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Descalzos, viendo España y Rusia. Eastacionar el autobús. (World Cup in Brooklyn. Barefoot, watching Spain and Russia. Parking the bus.)
Blog: sharonfrost.typepad.com/day_books
3 1/2 x 11 in double page spread; watercolor, ink, whatever, on Stillman and Birn epsilon soft cover.
#worldcup2018 #brooklyn #barefoot
Camión Dodge Barreiros C-38 T (1978).
Cisterna "Brigada Antifuego".
Escala 1/66.
Guiloy.
Fabricado en España / Made in Spain.
Años 70-80.
Faltan los adhesivos de "Brigada Antifuego" en los 2 laterales de la cisterna.
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BARREIROS
"The Chrysler Corporation took control of Spanish truck maker Barreiros Diesel in 1969, and the following year was renamed Chrysler España,S.A.
Barreiros was essentially a builder of heavy trucks, and it entered the UK truck market at the end of 1973 with its K3820P tractor unit designed for operation at 38 tonnes CVW, and badged as Dodge.
Initially powered by an 11.9-litre, 270 bhp, turbocharged Chrysler power unit, the truck was quickly revised as the Dodge 300 series, with a sleeper cab and Cummins diesel options.
The company continued constructing trucks under the name Barreiros in Spain until 1978, whereupon it was changed to Dodge España when Chrysler Europe was bought out by Peugeot.
The company and factory was passed over to Renault in 1981."
Source: books.google.es/books?id=V9pJYvEWQL0C&pg=PA50&lpg...
More info: en.wikipedia.org/wiki/Barreiros_(manufacturer)
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(...)
"Con motor Barreiros de 12 litros turboalimentado, 275 CV de potencia, caja de cambios de 8 velocidades sincronizadas y un PMR de 38.000 kg, el modelo C-38 T (la T es de ‘tractora’) empezó a comercializarse en nuestro país a finales de la década de los 70, convirtiéndose casi de inmediato en un modelo superventas durante varios años consecutivos.
Su cabina —la CP75— supuso un cambio radical respecto al anterior modelo —la CP73—, principalmente porque era abatible con accionamiento hidráulico (también incluía como novedad llantas tipo artillería)."
(...)
Fuente: www.solocamion.es/barreiros-dodge-c-38-t-homenaje-a-anton...
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"Barreiros inició su fabricación de camiones utilizando cabinas de origen Berliet. En la década de los 60 comenzó el desarrollo y producción de una cabina propia, la Cabina Panorámica (CP), que a lo largo de los años fue evolucionando hasta su sustitución por una cabina Renault."
(...)
"Con la CP75 aparece un cambio radical, la cabina pasa a ser abatible con accionamiento hidráulico, aprovechando para modernizar el interior.
Aunque exteriormente la CP73 y la CP75 son muy similares, en las vistas laterales es sencillo apreciar que la última está montada sobre el bastidor a una distancia algo superior a la primera, pudiéndose percibir los suplementos en la chapa de la esquina delantera y en la calandra.
Al margen de la cabina, el [Dodge] C38T es prácticamente idéntico al [Barreiros] 42/38TD y el cambio más visible es la adopción de llantas tipo artillería. Con esta cabina aparece el Turbo 350, el mismo motor con un sistema de refrigeración del aire de la admisión, que aumenta la potencia hasta los 320 CV, asociado a un caja de cambios de la marca Fuller."
(...)
Fuente: transgrafi.blogspot.com.es/2014_06_01_archive.html
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"Los Barreiros terminarían por denominarse Dodge, tras los acuerdos del empresario gallego con la norteamericana Chrysler, aunque esta gama de camiones terminaría su trayectoria con el logo de Renault en su capot, al ser absorbida por los franceses."
(...)
Fuente: www.euromaster-neumaticos.es/profesionales/blog/barreiros...
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More info:
www.museeducamion.com/barreiros.html
Catalogo camión Dodge C-38: www.pegasoesmicamion.com/pegaso%20comet%20cavero/camion%2...
Subscribe to my youtube for epic bikini swimsuit model goddess videos shot at the same time as stills!
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New epic video of the day's bikini swimsuit model shoot:
Nikon D800E photography of Pretty Brunette Swimsuit Bikini Model Goddess @ the 45SURF Summer Beach House! Gorgeous Brown Eyes! I'm thiking about adding a deck and a pool to the beach house / surf shack! You'll have to visit!
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Classic California--an athletic model goddess in Red, White, & Blue American Flag Gold 45 Revolver bikini with the Moving Dimensions Theory Equation on it: dx4/dt=ic! Tall, thin, fit and very, very pretty!
Here's some new epic video of the epicly pretty brunette goddess--shooting stills & video @ the same time!:
www.youtube.com/watch?v=B_7feV3T1Rs (Sony NEX 6 Video with 50mm F/1.8 Prime (nice bokeh!))
www.youtube.com/watch?v=L7pH5VBiO6g
www.youtube.com/watch?v=PqAoJZgqSs4 (Sony NEX 6 Video with 50mm F/1.8 Prime (nice bokeh!))
Be sure to enjoy the epic videos in full screen HD! :)
Photos shot with the AMAZING Nikon D800 E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens and the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating. Classic California Brunette Beach Babe! Beautiful Swimsuit Bikini Model Goddess with Pretty Blue Eyes and wavy sandy-brownhair!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 5 ! :)
Modeling the classic 45surf t-shirts and the Gold 45 Revolver Gold'N'Virtue Bikini on a sunny Malibu summer afternoon--my favorite for shooting on the beautiful socal beach!
Shot with the new Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Captured in both RAW and JPEG.
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! Love, love, love the 70-200mm F/2.8 Lens! :)
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
May the classic California HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
The books behind the pretty goddess on the Malibu beach hut and surfboard are The Decline and Fall of the Roman Empire by Edward Gibbon, Homer's Iliad, Homer's Odyssey, Shakespeare, and Herman Melville's Moby Dick! My favorite books! Will have some video of the pretty model reading them beside a campfire soon.
They're all collectors editions! My books cost as much as my surfboards!
And for those who always ask, I shoot in RAW! Always! :)
A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
Magnificent Bull Elk Antlers Yellowstone National Park Lamar Valley Winter Snow Sony Alpha 1 Fine Art Montana Wildlife Photography! Sony A1 & Sony FE 200–600 mm F5.6–6.3 G OSS Lens with Optical SteadyShot Elliot McGucken Fine Art Photography!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4/dt=ic:
New Golden Ratio Wolf T-shirts: geni.us/9fnvAMw
Epic Fine Art Photography Prints & Luxury Wall Art:
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Lone Wolf Portrat Beautiful Gray Wolves West Yellowstone Montana Winter Snow Wolfpack Sony A1 ILCE-1 Fine Art Wolf Apex Predator Photography! Canis Lupus Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G West Yellowstone Snow Elliot McGucken Fine Art Wildlife Alpha1
I had great fun photographing Ywllowstone County wolves, bears, and eagles with the awesome Sony Alpha 1 and two of my favorite Sony Gmaster lenses -- the 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G and the Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G ! The Sony A1 is the best wildlife camera I have ever used!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
File name: 10_03_000330a
Binder label: Baking
Title: Use Aunt Sally Baking Powder - Old Mother Hubbard No. 5 [front]
Date issued: 1870 - 1900 (approximate)
Physical description: 1 print : lithograph ; 12 x 7 cm.
Genre: Advertising cards
Subject: Women; Dogs; Cats; Hats; Baking powder
Notes: Title from item.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are at Glynes, the grand Georgian family seat of the Chetwynds in Wiltshire, and the home of Lettice’s parents, the presiding Viscount and Countess of Wrexham and the heir, their eldest son Leslie and his wife Arabella. Lettice is staying at her old family home for the festive season as she usually does between Christmas and Twelfth Night*. However, this year she had an extra reason for being with her family this Christmas.
For nearly a year Lettice had been patiently awaiting the return of her then beau, Selwyn Spencely, son of the Duke of Walmsford, after being sent to Durban by his mother, Lady Zinnia in an effort to destroy their relationship which she wanted to end so that she could marry Selwyn off to his cousin, Pamela Fox-Chavers. Having been made aware by Lady Zinnia in October that during the course of the year, whilst Lettice had been biding her time, waiting for Selwyn’s eventual return, he had become engaged to the daughter of a Kenyan diamond mine owner whilst in Durban. Fleeing Lady Zinnia’s Park Lane mansion, Lettice returned to Cavendish Mews and milled over her options over a week as she reeled from the news. Then, after that week, she knew exactly what to do to resolve the issues raised by Lady Zinnia’s unwelcome news about her son. Taking extra care in her dress, she took herself off to the neighbouring upper-class London suburb of Belgravia and paid a call upon Sir John Nettleford-Hughes.
Old enough to be her father, wealthy Sir John is still a bachelor, and according to London society gossip intends to remain so, so that he might continue to enjoy his dalliances with a string of pretty chorus girls of Lettice’s age and younger. As an eligible man in a aftermath of the Great War when such men are a rare commodity, with a vast family estate in Bedfordshire, houses in Mayfair, Belgravia and Pimlico and Fontengil Park in Wiltshire, quite close to the Glynes estate belonging to her parents, Lettice’s mother, Lady Sadie, invited him as a potential suitor to her 1922 Hunt Ball, which she used as a marriage market for Lettice. Selwyn rescued Lettice from the horror of having to entertain him, and Sir John left the ball early in a disgruntled mood with a much younger partygoer. Lettice recently reacquainted herself with Sir John at an amusing Friday to Monday long weekend party held by Sir John and Lady Gladys Caxton at their Scottish country estate, Gossington, a baronial Art and Crafts castle near the hamlet of Kershopefoot in Cumberland. To her surprise, Lettice found Sir John’s company rather enjoyable. She then ran into him again at the Portland Gallery’s autumn show where she found him yet again to be a pleasant and attentive companion for much of the evening.
