space? Unlike flat prints and traditional paintings, textured art invites engagement, creating a dynamic ambience in living rooms, bedrooms and outdoor entertaining spaces. 

Interior designers are increasingly looking to create a multi-sensory experience, and wall art is a key part of that: blending art and sculpture, creating a focal point, and showcasing changing light patterns throughout the day.

Weaving ways

Sydney-based fibre artist Catriona Pollard uses traditional techniques to transform foraged plant fibres and recycled materials into evocative, sculptural works.

“I discovered weaving more than a decade ago, at a time when I was searching for a slower, more mindful way of creating,” she says. 

“I had been working in a very fast-paced environment, and weaving became a way to reconnect with myself and with nature.”

Much of Pollard’s inspiration comes directly from the Australian landscape,  from the textures of bark, seed pods and leaves, to the movement of wind and water.

“I see weaving not just as a technique, but as a dialogue with nature, where the materials guide the direction of the work as much as I do,” she explains.

Textural wall art is credited with bringing another dimension to how we experience art. A flat canvas is viewed front-on, but fibre works extend into space and interact with their surroundings. 

They cast shadows that shift throughout the day, so the work is never static,  it is alive and responsive to light.

“There is something visceral about woven materials,” says Pollard. 

“People instinctively want to touch them, to feel the textures and patterns. Fibre carries its own history, whether it is a vine that once grew in the bush or copper wire that once carried electricity, and that embedded story becomes part of the artwork.”

Leaf Skeleton, Helen Neyland’s intricate metal wall art, captures the fragility of nature in sculptural form.

Metal magic

At the other end of the material spectrum, metal is also having a moment. Flexible, versatile and built to last, it brings a striking talking point to entertaining spaces indoors or out.

“I have been making sculptural wall art for over 30 years. I draw my ideas from organic shapes in nature and also from mechanical and architectural forms, and make work that has texture, depth and movement,” says Helen Neyland, artist and creative director at Entanglements Metal Art Studio at her Jasper Road studio in Melbourne’s Ormond.

“Metal wall art breaks away from a painting. It is 3D, it is textural, it works indoors or out, in foyers, large voids and bare walls. As the light passes through the day, the shadows change, stretching and falling across the wall. It gives you a work that is alive. You can backlight it for effect, or just let the light play naturally.”

Neyland notes that more people are seeking handmade, crafted pieces.

“There is more value placed on artisan work,” she says. “Sculptural wall art gives depth, presence and honesty that you do not get with mass-produced pieces.”

Stigmartyre by Brad Gunn evokes both reverence and unease.

Emerging artists

Bluethumb Gallery is Australia’s largest online gallery of original art, representing more than 30,000 emerging and established artists across the country.

Nadia Vitlin is one of them. Based in Sydney, she has a background in geospatial and biological sciences and describes her art as bringing together “the study of nature, humanity, emotions and sociological phenomena through the lens of the scientist”, via the tactile form of clay.

“I do also create two-dimensional works, and love having ‘flat’ art on my walls, but 3D and textured wall art is really having a moment,” she says.

“This may be because they are like hung sculptures more than they are paintings, and can contribute to the feel of a space rather than directly telling a visual story. Another thing may be that the tactility of a 3D object is quite irresistible.

“I always let gallery visitors touch my artworks – within reason! It is especially tempting because I make hard clay look soft, so the brain cannot help but want to feel it to understand it.”

Sculptor Brad Gunn agrees. “I think the element of depth captures the viewer’s eyes more quickly. It invites touch, and the tactile nature gives a secondary element to the work.

“Also, as the light changes in the room, either from the natural sun’s rays, overhead lighting or lamps, the work will cast its own shadows and feel different throughout the day.”

This story appeared in the summer issue of Kanebridge Quarterly Magazine. You can buy a copy here. 

MOST POPULAR

From farm-to-table Thai to fairy-lit mango trees and Coral Sea vistas, Port Douglas has award-winning dining and plenty of tropical charm on the side.

On October 2, acclaimed chef Dan Arnold will host an exclusive evening, unveiling a Michelin-inspired menu in a rare masterclass of food, storytelling and flavour.

Related Stories
Lifestyle
The $1.6 Million Australian Coupe Built for the Driven
By Staff Writer 09/12/2025
Lifestyle
Bell & Ross Takes Flight With High-Performance Timepieces
By Jeni O'Dowd 04/11/2025
Property
RENTS, LAND VALUES AND DEVELOPMENT IN FOCUS AS INDUSTRIAL MARKET STABILISES
By Jeni O'Dowd 05/09/2025
0
    Your Cart
    Your cart is emptyReturn to Shop