Sir John also made a proposition to her that night: he offered her his hand in marriage should she ever need it. More like a business arrangement than a marriage proposal, Sir John offered Lettice the opportunity to enjoy the benefits of his large fortune, be chatelain of all his estates and continue to have her interior design business, under the conditions that she agree to provide him with an heir, and that he be allowed to discreetly carry on his affairs in spite of their marriage vows. He even suggested that Lettice might be afforded the opportunity to have her own extra marital liaisons if she were discreet about them. Turning up unannounced on his doorstep, she agreed to his proposal after explaining that the understanding between she and Selwyn was concluded. However, in an effort to be discreet, at Lettice’s insistence, they did not make their engagement public until the new year: after the dust about Selwyn’s break of his and Lettice’s engagement settled. Sir John motored across from Fontengil Park in the days following New Year and he and Lettice announced their engagement in the palatial Glynes drawing room before the Viscount and Lady Sadie the Countess, Leslie, Arabella and the Viscount’s sister Eglantyne (known by all the Chetwynd children affectionally as Aunt Egg). The announcement received somewhat awkwardly by the Viscount initially, until Lettice assured him that her choice to marry Sir John has nothing to do with undue influence, mistaken motivations, but perhaps the person most put out by the news is Aunt Egg who is not a great believer in the institution of marriage, and feels Lettice was perfectly fine as a modern unmarried woman. Lady Sadie, who Lettice thought would be thrilled by the announcement of her engagement, received the news with a somewhat muted response and she discreetly slipped away after drinking a toast to the newly engaged couple with a glass of fine champagne from the Glynes wine cellar.
We now find ourselves in the Glynes morning room where after noticing her prolonged absence, the Viscount has discovered his wife sitting quietly alone.
The Glynes morning room is very much Lady Sadie’s preserve, and the original classical Eighteenth Century design has been overlayed with the comfortable Edwardian clutter of her continual and conspicuous acquisition that is the hallmark of a lady of her age and social standing. China cabinets of beautiful porcelain line the walls. Clusters of mismatched chairs unholstered in cream fabric, tables and a floral chaise lounge, all from different eras, fill the room: set up to allow for the convivial conversation of the great and good of the county after church on a Sunday. The hand painted Georgian wallpaper can barely be seen for paintings and photographs in ornate gilded frames. The marble mantelpiece is covered by Royal Doulton figurines and more photos in silver frames. Several vases of Glynes’ hothouse flowers stand on occasional tables, but even their fragrance cannot smother Lady Sadie’s Yardley Lily of the Valley scent which is ever present in the air.
“I say! What are you doing in here, old girl?” the Viscount asks as she sees his wife sitting at her bonheur de jour** in the corner of the morning room. “The rest of the family is still in the drawing room, including Lally and Charles, who have returned from their visit to Bowood.***”
“I’m well aware of that, Cosmo. I heard them come back.” Lady Sadie says peevishly. “And less of the old, if you don’t mind.”
“Sorry Sadie.” the Viscount apologises. “It’s having all the young ones around and their new vernacular. It’s ‘old boy this’ and ‘old girl that’. It’s catching.”
“That’s alright, Cosmo, so long as it doesn’t catch on, here.” Lady Sadie replies with a cocked eyebrow.
“We were wondering where you’d gotten to.” the Viscount says. “I’ve opened another bottle of champagne.”
“Have you, dear?” Lady Sadie remarks absently.
“Of course I have, Sadie!” the Viscount chortles. “After all, it isn’t every day that our youngest daughter gets married.”
“I suppose not, Cosmo.” Lady Sadie replies rather laconically.
The Viscount watches his wife as she picks up a studio photograph taken in London by Bassano**** of their eldest daughter, Lally as a gangly young teenager, and Lettice as a girl of seven, both dressed in the pre-war uniform fashion of young girls: white lawn dresses with their hair tied in large satin bows. She sighs.
“Sir John is suggesting that we all motor over to Fontengil Park for luncheon, now that Lally and Charles are back.” the Viscount remarks awkwardly in an effort to break his wife’s unusual silence. “To celebrate the good news as it were. I thought it was rather a capital idea! Don’t you agree, Sadie?”
Lady Sadie doesn’t reply, instead staring deeply at the faces of her two daughters forever captured within Mr. Basanno’s lens, her look expectant, as if she were waiting for them to speak.
“You know, I must confess, I wasn’t too keen on him to begin with, nor the idea of he and Lettice marrying.” He looks guiltily at his wife. “I never really liked him, and always thought him a bit of an old lecher, sniffing around young women half his age, like our daughter. But Lettice assures me that she has made up her mind to marry him, and that there was no undue influence in the making of her decision.”
“Undue influence.” Lady Sadie muses in a deadpan voice.
“And now that I’ve really met him and chatted with him properly, I actually don’t mind Sir John, even if I do worry that he may be a tad old for Lettice. He’s quite a raconteur, very eloquent and worldly, and he obviously wants to make her happy. He might be just what she needs after all: a mature man who can help guide her in life, and indulge her too. He says he has no intention of stopping her career as an interior designer.”
Lady Sadie does not reply to her husband’s observations.
“Of course Eglantyne is quite against the engagement.” The Viscount chuckles. “But then, you know her opinions about marriage.”
Lady Sadie’s silence unnerves the Viscount as he tries desperately to fill the empty void between the pair of them.
“I thought I might get Harris to motor Leslie, Arabella, the grandchildren, you and I over there together.” the Viscount goes on when no opinion is forthcoming from his wife. “It might be fun for Harrold and Annabelle to come for a ride with us in the big old Daimler. Charles and Lally can go in their car with nanny and the baby.”
“Piers is hardly a baby anymore, Cosmo.” Lady Sadie opines as she puts down the photo of Lally and Lettice and picks up one of their eldest son, Leslie, as a boy of six in a Victorian sailor suit, with his soft blonde waves swept neatly behind his ears. “He’s two now, nearly three.” She then adds, “Won’t that be rather tiresome for Sir John’s cook, catering for us all?”
“We are connected to the exchange, Sadie. He can telephone ahead.”
“As you like.” she replies in a rather non-committal way. “Although I might cry off with one of my heads.”
“You don’t have one of your heads, Sadie.” the Viscount says darkly.
“How do you know I don’t, Cosmo. You don’t suffer them as I do.”
“I’ve been married to you long enough to know when you have a headache and when you don’t.” he replies. “And you certainly don’t have one now, even if you say you do.”
Putting down the photo of Leslie and picking up one of their second son, Lionel also in a sailor’s suit, and wearing a straw hat, Lady Sadie shudders. His look is sweet, but already at the tender age of three or four he was causing trouble, playing nasty tricks and hurting his nannies and worse, his own siblings. When Lettice was born a few years after the photograph was taken, Lady Sadie had to warn Lettice’s nurses that they were never to leave her unattended in Lionel’s presence, lest he smother her with a pillow, which he tried to do on several occasions when the nurses were slack in their observation of Lady Sadie’s rule or they were caught off guard.
“And of course Sir John can take Lettice over there in that topping blue Bugatti Torpedo***** of his.”
“Ghastly, vulgar and showy.” Lady Sadie opines. “Tearing up the country lanes as he speeds along them, so that no decent person of the county can walk them any more without fearing for their lives when he’s visiting the district.” She sniffs. “Or so I have it on good authority.”
She returns to her perusal of photos.
“I say, Sadie,” the Viscount remarks in surprise. “What’s the matter?”
“Whatever do you mean, Cosmo?” she asks, lifting her head from a baby photo of Leslie sitting on the corner of a button back****** sofa taken at the same time as the one she has of him leaning precariously against a rocking chair in a silver frame standing on the right side of her bonheur de jour.
“You know perfectly well.” the Viscount retorts. “Don’t be obtuse.”
“I’m not being obtuse, Cosmo!” Lady Sadie retorts.
The Viscount sighs, knowing in order to get an answer, he must play his wife’s game of teasing out the answer from her: a game he is well versed in playing after many years of marriage.
“You’re obviously not happy about the engagement, which I have to say surprises me. Why have you suddenly taken so much against Sir John? I thought you’d be delighted by the announcement.”
Lady Sadie ignores her husband’s question and picks up a large and ornate framed photograph of a wedding group taken in the early years of the Twentieth Century. It features a rather beaky looking bride in a pretty lace covered white wedding dress and a splendid black feather covered Edwardian picture hat. Her groom, dressed in his Sunday best suit with a boutonnière******* in his lapel and a derby on his head sits back in his seat, looking very proud. Around them stand various men and women in their Edwardian best, but the flat caps and mismatched jackets and trousers of the men and similarly mismatched outfits of the ladies suggest that this is not an upper-class wedding. In front of the bride a five year old Lettice stands proudly dressed as a flower girl in a white lace dress with ribbons in her hair, clutching a bouquet.
“Didn’t you take that photograph with your first Box Brownie********, Sadie?” the Viscount asks as he walks over and stands next to his wife and looks at the photograph.
“Yes, I did, Cosmo.” Lady Sadie acknowledges. “How good of you to remember.”
“Oh, who could forget that occasion?” the Viscount chortles sadly. “That was poor Elsie Bucknell’s wedding to that wastrel who turned her head with all his talk of being a tailor to all the great and good of Swindon, when in fact he was nothing but a con man from Manchester.”
“You were very good to settle the debts he left her with after he and his real wife absconded with all her money.” Sadie says, pointing at the rather pretty woman in white and a neat picture hat sitting to the groom’s right.
“Well, it was the right thing to do, wasn’t it? As lord of manor, it was my duty to support her, poor jilted woman.”
“Yes, the right thing.” Lady Sadie agrees with a sigh. “You’ve always done the right thing, Cosmo.”
“Well, I also did encourage her to marry him when she asked my opinion of him.”
“You’ve not always been the best judge of character, Cosmo.” Lady Sadie remarks.
The Viscount laughs. “What does that say about me choosing you as my bride then, Sadie?”
“I did imply that your poor judgements of character only happen sometimes, not always.” She runs her fingers over the glass in front of Lettice’s smiling face. “Lettice was as pleased as punch to be the flower girl at that wedding. Do you remember?”
“I do believe she thought all the smiles and gushing of the adulating congregation were for her and not for Elise behind her.”
“I do believe you are right, Cosmo.” Lady Sadie chuckles. “Did you know that’s why they call them, ‘Flappers’?”
“Who dear?”
“The newspapers and magazines.” Lady Sadie muses. “I found out not all that long ago, from Geraldine Evans of all people, if you can believe it,” she remarks with another chuckle, mentioning the elder of two genteel spinster sisters who live in Holland House, a Seventeenth Century manor house, in Glynes village. “She told me that they call the young girls of the Bright Young Things********* ‘Flappers’ because it refers to the fact that when they were girls and their hair was still down, it was tied by flapping ribbons or tied in pigtails that flapped.” She points to the big bow in the young Lettice’s hair.
“No. No, I didn’t know.” the Viscount replies a little awkwardly. “Look, what’s all this got to do wi…”
“Thinking of the right thing, Cosmo, I really should take this photo out of the frame, what with all the sad connotations it has, but I can’t quite bear to do it.” Lady Sadie goes on, interrupting her husband. “I’m rather proud of this photograph.”
“There’s no need. Elise has long since left Glynes after all the scandal, so she won’t know. Anyway, it’s a very good shot, Sadie.” her husband agrees, putting his hand around her and giving her right shoulder an encouraging squeeze.
“I’ve never been what you’d call artistic, like Eglantyne,” Lady Sadie says, referring to her husband’s favourite younger sibling, who is an artist of some renown in London. “Or like Lettice, but I’m not bad at taking photographs.”
“I think you’re a dab hand at it, Sadie my dear.” He rubs his wife’s right forearm, and bestows a kiss on her greyish white waves atop her head. “Far better than me, or Leslie. But I ask again, what’s any of this to do with Sir John, and your sudden dislike of him?”
“You know, you think you know what, or who your children will become,” Lady Sadie says wistfully, replacing the photograph in the frame back on the surface of her bonheur de jour. “And yet, they always surprise you.”
“Oh, I don’t think either Leslie or Lally have been particularly surprising.” the Viscount retorts.
“No?”
“No. As the eldest son, Leslie has turned out to be the fine heir to the Glynes estate that we always wanted. He’s responsible, and goodness knows his insight and forward thinking has prevented us from finding ourselves in the straitened circumstances that the Brutons or poor Nigel Tyrwhitt and Isobel are in now. And now that he’s married, it will only be a matter of time before he and Arabella give us a grandson to carry on the Chetwynd line and one day become the next Viscount Wrexham.” He smiles indulgently at the thought. “And Lally’s marriage to Charles Lanchenbury is all we could hope for, for her. I mean, Charles may not inherit a hereditary title from old Lanchenbury, which is a bit of a pity. But still, he’s a successful businessman and she’ll never wont for anything. She seems to rather enjoy playing lady or the manor in High Wycombe with her brood.”
“Oh yes.”
“Lionel was a surprising one.” The Viscount picks up the photograph of his second son in his Victorian sailor’s outfit and wide brimmed straw hat that his wife had held before. “Who would have imagined that behind such an angelic face lurked the depraved character of the devil incarnate?” He feels his wife shudder again at the thought of their wayward son beneath his hand. “There, there, Sadie my dear.” he coos. “The further away from us he is, the less we have to think about him,” He heaves a great sigh of regret. “Or deal with his messy affairs.”
“You know I received a letter from him yesterday?” Lady Sadie asks.
“No.”
“Yes,” Lady Sadie snorts derisively. “From Durban of places, would you believe?”
“The same as young Spencely.”
“Yes! Isn’t that a coincidence? It was quite a good letter actually, and the first I’ve had since Leslie’s wedding where he doesn’t implore me to ask you to bring him back here. He writes that he went to Durban to show off two of his new Thoroughbreds to a perspective buyer: some playboy horse racing son of a nouveau riche businessman. It sounds like he’s had a bit of luck, as he seems quite flush at the moment, going to nightclubs and the like down there.”
“Squandering his earnings on gambling, women and god knows what else, down there, I’ll warrant.” the Viscount opines gruffly.
“No doubt.” Lady Sadie sighs.
“Poor Lettice.” the Viscount adds in a softer tone, as his mind shifts to his youngest daughter’s heartbreak at the hands of Selwyn Spencely.
“Aahh, and then there was Lettice.” Lady Sadie remarks, taking up a round gold frame featuring a studio photograph of a beaming Lettice at age ten in a smart winter coat and large brimmed hat, full of confidence sitting before the camera. “The most surprising child of all, not least of all because she was a surprise late pregnancy for me.”
“Oh, Lettice is no surprise to me, Sadie.” the Viscount retorts. “I mean, Eglantyne picked her as having an artistic temperament right from the beginning, and she was right. I knew she had more brains than our Lally has, which is why I gave her all those extra lessons.”
“You indulged her, Cosmo!” Lady Sadie remarks. “You’ve always spoiled her. So does Eglantyne. She’s your pet, and hers too.”
“Every bit as much as Leslie is yours, Sadie.” He points to the silver framed portrait of Leslie.
“You were the one who encouraged her to start up this ridiculous interior decoration nonsense.”
“Well, in reality it was really Eglantyne who drew my attention to her flair for design, but I’m glad that she did. Look at the successes she has had! She runs her own business, with very few hiccups or missteps,” He momentarily remembers the kerfuffle that there was with Lettice signing a contract drawn up by Lady Gladys Caxton’s lawyers without consulting the Chetwynd family lawyers. “And she’s very good at keeping accounts.”
“Excellent, she’ll make the perfect bookkeeper.” Lady Sadie remarks sarcastically.
“It will put her in good stead for running Sir John’s households, Sadie.” the Viscount tempers. “Goodness knows he has enough of them. And she has received accolades from Henry Tipping**********, printed in Country Life********** for all to see, and that is fine feather for her cap, you must confess.”
“I don’t deny that.” Lady Sadie agrees somewhat reluctantly.
“No, I always knew Lettice would be the greatest success of all our children.” the Viscount says proudly.
“Did you, Cosmo?”
“Of course I did, Sadie. I understand her.”
“You!” Lady Sadie scoffs. “You may decry that you love your youngest and favourite daughter so well, Cosmo, and without a doubt, you do. However, whatever you say, you don’t understand Lettice.”
“And you do, Sadie?” the Viscount retorts hotly. “When she comes home to lick her wounds after Zinnia sent Selwyn away, craving comfort, you drove her from the house, telling her she needed to throw herself into the social rounds, rather than stop and miss him. Is that understanding?” He folds his arms akimbo and looks away from his wife in disgust. “No wonder she kept her engagement to Sir John a secret for the last month or so, since you suddenly seem to despise her husband-to-be: a man whom I should like to point out, you thought was perfectly suitable for her not so very long ago. Sir John may not have the title of duke, but he has a title nonetheless, and I have no doubt that his fortune is equal to that of the Duke of Walmsford.”
“You misunderstand me, and my motives, Cosmo.” Lady Sadie replies, hurt by his words, but also resigned to the fact that he believes them. “As always, I am portrayed like one of Mrs. Maingot’s derided pantomime villains in the Glynes Christmas play.”
“If the cap fits, Sadie.”
“See, you think I don’t understand my children, but I assure you that, aside from Lionel, I do.”
“Who could ever understand that child of the devil, Sadie?”
“Indeed, well aside from our errant black sheep, I understand the others. You love them, Cosmo, probably far more than me, but I on the other hand, understand them.”
“How so, Sadie?”
“You misalign my actions because you don’t understand them, either. When Lettice came here after Zinnia packed Selwyn off to Durban, what did you do? You gave her a place to shelter, yes, but you mollycoddled her: feeding her shortbreads and allowing her to retreat from the world.”
“Well, that’s what she needed, Sadie.”
“No. That’s where you are wrong, Cosmo. She didn’t need mollycoddling. It just made things worse. It amplified her situation and how she felt as you allowed her to spend her empty days brooding. Lettice is apt to brood, when given the opportunity. What she really needed was to be told that the sun will still rise and set, in spite of her own innermost turmoil, and what she needed was to be sent back out into the world, so that she could be distracted, and build up her resilience. That’s what she needed, Cosmo, and I helped her achieve that. And that, my dear, is what I mean by truly understanding Lettice. Believe it or not, I understand her as a young woman, and I understand what she needs.”
“Well, if you wanted to build resilience in her, that’s what you’ve achieved, and admirably at that. Selwyn jilts our daughter and what does she do? Rather than moping, which is what you seem to think I would have encouraged her to do, she went out and got herself engaged to one of the most eligible bachelors in the county, in England no less. Yet you don’t seem at all happy about the engagement, even though you put Sir John into the mix at the Hunt Ball that you used as a marriage market for Lettice.”
“Once again, Cosmo, you see your daughter, but you don’t understand her.”
“Then pray enlighten me, Sadie because I certainly don’t understand you right at this moment.”
“Lettice’s heart is breaking, and ever since she was a child, when her heart is broken, she lashes out, like when Mopsy died. Remember her Cavalier King Charles Spaniel?”
“How could I forget that beautiful dog. But surely you aren’t comparing her tears and tantrums as a seven year old child, to now, Sadie? There are no tears this time, no tantrums.”
“But that’s where you are wrong, Cosmo. This is her tantrum. It just isn’t one that exhibits itself in the same way. Lettice is trying to prove to Selwyn,” She pauses for a moment and thinks. “No, more prove to Zinna, that she isn’t defeated by whatever nasty games she is playing to break the romance between Lettice and Selwyn. She’s trying to exact revenge on them both.” Lady Sadie sighs. “But she’s going about it all wrong.”
“What do you mean, Sadie?” The Viscount sighs as he sinks down onto the edge of one of the morning room chairs nearest him and looks across at his wife, who sits, slumped in her own seat at her desk, looking defeated.
“I blame myself really for this turn of events.” Lady Sadie gulps awkwardly. “I’m almost too ashamed to admit it, but I was misaligned in some of my thinking, and wrong in my judgement, and now the results have well and truly come home to roost.”
“What are you talking about, Sadie?”
“Sir John, Cosmo.” She says simply. “When I held that Hunt Ball, I practically threw Lettice at Sir John.”
“Well, to assuage your fears, Sadie, that is what I meant by confirming that there were no undue influences in Lettice’s decision.” the Viscount pronounces. “I asked her whether she felt obliged to marry Sir John because you had encouraged the match, and that she feared being stuck on the shelf.” He looks meaningfully at his wife. “But she says that neither of these had any influence on her decision. She says that Sir John isn’t perfect, but that he’s a good man, and that he isn’t lying to her. As I said - as you said – Sir John may not be young, but he’s eligible and wealthy to boot. Lettice will be chatelaine of a string of fine properties, and she’ll never have to worry about going without.”
“But Lettice is wrong about him nor lying to her.”
“What’s that?”
Lady Sadie snatches the lace handkerchief poking out of her left sleeve opening at her wrist and dabs her nose, sniffing as she does. “Several of my friends, Lally, and even Lettice tried to warn me about him. They said that he’s a lecherous man, with a penchant for younger women, actresses in particular.”
“Well,” the Viscount chuckles. “Plenty of men of good standing have been known to have the odd discreet elicit affair with a Gaiety Girl*********** or two.” He then blusters. “Not myself of course!”
“Of course not, Cosmo.” She reaches out one of her diamond spangled hands to her husband and takes his own proffered hand. “Never you. You were always too much of a gentleman to have a liaison with another woman. As I said, you always do the right thing, Cosmo. Do you know, I do believe that is why Zinnia stopped coming to our house parties. You weren’t for conquest, no matter how much she threw herself at you. And she did, quite shamelessly.”
“Did she?” the Viscount asks innocently.
“You know she did!” Lady Sadie slaps her husband’s wrist playfully. “Now who’s being obtuse?”
“Well, maybe I did sense her overtures towards me, but she never stood a chance, Sadie!” the Viscount replies with an earnest look. “You were only ever going to be the one for me.”
“That’s sweet of you Cosmo, and I appreciate it. But, for all his pedigree and wealth, and for all his apparent care for Lettice, your judge of character of Sir John is fatally flawed my dear.”
“Flawed?”
“Sir John Nettleford-Hughes is not for our youngest daughter.” Lady Sadie goes on. “Nor any good and upstanding young lady of society. I know now that he is a philanderer: discreet yes, but not discreet enough, and no matter how many houses he has, or wealth, he will never make Lettice happy – quite the opposite in fact, I fear, even if she can’t see that in her present state of besottedness. She will become the neglected, deserted wife and the ridicule of society. And that is why I am against Sir John, and this marriage, which will be as disastrous for her as dear Elsie Bucknell’s was for her.” Sadie points to the wedding party photograph again.
“What?”
“Yes.” Lady Sadie cocks an eyebrow as she gives her husband a withering look. “His latest conquest is an up-and-coming West End actress named Paula Young. Such a nasty, common name.” she opines. “Then again, it suits a nasty and common little upstart tart of an actress!”
“Sadie!”
“Sorry Cosmo, but that’s what she is, if she allows herself to be seen in such an…” Lady Sadie shudders. “An intimate situation with a man like Sir John.”
“Surely there is some kind of misunderstanding: just gossip, Sadie.”
“Gossip yes, but verified nonetheless.” Lady Sadie answers sadly. “Though I wish to god that I could say it wasn’t. My cousin Gwendolyn was having dinner at the Café Royal************ and saw them together herself less than a week ago.”
“What was Gwendolyn doing at the Café Royal?”
“She is a duchess, Cosmo dear, or have you forgotten?”
“Who could ever forget that Gwendolyn is the Duchess of Whiby, Sadie? She certainly won’t let anyone forget it.”
“Well, she was escorting her grand-nice Barbara who debuted last year as part of the London Season, because poor Monica had influenza and was confined to bed, and she noticed Sir John and that that cheap actress at a shaded corner table.”
“A simple dinner between two friends., Sadie.” the Viscount tries to explain the situation away.
“Gwendolyn says that he was practically devouring her as he lavished her bare forearms with kisses.” Lady Sadie replies with another shudder and a look of disgust. “In public! With an actress! How vulgar, and certainly not discreet, even if at a corner table in the shadows!”
“Gwendolyn goes looking for gossip wherever she goes, Sadie, even in places where it isn’t.” the Viscount cautions his wife.
“I know, but be that as it may, Cosmo, I also have it from your own sister, Eglantyne, that many years ago, before she was married, he also had an elicit affair with that awful romance novelist Gladys Caxton, whom Lettice and you had all the trouble with not long ago.”
“Well you know Eglantyne doesn’t believe in the institution of marriage.” the Viscount begins.
“This was before any of us even knew of the understanding reached between Lettice and Sir John, Cosmo.”
“Well,” he chuckles in an effort to shake he sudden concerns off. “If that affair was many years ago, who cares, Sadie? It has no significance now.”
Lady Sadie slides open a drawer of her bonheur de jour and takes out a sheet of paper on which is written a list of names.
“After Gwendolyn’s revelations, I did a bit of digging myself, and these are the actresses ingénues and parvenues I was able to connect him to.”
“The cad!” the Viscount gasps as his widened eyes run down the list. “There must be at lest two dozen women on this list.”
“There are twenty-nine to be exact, Cosmo, and they are only the ones I could find and link him to.”
“You know I always thought that he was an old letch.” the Viscount restates his long held belief again. “I can’t deny that I’d heard the rumours too, but being unmarried I didn’t pay them much mind. And when he showed up here today, all charm, and was so solicitous to Lettice, making my little girl so happy, well...”
“You were swayed on your judgment of this character.” Lady Sadie says with an arched eyebrow and a knowing look.
“I was.” the Viscount agrees. “I was persuaded: taken in by him as a matter-of-fact! What a fool I am!”
“Charming people can always beguile, dear Cosmo.”
“I shall go into the drawing room this very minute and have it out with him!” He gets to his feet, trembling with anger and frustration as his elegant hands form into fists. “I’ll fling Sir John out on his philandering ear!”
Lady Sadie reaches out again to still her husband, wrapping her hand comfortingly around his wrist. “No you won’t, Cosmo.” she says calmly and matter-of-factly, gazing up at him sadly. “It would be the wrong thing to do, and you know it. And, as we have agreed, you always do the right and decent thing. It would be too embarrassing to conduct such a scene before a houseful of guests, even if they are family: for Sir John, Leslie, Arabella, Lally, Eglantyne, me, you,” She lowers her voice and adds sadly. “For Lettice.”
“You’re right, Sadie.” the Viscount says, still trembling with anger. “Shall I speak to Lettice?” he suggests. “Pull her aside and have a discreet word with her?”
“Why, Cosmo?”
“I could forbid her to marry him. I could threaten to cut her allowance off.”
Lady Sadie laughs in a sad and tired fashion. “Cosmo, what purpose would that serve? She’s already told you that she intends to go through with this marriage, and that she won’t be swayed.”
“Well, Lettice might come to her senses if I tell her… tell her the reasons why I’m forbidding her to marry that… that bounder!”
“She knows already what kind of man Sir John is, Cosmo. She was one of the people who told me that he’s a philanderer.”
“What?”
“Lettice told me herself that he has a penchant for young ladies.”
“Well, if she hears it from me, her own father?”
“You’ll only drive her deeper into his arms, Cosmo. She’s angry. She’s hurting. She’s rebelling, God help us all!” Lady Sadie says knowingly. “She’s seeking revenge. And your threat to cut off Lettice’s allowance would be meaningless if she marries Sir John. As you have duly noted already, he’s richer than Croesus*************. Besides, thanks to you and Eglantyne she also has a successful business venture to support her now.”
“What the devil is she playing at then?” the Viscount asks. “Is it not bad enough that we have an errant son in Lionel, that we must now have a daughter who marries a known philanderer with a penchant for young actresses, and will doubtless end up being dragged through the divorce courts as a result, casting shame on the family?”
“I don’t know, Cosmo, other than she is lashing out at Lady Zinnia, exacting her revenge as she sees it.”
The Viscount looks down at his wife sadly and ponders. “You’re being remarkably calm about all this, Sadie.”
“Yes,” she replies with a derisive snigger as she starts to take up some of the lose photos and file them together. “I know. Usually, it’s me having histrionics, not you. However, there is something I keep reminding myself of that brings me solace as I mull this situation over in my mind.”
“What on earth can bring you solace about this disastrous situation Lettice has willingly foisted upon herself?”
Lady Sadie looks knowingly at her husband. “One swallow does not a summer make**************, Cosmo. And an engagement, especially a hasty one, does not necessarily lead to marriage.”
“What are you saying, Sadie?”
“I’m simply saying that if a man breaks off his engagement with a lady, he’s a cad and a bounder. However, a lady is perfectly entitled to break off her engagement with a gentleman. In fact,” She smiles smugly. “It is her prerogative to do so.”
“Are you suggesting that we should encourage Lettice to break her engagement with Sir John?” the Viscount asks. He sighs and rubs his cleanly shaven chin. “I say! What a clever ploy, Sadie.” he muses. “Quite brilliant! Quite Machiavellian, no less!”
“No, I’m not saying that at all, Cosmo.” Lady Sadie quips. “You misunderstand me again.” She releases an exasperated sigh. “This is also what I mean by you not understanding Lettice. There is no talking to her right now, she’s so focussed on her own hurt and anger, and is determined to exact her own misaligned form of revenge on Selwyn and Zinnia. At the moment you could say that Sir John is made of glass and will shatter into a thousand slivers the moment she marries him and stab her to death, and she’ll still marry him to spite them, because she simply cannot see straight. She’s so angry that she won’t listen to reason.” She settles back in her seat and steeples her fingers before her as she stares off into a future only she can see. “Lettice is like a blizzard: blustery, but eventually her anger will peter out.”
“So you are suggesting what?”
“So, what I’m suggesting is that in this case, we must be patient with Lettice. We must settle ourselves in for the long game, and just watch what happens when her storm peters out.”
“So, in your opinion, we do nothing, then?” the Viscount blasts.
“For the time being, no, Cosmo.”
“But if we do nothing, she’ll marry the cad, and then where will we be?”
“I’m not convinced, Cosmo.” Lady Sadie assures her husband. “I think that if we cool our heels and let things play out, Lettice will come to her senses in the fullness of time.”
“You seem very sure of that, Sadie.” the Viscount says with a dubious look at his wife.
“I am, Cosmo.”
“And if you’re wrong? What then?”
“I’m not.” she assures him. “But if I were to be, then we shall simply have to steer her back to her senses when she is in a frame of mind that best allows us to encourage her to break off this disastrous marriage with Sir John.”
The Viscount shudders. “How can I have a son-in-law who’s as old as I am, or older.”
“Not quite, Cosmo, dear.” Lady Sadie assures him. “He’s a year and a half younger than you. I know. I did my in depth research about him before putting him forward as a potential suitor in 1922.”
“Evidently not in depth enough, Sadie,” He holds up the sheet of paper before he wife before screwing it up in anger and throwing it vehemently into her waste paper basket. “If Lettice is now engaged to a wealthy womaniser who carries on with actresses in public.”
“Don’t worry.” Lady Sadie continues to soothe in a soft voice, “We won’t have Sir John as our son-in-law. You’ll see.”
“Now that I know what I know,” the Viscount sighs. “I just hope you’re right, Sadie.”
“I usually am, Cosmo,” Lady Sadie resumes shuffling the photographs. “In the end.”
*Twelfth Night (also known as Epiphany Eve depending upon the tradition) is a Christian festival on the last night of the Twelve Days of Christmas, marking the coming of the Epiphany. Different traditions mark the date of Twelfth Night as either the fifth of January or the sixth of January, depending on whether the counting begins on Christmas Day or the twenty-sixth of December. January the sixth is celebrated as the feast of Epiphany, which begins the Epiphanytide season.
**A bonheur de jour is a type of lady's writing desk. It was introduced in Paris by one of the interior decorators and purveyors of fashionable novelties called marchands-merciers around 1760, and speedily became intensely fashionable. Decorated on all sides, it was designed to sit in the middle of a room so that it could be admired from any angle.
***Bowood is a Grade I listed Georgian country house in Wiltshire, that has been owned for more than two hundred and fifty years by the Fitzmaurice family. The house, with interiors by Robert Adam, stands on extensive grounds which include a garden designed by Lancelot "Capability" Brown. It is adjacent to the village of Derry Hill, halfway between Calne and Chippenham. The greater part of the house was demolished in 1956.
****Alexander Bassano was an English photographer who was a leading royal and high society portrait photographer in Victorian London. He is known for his photo of the Earl Kitchener in the Lord Kitchener Wants You army recruitment poster during the First World War and his photographs of Queen Victoria. He opened his first studio in 1850 in Regent Street. The studio then moved to Piccadilly between 1859 and 1863, to Pall Mall and then to 25 Old Bond Street in 1877 where it remained until 1921 when it moved to Dover Street. There was also a Bassano branch studio at 132 King's Road, Brighton from 1893 to 1899.
*****Introduced in 1922, the Type 30 was the first production Bugatti to feature an Inline-8. Nicknamed the “Torpedo” because of its similar look to the wartime munition, at the time Bugatti opted to move to a small two-litre engine to make the car more saleable, lighter and cheap. The engine capacity also made the Type 30 eligible for Grand Prix racing, which was a new direction for the marque. Despite the modest engine capacity, the power output was still remarkable thanks to the triple-valve arrangement. Also benefiting the Type 30 was good road handling, braking and steering which was common throughout the marque. The Type 30 was also the first Bugatti to have front brakes.
******Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
*******A boutonnière is a flower that someone wears in the buttonhole of, or fastened to, their jacket on a special occasion such as a wedding.
********The Brownie (or Box Brownie) was invented by Frank A. Brownell for the Eastman Kodak Company. Named after the Brownie characters popularised by the Canadian writer Palmer Cox, the camera was initially aimed at children. More than 150,000 Brownie cameras were shipped in the first year of production, and cost a mere five shillings in the United Kingdom. An improved model, called No. 2 Brownie, came in 1901, which produced larger photos, and was also a huge success. Initially marketed to children, with Kodak using them to popularise photography, it achieved broader appeal as people realised that, although very simple in design and operation, the Brownie could produce very good results under the right conditions. One of their most famous users at the time was the then Princess of Wales, later Queen Alexandra, who was an avid amateur photographer and helped to make the Box Brownie even more popular with the British public from all walks of life. As they were ubiquitous, many iconic shots were taken on Brownies. Jesuit priest Father Frank Browne sailed aboard the RMS Titanic between Southampton and Queenstown, taking many photographs of the ship’s interiors, passengers and crew with his Box Brownie. On the 15th of April 1912, Bernice Palmer used a Kodak Brownie 2A, Model A to photograph the iceberg that sank RMS Titanic as well as survivors hauled aboard RMS Carpathia, the ship on which Palmer was travelling. They were also taken to war by soldiers but by World War I the more compact Vest Pocket Kodak Camera as well as Kodak's Autographic Camera were the most frequently used. Another group of people that became posthumously known for their huge photo archive is the Nicholas II of Russia family, especially its four daughters who all used Box Brownie cameras.
*********The Bright Young Things, or Bright Young People, was a nickname given by the tabloid press to a group of Bohemian young aristocrats and socialites in 1920s London.
**********Henry Tipping (1855 – 1933) was a French-born British writer on country houses and gardens, garden designer in his own right, and Architectural Editor of the British periodical Country Life for seventeen years between 1907 and 1910 and 1916 and 1933. After his appointment to that position in 1907, he became recognised as one of the leading authorities on the history, architecture, furnishings and gardens of country houses in Britain. In 1927, he became a member of the first committee of the Gardens of England and Wales Scheme, later known as the National Gardens Scheme.
***********Country Life is a British weekly perfect-bound glossy magazine that is a quintessential English magazine founded in 1897, providing readers with a weekly dose of architecture, gardens and interiors. It was based in London at 110 Southwark Street until March 2016, when it became based in Farnborough, Hampshire. The frontispiece of each issue usually features a portrait photograph of a young woman of society, or, on occasion, a man of society
************Gaiety Girls were the chorus girls in Edwardian musical comedies, beginning in the 1890s at the Gaiety Theatre, London, in the shows produced by George Edwardes
*************The Café Royal in Regent Street, Piccadilly was originally conceived and set up in 1865 by Daniel Nicholas Thévenon, who was a French wine merchant. He had to flee France due to bankruptcy, arriving in Britain in 1863 with his wife, Célestine, and just five pounds in cash. He changed his name to Daniel Nicols and under his management - and later that of his wife - the Café Royal flourished and was considered at one point to have the greatest wine cellar in the world. By the 1890s the Café Royal had become the place to see and be seen at. It remained as such into the Twenty-First Century when it finally closed its doors in 2008. Renovated over the subsequent four years, the Café Royal reopened as a luxury five star hotel.
**************The idiom “richer than Croesus” means very wealthy. This term alludes to Croesus, the legendary King of Lydia and supposedly the richest man on earth. The simile was first recorded in English in 1577.
**************The expression “One swallow does not a summer make, nor one fine day; similarly one day or brief time of happiness does not make a person entirely happy” is attributed to Aristotle (384 – 322 BC).
Cluttered with photographs and furnishings, Lady Sadie’s bonheur de jour is different from what you might think, for it is made up entirely of 1:12 size dollhouse miniatures from my collection.
Fun things to look for in this tableau include:
The Chetwynd’s framed family photos seen on the desk and hanging on the walls are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are almost all from Melody Jane’s Dollhouse Suppliers in the United Kingdom and are made of metal with glass in each. The largest frame on the right-hand side of the desk is actually a sterling silver miniature frame. It was made in Birmingham in 1908 and is hallmarked on the back of the frame. It has a red leather backing.
The remaining unframed photographs and photograph album on Lady Sadie’s desk are a 1:12 size miniatures made by the British miniature artisan Ken Blythe. Ken Blythe is known for his miniature books. Most of the books crated by him that I own may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. The photo album, although closed, contains pages of photos in old fashioned Victorian style floral frames on every page, just like a real Victorian photo album. Not only did Ken Blythe create books, he also created other 1:12 miniatures with paper and that includes the photographs. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. He also made the packets of seeds, which once again are copies of real packets of Webbs seeds and the envelopes sitting in the rack to the left of the desk. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just two of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!
The vase of primroses in the middle of the desk is a delicate 1:12 artisan porcelain miniature made and painted by hand by Ann Dalton.
The desk and its matching chair is a Salon Reine design, hand painted and copied from an Eighteenth Century design, made by Bespaq. All the drawers open and it has a lidded rack at either end. Bespaq is a high-end miniature furniture maker with high attention to detail and quality.
The wallpaper is a copy of an Eighteenth Century blossom pattern.
(Night of the storm.)
Blog: sharonfrost.typepad.com/day_books
8 1/2 x 10 1/4 double page spread; ink, watercolor, whatever, on Moleskine cahier
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not at Cavendish Mews. Instead, we are just a short distance away in London’s busy shopping precinct on Oxford Street, where amidst the throng of London’s middle-class housewives and upper-class ladies shopping for amusement, two maids – Edith who is Lettice’s maid and her best friend Hilda who is the maid for Lettice’s friends Margot and Dickie Channon - are enjoying the pleasures of window shopping under the wide canvas awnings of Selfridges on their day off. The usually busy footpath outside the enormous department store with London’s biggest plate glass windows seems even busier today as the noisily chattering crowds are swelled by visitors who have come in from the outer suburbs of London and the surrounding counties which are slowly being enveloped into the heaving, expanding metropolis to do a little bit of early Christmas shopping. However the two maids don’t mind, as the noisy burbling crowds around them and the awnings above them help protect them from the wintery wind as it blows down Oxford Street, wending its way around chugging auto busses, noisy belching automobiles and horse drawn carts that choke the busy thoroughfare. Already Edith is noticing that the shops are busier than usual, and even though Christmas is still a good few weeks away, there are signs of Christmas cheer with bright and gaudy tinsel garlands and stars cut from metallic paper hanging in shop windows and gracing shop counters. Around them, the vociferous collective chatter of shoppers mixes with the sound of noisy automobiles and chugging double decker busses as they trundle along Oxford Street.
The pair meander in front of a window which is crowded with clusters of small children with their noses pressed to the glass, their harried mothers or frustrated nannies trying desperately to get them to come away. Peering over the top of the children’s heads, they see it is a window full of wonderful toys: teddy bears*, tin soldiers, brightly painted wooden castles and forts, games, blocks and books.
“I’ve just thought of something! Come on, Hilda!” Edith says to her friend. “Let’s go inside.”
“Oh no!” Hilda bemoans. “Not to the Selfridges toy department again, Edith! Remember the last time we went in there in the lead up to Christmas? It will bedlam!”
As if on cue, a little girl in a cream knitted pixie bonnet** and matching cardigan releases a piercing shriek of protest as she is drawn away from Selfridges toy filled window by her rangy black clad nanny who mutters something about no nonsense as she does.
“No, silly!” Edith replies. “The book department. I think they will have a wider range of children’s books in the book department.”
“Well, only if it isn’t full of nasty little jam grabbers!” Hilda replies cautiously, looking askance at the children around her. “If it is, I’m leaving you and heading straight for the perfumery.”
“Alright Hilda.” Edith giggles, her pert nose curling slightly upwards as she does. “Come on.”
The pair enter Selfridge’s grand department store by one of the three revolving doors and are immediately enveloped by the wonderful scent of dozens of perfumes from the nearby perfumery counters.
“Couldn’t we just visit the perfumery first?” Hilda asks.
“You’re every bit as bad as the children you moan about, Hilda! I promise we’ll come back here after we’ve visited the book department.” Edith insists.
“Oh, alright Edith!” Hilda sighs.
“Think of it as a reward for coming with me.” Edith winks cheekily at Hilda and leads her towards the banks of lifts with their smart liveried female lift attendants***.
Stepping out onto the floor for the book department, Hilda breathes a sigh of relief, for unlike she imagines the toy department to be, the space is quiet and well ordered. As she and Edith walk towards the main body of the department, away from the central balconied atrium, she shudders as a high pitched scream of a child echoes from the toy department several storeys above and pierces her consciousness.
“Come on, old thing,” Edith says comfortingly, wrapping her arm through her best friend’s. “I promise I won’t force you to go up to the toy department.”
“Just as well I trust you, Edith.” Hilda replies squeezing her friend’s hand in return.
“Anyway,” Edith goes on with a broad smile. “I thought with your love of reading, you’d enjoy the book department more.”
“And you’d be right!” Hilda chortles.
The two young women walk along the thickly carpeted aisles. Around them stand sturdy shelves of all sizes covered in books, magazines, newspapers and periodicals. Some only stand as high as shoulder height, with shelves tilted slightly upwards from waist height, allowing easier access to titles for customers, whilst other shelves are much higher with rows of spines, or on some shelves the covers of the books on display. Central tables are weighed down with the latest novels like E. M. Forster’s ‘A Passage to India’****, ‘The Deductions of Colonel Gore’***** by Lynn Brock and Edith Wharton’s ‘Old New York’******, stacked in piles like precarious houses or cards. More valuable and larger books full of beautifully printed lithographs sit open on wide shelves inside glass fronted and topped cabinets, allowing customers the ability to peruse before asking to see them properly. Tops of cabinets share space with more novels and the occasional potted aspidistra, and small chairs and stools are discreetly secreted amongst the shelves and tables, allowing a customer to stop, sit and read a little of title before deciding whether to purchase it or not. Cosy and comfortable, the books muffle the burbling sounds of the departments beyond them and the whole space is flooded with light from lamps above, and through the large frosted glass windows that face out onto Oxford Street, making the Selfridges book department a very pleasant pace to shop.
“I thought you were a convert to a bookshop in Charring Cross that Miss Lettice frequents.” Hilda remarks, pausing and picking up a copy of ‘The Man in the Brown Suit’******* by Agatha Christie, and perusing the cover which shows a stylishly dressed woman in a fur trimmed green coat and matching cloche observing a man in an orange suit and a railway conductor looking for signs of life in what she can only assume to be the man mentioned in the title on the edge of an underground railway platform. She deposits the title back as Edith tugs at her arm, encouraging her to continue their exploration of the shelves, cabinets and tables around them.
“Whilst Mr. Mayhew******** does a splendid job of supplying copies of Agatha Christie novels with slightly soiled covers at a discounted rate for me to give to Dad, I don’t think he stocks the kind of book I want today.”
“What are you looking for, anyway, Edith?”
“I told you before, children’s books, Hilda.”
“Yes, but what kind of children’s books? Adventure books? Picture books?”
“I’ll know them when I see them.” Edith says excitedly. “Come on!”
“Who are you buying them for?” Hilda asks. “You don’t know any children that I know of.”
“They are for…” Edith pauses mid-sentence and thinks before she speaks. Having become a good friend of Lettice’s charwoman*********, Mrs. Boothby, she has had the rare pleasure of meeting the old Cockney woman’s son, Ken, a forty-four year old man who is a simple and gentle giant with the aptitude of a six year old. Mrs. Boothby’s words ring in her ears about how it is easier for her not to mention that she has a son, not because she is ashamed of him, but because not everyone would understand her wanting to keep and raise a child with such difficulties. She knows that for all her love of gossip, in this matter Mrs. Boothby requires the utmost discretion and has been brave in taking Edith into her into her confidence by introducing her to Ken. Even though she knows that Hilda is every bit as discreet and trustworthy as she is, Edith cannot let it slip who the books are for. “For Mrs. Boothby’s grandchildren.” Edith fabricates. “Remember, Hilda? I bought them some Beatrix Potter books two Christmases ago.”
“Oh yes: I remember!” Hilda replies. “How could I forget that trip upstairs?” She casts her eyes to the white painted plaster ceiling above, imaging the horrors of the toy department crowded with excited children in toy heaven escorted by their frazzled parents. She pauses. “You know, even though I’m sure she shares confidences with me that she shares with you, Edith, Mrs. Boothby never talks about her family around me.” She stops, unlinks her arm from Edith’s and places her hands on her hips. “And nor has she ever invited me to her house for a slap-up tea!”
“There’s no need to get jealous, Hilda.” Edith replies calmly. “It’s hardly tea with Queen Mary.” she deflects. “It’s just a bit of toast and jam in Mrs. Boothby’s tiny two room tenement. It’s basic and clean, which is certainly more than can be said for the street outside.” She then adds to further discourage Hilda from pursuing the matter, “And she does go on and on and on about her grandchildren. You know what she’s like.”
“Oh yes,” Hilda agrees, her stance and facial expression softening into neutrality. “She can talk ‘till the cows come home**********, can old Mrs. Boothby.”
“Especially when she’s gossiping.” Edith laughs.
Edith feels pangs of guilt, not telling the truth to her best friend, but she assuages the feeling, knowing that it is being done for the greater good. She makes a mental note to make a point of telling Mrs. Boothby how trustworthy Hilda is, and what a good keeper of secrets she is, the next time she is at Cavendish Mews.
Edith continues to peruse the shelves until she finally comes across the children’s section.
“Here we are!” Edith says, spying a beautiful arrangement of colourful books on a round table in the middle of a brightly woven rug. “This is the sort of thing I’m after! Something colourful and bright, and not what you might see in Poplar.”
In front of them stand a selection of beautifully illustrated books by Walter Crane***********. A selection of folk and faerie tales stand alongside an alphabet book, a painting book and various others. All have colourful covers with elegant graphics on them.
“Oh! I remember these!” Hilda gasps, following her friend. “Mum used to bring them home from the library for my sisters and brothers and me when we were all little. They were called Toy Books************. Mum taught us our letters from this one.” She takes up ‘An Alphabet of Old Friends’ and cradles it in her arms. “I doubt any poor child in Poplar would have books as pretty as these: poor mites!”
“All the more reason to buy one then. Just look at the lovely illustrations!” Edith enthuses as she opens a copy of ‘The Frog Prince’ and sees a double page illustration of the little green hero of the story sitting on a fine damask tablecloth before the princess dressed in gold. Her father the king sists at the head of the table and scolds his daughter for making a promise to the frog that she didn’t intend to keep. The colours are bright and jewel like and the designs rich with interesting patterns and designs. “I wonder which one he… err they, would like?” Edith ponders aloud as she puts down ‘The Frog Prince’ and takes up a copy of ‘Beauty and the Beast’.
“I’m sure her grandchildren would be happy to have any of them, Edith.” Hilda remarks. “I know I would if I were a young child this book was made for.”
Edith doesn’t reply, keeping her silence about for whom the children’s picture book is really for.
“What about this one?” Hilda picks up ‘Walter Crane’s Painting Book’. “They could paint the pictures.” she suggests as she flicks through the pages where Walter Crane’s detailed illustrations are simply line drawings, allowing a child to paint the colours for themselves to match the complete matching colour illustrations printed on the opposite page. “I’m sure Mrs. Boothby could find them some watercolours, or better yet, you could buy them some, Edith.”
“It’s a lovely idea Edith, but he… err… they aren’t really painters.”
“How queer they sound!” Hilda exclaims. “Not like painting? When we were children, my sisters and I used to be mad about painting.”
“Well not everyone’s an artist like you are, Hilda.” Edith remarks in reply.
“I bet they really do like to paint,” Hilda goes on. “Only Mrs. Boothby is so used to cleaning for others, that she wants to keep her own house spic-and-span.”
“Well, she does like to keep her house tidy.” Edith agrees. “She calls it a clean haven from the outside world, and she isn’t half wrong. But I don’t think she would stop them painting, if that’s what they wanted to do. She loves children, even ones that aren’t her own kin.”
Edith looks at a few more of the titles, admiring the finely printed illustrations before finally settling upon one.
“I loved the story of ‘Beauty and the Beast’ when I was a girl.” Edith remarks. “Such a happy ending,” Her voice takes on a wistful air as she continues, “And proof that there is a handsome prince behind even the most unlikely of beasts.”
“Well, it’s a good lesson to teach children.” Hilda opines.
“Yes! I’ll buy this one.” Edith decides. She picks it up and cradles it to her chest lovingly. “It will make a lovely Christmas gift!”
“That’s very good of you, Edith.” Hilda acknowledges.
“Oh, it’s the least I can do Hilda. Mrs. Boothby’s become such a good friend to me since we first met. She was genuinely happy for me when I told her that I received an increase to my wages, and yet I bet you she didn’t get an increase from Miss Lettice for all the hard graft she does around Cavendish Mews.”
“And she works jolly hard for every penny she earns, too.” Hilda adds.
“That she does, so if I can bring her grandchildren some cheer this Christmas, I’ll be only too happy.”
“You put me to shame, Edith.” Hilda says guiltily.
“What are you talking about, Hilda?”
“Well, you’re so generous, thinking of others this Christmas.”
“Oh! You’re doing your bit for the less fortunate this Christmas, aren’t you Hilda? You’re knitting for Mrs. Minkin’s knitting circle’s Christmas drive for the needy.”
“Pshaw!” Hilda scoffs. “I don’t know how grateful the poor of Poplar and Whitechapel will be to have one of my knitted pairs of socks or scarves, not when you compare it to the knitting done by Mrs. Minkin, Miss Woolencroft, old Ma Badel or Mrs. Minkin’s lovely young nice, Katya Levi. Now she can knit beautifully, can Kayta! It must run though Mrs. Minkin’s family.”
“I’m sure that whatever the poor of Poplar and Whitechapel receive thanks to your knitting group’s industry will be gratefully received, Hilda, and that includes your contributions.”
“With the stitches I drop, there are a few small holes in a few pairs of socks, even before they’re worn, and my lack of tension control does mean my scarves are a bit…” Hilda pauses to think of the right word. “Uneven.”
“Well, dropped stitches and slight differences in tension or not, you’re still helping those who can’t help themselves this Christmas, and I’m sure they’ll be very grateful, Hilda.” Edith insists with a broad smile.
“I suppose so.” Hilda mutters, hanging her head.
“I know so, Hilda,” Edith replies encouragingly, giving her friend a friendly squeeze of the forearm. “Your knitting is getting better and better, the more you practice. Just remember that not that long ago, you couldn’t knit at all. Now look at you: knitting socks and scarves! I hope you’ve knitted me a Christmas present Hilda.”
Hilda blushes as she replies, “I have. I only hope that you’ll like it.”
“I shall love it, Hilda!”
“Even with a dropped stitch or two?” Hilda asks doubtfully.
“Most definitely, Hilda! It will be original that way.” Edith adds brightly. “No-one else will have what I have with stitches dropped in the same place.”
“You’re far to kind to me, Edith.”
“Seriously though, Hilda, I know I will love it, because you will have made it for me with love.” Edith enthuses. “Be proud of what you’ve achieved and how far you’ve come with your knitting.”
“Thank you, Edith!” Hilda gives her friend a grateful hug, which is reciprocated by Edith. “You’re the best friend a girl ever had, you know.”
“Well then, you must be the best friend I’ll ever have, because I know you’d do the same to buck me up when I’m feeling low.”
“You never have low spirits, Edith.”
“Well,” Edith ponders. “You always make sure that you include me in your intellectual conversations you have with Frank, and you explain things to me that I don’t understand in such a way that I don’t feel ignorant or stupid.”
“You aren’t ignorant, or stupid, Edith!” Hilda bursts. “You’re very smart.”
“Well, I don’t feel quite as smart as I think I should be sometimes, stepping out with a man as intelligent as Frank is. But you’ve helped me learn about things that are important to him, like labour rights and things of that sort. So, you help me too, just as I help you.”
“Alright Edith!” Hilda demurs, smiling broadly as she does. “I agree. I help you, and you help me, in equal measures, in different ways.”
“That’s it, Hilda!”
“Come on then, Edith. Best you buy that book for Mrs. Boothby’s grandchildren before someone else comes along and buys it.”
“You’re right Hilda!” Edith giggles.
“You’ll make their Christmas with that.” Hilda nods at the book, still clutched to Edith’s chest.
“I hope so.” Edith replies quietly, smiling shyly, thinking of Ken’s gormless grin when he sees her and imagining him giggling in delight and wonder at the beautiful illustrations in the book she now holds.
The pair of young women wend their way through the aisles of books again to the glass topped counter in front of a large mahogany shelf full of books
“May I help you, Miss?” asks a young shopgirl next to the register, who smiles at them cheerfully, her simple black moiré dress brightened with a pretty scarf featuring bright Art Deco patterns from the accessories department downstairs, and her rich chestnut coloured hair set in glossy and cascading, fashionable Marcel waves*************.
“How much is this, please?” Edith asks.
“Three and six, Miss.” the shopgirl replies with a smile, showing off her perfect pearly teeth as she glances at the book in Edith’s hands.
“A bit more than the sixpence they used to cost.” Hilda whispers in Edith’s ear. “Or free on loan from the library, like my Mum got them. You’ll spoil those grandchildren of Mrs. Boothby’s.”
“I hope so, Hilda.” Edith replies quietly as she blushes.
“A lovely gift for birthday, or perhaps for Christmas, if I may say so, Miss.” the shop girl says cheerfully. “It’s good to get in and do a spot of early Christmas shopping.”
“That’s the idea.” Edith replies, smiling pleasurably as she hands the book over to the girl behind the counter and fishes out her purse from her green leather handbag.
“The shops down Oxford Street are already starting to get busier, now that it’s December.” the shop girl goes on brightly. “People are suddenly realising that Christmas is just around the corner, really.”
*Developed apparently simultaneously by toymakers Morris Michtom in America and Richard Steiff under his aunt Margarete Steiff's company in Germany in the early Twentieth Century, the teddy bear, purportedly named after American President Theodore Roosevelt, became a popular children's toy very quickly, and by 1922 when this story is set, a staple of many children’s nursery toys.
**A pixie bonnet is a knitted bonnet usually worn by babies and small children which covers the whole of their head and is fastened under the chin. Adapted from more traditional styles of baby bonnets and introduced in the early 1920s, they quickly became popular with parents as suitable headwear for their young children as they protected the heads of babies with little to no hair from the cold, and were easily made using knitting patterns distributed through women’s periodicals.
***Harry Gordon Selfridge believed in women’s emancipation. When the Great War broke out in 1914 and many of his male lift attendants went off to fight, he allowed women to fill their roles, as well as many other roles formerly filled by men in his department store. When hostilities with Germany ended in 1918, many young men didn’t return, having made the ultimate sacrifice for King and country, which meant a scarcity of men. The female lift attendants had proven so popular during the war years that Harry Gordon Selfridge made them a permanent fixture in his department store, much to the shock of many shoppers. However, like most things, he used his choice to his advantage, advertising not only its uniqueness in the department stores along Oxford and Regent Streets, but also wooing the millions of emancipated women who were happy to shop under the roof of such an enlightened man in what was then a very patriarchal society dominated by men. By the 1924 when this story is set, his female lift attendants wore a smart livery of frock coats, breeches and caps in Selfridges colours.
****A Passage to India is a 1924 novel by English author E. M. Forster set against the backdrop of the British Raj and the Indian independence movement in the 1920s. It won the 1924 James Tait Black Memorial Prize for fiction. The story revolves around four characters: Dr. Aziz, his British friend Mr. Cyril Fielding, Mrs. Moore, and Miss Adela Quested. During a trip to the fictitious Marabar Caves (modelled on the Barabar Caves of Bihar), Adela thinks she finds herself alone with Dr. Aziz in one of the caves (when in fact he is in an entirely different cave; whether the attacker is real or a reaction to the cave is ambiguous), and subsequently panics and flees; it is assumed that Dr. Aziz has attempted to assault her. Aziz's trial, and its run-up and aftermath, bring to a boil the common racial tensions and prejudices between Indians and the British during the colonial era.
*****The Deductions of Colonel Gore is a 1924 detective novel by the Irish-born writer Lynn Brock. It was the first in his series of seven novels featuring the character of Colonel Wyckham Gore. Gore enjoyed popularity during the early stages of the Golden Age of Detective Fiction. t was also published under the alternative title ‘The Barrington Mystery’. Colonel Gore gives a Masai knife as a wedding present to Barbara Lethbridge. When he returns to England the following year he finds she stands accused or murder, as the knife has been plunged into a blackmailer Barrington with whom she is involved. Against his better instincts Gore takes on the role of amateur detective in order to clear her name.
******‘Old New York’ is a collection of four novellas by Edith Wharton, revolving around upper-class New York City society in the 1840s, 1850s, 1860s, and 1870s. The novellas are not directly interconnected, though certain fictional characters appear in more than one story. The New York of these stories is the same as the New York of ‘The Age of Innocence” (which had been successfully published in 1920), from which several fictional characters have spilled over into these stories. The observation of the manners and morals of Nineteenth Century New York upper-class society is directly reminiscent of ‘The Age of Innocence’, but these novellas are shaped more as character studies than as a full-blown novel. Some characters who overlap among these four stories and ‘The Age of Innocence’: Mrs. (Catherine) Manson Mingott, Sillerton Jackson, Mrs. Lemuel Struthers, Henry Van der Luyden. Other families and institutions also appear in more than one place among this extended set of New York stories.
******* ‘The Man in the Brown Suit’ is a work of detective fiction by British writer Agatha Christie, first published in the UK by The Bodley Head on 22 August 1924 and in the US by Dodd, Mead and Company later in the same year. The character Colonel Race is introduced in this novel. Anne Beddingfeld is on her own and ready for adventures when one comes her way. She sees a man die in a tube station and picks up a piece of paper dropped nearby. The message on the paper leads her to South Africa as she fits more pieces of the puzzle together about the death she witnessed. There is a murder in England the next day, and the murderer attempts to kill her on the ship en route to Cape Town.
********A. H. Mayhew was once one of many bookshops located in London’s Charring Cross Road, an area still famous today for its bookshops, perhaps most famously written about by American authoress Helene Hanff who wrote ’84, Charing Cross Road’, which later became a play and then a 1987 film starring Anne Bancroft and Anthony Hopkins. Number 56. Charing Cross Road was the home of Mayhew’s second-hand and rare bookshop. Closed after the war, their premises is now the home of Any Amount of Books bookshop.
*********A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
**********Meaning for a long time, the origin of the phrase “till the cows come home” comes from the practice of cows returning to their shelters at some indefinite point, usually at a slow, languid pace.
***********Walter Crane was an English artist and book illustrator. He is considered to be the most influential, and among the most prolific, children's book creators of his generation and, along with Randolph Caldecott and Kate Greenaway, one of the strongest contributors to the child's nursery motif that the genre of English children's illustrated literature would exhibit in its developmental stages in the later Nineteenth Century. Crane's work featured some of the more colourful and detailed beginnings of the child-in-the-garden motifs that would characterize many nursery rhymes and children's stories for decades to come. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, children's books, ceramic tiles, wallpapers and other decorative arts. Crane is also remembered for his creation of a number of iconic images associated with the international socialist movement.
************In 1863, the engraver and printer Edmund Evans commissioned Walter Crane to produce a set of designs for a potential book series. This was the period of greater mechanisation in publishing, and that this was often used as an excuse to neglect design. Walter Crane wrote: “The books for babies, current at that time (about 1865 to 1870) of the cheaper sort called toy books were not very inspiriting. These were generally careless and unimaginative woodcuts, very casually coloured by hand, dabs of pink and emerald green being laid on across faces with a somewhat reckless aim.” Edmund Evans believed paper picture books could be greatly improved and still sold for sixpence if printed in sufficient quantity. Walter Crane and Edmund Evans gradually transformed the toy book into a sophisticated art form using a variety of technical, intellectual and aesthetic means. Advances in the use of wood engravings for colour printing made it possible for Evans to accurately print Crane’s designs in a wide range of sophisticated colours. Crane’s designs were printed by Evans for the publisher Frederick Warne in a Sixpenny Toybook series, bound in pale yellow rather than white. In 1867 Crane began designing toy books for George Routledge. Over the next ten years, he illustrated thirty-seven of these toy books, which would become the most popular children’s books of the day.
*************Marcelling is a hair styling technique in which hot curling tongs are used to induce a curl into the hair. Its appearance was similar to that of a finger wave but it is created using a different method. Marcelled hair was a popular style for women's hair in the 1920s, often in conjunction with a bob cut. For those women who had longer hair, it was common to tie the hair at the nape of the neck and pin it above the ear with a stylish hair pin or flower. One famous wearer was American entertainer, Josephine Baker.
These books might be the kind of children’s book you may like to give someone you love for Christmas, but if you do, they may need a magnifying glass, for these are all artisan pieces as part of my extensive 1:12 miniatures collection.
Fun things to look for in this tableau include:
The books on display here, and in the shelves behind are all 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. In this case, this selection of books designed by the prolific children’s illustrator, Walter Crane and two (Abroad and London Town) by this father Thomas Crane. I bought these on purpose because I have loved Walter Crane’s and Thomas Crane’s work ever since I was a child, and I have real life-size first editions of many of these books including, Abroad, London Town, A Masque of Days, Beauty and the Beast, the Hind in the Wood, Cinderella’s Picture Book and The Frog Prince, the latter of which stands open, showing an illustration from the book. What might amaze you is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make them all miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The round display table on which the books stand tilts like a real loo table, and is an artisan miniature from an unknown maker with a marquetry inlaid top, which came from Kathleen Knight’s Dolls House Shop in the United Kingdom.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Tonight however it is New Year’s Eve 1924, and we are northwest of Lettice’s flat, in the working-class London suburb of Harlesden where Edith, Lettice’s maid is celebrating the end of 1924 and the beginning of 1925 with her beloved parents, George and Ada. Edith’s father, George, works at the McVitie and Price biscuit factory in Harlesden as a Line Manager, and her mother, Ada, takes in laundry at home. With her brother, Bert, on shore leave from his job as a first-class saloon steward aboard the SS Demosthenes* for New Year’s Eve, George has decided to host a small New Year’s Eve gathering in their small, two storey brick terrace house which opens out directly onto the street. Although very far removed from the grandeur of Lettice’s Mayfair flat and the smart and select cocktail parties she likes to host, the Harlesden terrace is a cosy and welcoming venue for such a party. Not being alone on shore leave, Bert has invited two of his fellow saloon stewards from the Demosthenes to join him for the evening’s revels: Conlin Campbell who grew up in Harlesden with both Edith and Bert and went to sea with Bert when he took his first seafaring job, and Irish lad, Martin Gallagher. Of course, Edith has invited her beau, grocer’s boy, Frank Leadbetter, to join them, and to even up the numbers of young women, Edith has arranged for old school friends Katy Bramall, Jeannie Duttson and Alice Dunn to join them too. For their part, George and Ada have invited Mr. and Mrs. Pyecroft to spend new year in the rarified surrounds of Ada’s front parlour, whilst the young ones enjoy being raucous in the kitchen. Ernie Pyecroft is the local Harlesden ironmonger** and he and George have bonded over their love of growing marrows at the local allotment, where they both have a plot. Ada went to school with Lilian Pyecroft and it is through this connection that the Watsfords and the Pyecrofts are such good friends. Sadly, Mr. and Mrs. Pyecroft lost both their sons in the Great War, and their daughter died of the Spanish Flu during the epidemic in 1918, so being alone now, George and Ada make sure they always spend New Year’s Eve together. However the divide between the generations has been broken down by Fank, who has brought with him a gramophone and a selection of popular music records that he has borrowed from a trade unionist friend of his for the evening, which has persuaded George, Ada and the Pyecrots to join the young ones in the kitchen, where after dinner they have enjoyed an evening of celebratory drinking and dancing. Lettice, having heard of the New Year’s Eve party, bestowed two bottles of champagne upon Edith as a Christmas gift, whilst Frank obtained two bottles of wine from his chum who runs little Italian restaurant up the Islington***. Bert has spent some of his wages on buying bottles of stout and ale from a local publican, and Mrs. Pyecroft has brought a bottle of her homemade elderflower wine.
We find ourselves in the heart of the Watsford’s family home, Ada’s cosy kitchen at the back of the terrace, where everyone except for Frank and Edith are busying themselves donning coats, hats, scarves and gloves as they prepare to ring in the new year underneath the nearby Harlesden High Street Jubilee Clock Tower**** with its four gas lamps and drinking fountain. Noisily they cheerfully chat and laugh over the musical strains of ‘I Am the Very Model of a Modern Major-General’***** which they have all ended up in fits of laughter over several times across the course of the party, after trying without success to sing all the tongue twisting lyrics correctly.
“I say Bert,” remarks Martin over the top of the jolly music on the gramophone. “You never told us your sister was such a beauty.”
“What?” Bert asks as he buttons up his heavy grey woollen overcoat.
“Your sister, Bert.” Martin replies, nodding in Edith’s direction and indicating to her with a half drunk glass of stout in his hand.
Bert looks up from fastening his coat and looks as Edith stands in front of Frank as he sits in her usual ladderback chair. Her hand rests on the edge of the festive cloth covered kitchen table where they had eaten their splendid New Year’s Eve roast chicken dinner cooked up by Ada earlier in the evening, which is now is littered with a selection of records in their paper sleeves. Dressed in a pretty pale pink cotton voile****** dress trimmed with matching linen that she made herself, she wears her long hair in a chignon at the back of her neck and has styled her blonde hair at the front into soft waves around her face, which are held in place with a fashionable pink bandeau******* made of pink ribbon. Being her sister, Bert has never really noticed how striking Edith is, yet as she stands, gazing seriously into Frank’s face, he sees that even without applying makeup, and without the aid of the expensive clothes and jewellery he sees many of the first class passengers in the dining saloon of his ship wear, she looks both elegant and beautiful. She catches Bert staring at her and smiles as she lifts the glass of champagne she holds in her right hand to her lips. Her smile beams like a beacon.
“Yes, she’s an English rose alright!” adds Conlin, shrugging on his coat. “Peaches and cream skin and pretty blonde hair.”
“Aye. Everyone loves a blonde.” Martin adds, agreeing with his friend.
“And what am I then?” pipes up Alice Dunn’s voice plaintively as she looks to Conlin, with whom she’s been spending most of New Year’s Eve, either sitting next to him around the Watsford’s table or dancing in his arms to the music from the gramophone around the crowded kitchen.
“You, my dear Alice, are the Vicar’s daughter********,” Conlin replies matter-of-factly, as if his statement answers her question.
“So what if I am?” she replies with a shrug, winding her scarf around her neck carefully, so as not to mess her own arrangement of soft, mousy blonde waves that she has held in place by a pale blue ribbon bandeau of her own.
“It means my dear Alice,” Conlin continues, sweeping an arm around her waist, making her squeal girlishly. “That however much fun you are, you come with a clergyman as a father-in-law for any prospective suitor, and that, can only spell trouble for me.”
“And who says I’m looking for a suitor, Conlin Campbell?” Alice answers smugly. “Least of all you!”
“All girls are looking for a suitor, Alice.” Bert opines. “Even you! Just look at Edith over there. She’s got Frank, so she’s happy.” He raises his voice slightly over the cacophony of excited voices around him as he leans on the kitchen table in an effort to catch his sister’s attention. “In fact, she and Frank are so happy in one another’s company, the pair of them don’t even want to ring the new year around the Jubilee Clock with the rest of us!”
“Oh get along with you, Bert!” Edith replies, as both she and Frank turn their attentions to her brother. “Go and yell your lungs out around the clock with the rest of them. I’m done with all that! I’ll be much happier here with Frank where it’s quieter.”
“See?” Bert says, raising his hands.
“Lucky blighter.” murmurs Martin.
“Now you just keep your eyes off our Edith, young Martin!” Ada’s voice suddenly interrupts the young people’s conversation, her voice light, yet tinged with a seriousness. “She’s Frank’s sweetheart, not yours.” She taps him on the forearm.
“Yes Mrs. Watsford.” Martin replies apologetically.
“Luckily not all of us want to be Little Polly Flinders and sit home amongst the cinders*********, Martin!” laughs Katy. “Some of us are modern girls, aren’t we Alice?”
“Indeed we are,” Alice agrees in a solicitous voice as she winds her arm through Conlin’s.
“And we want to go out and have some fun!” giggles Jeannie, who cheekily squashes Bert’s hat on his head, encouraging him to get ready to go out. “So, hurry up, Bert Watsford! Goodness knows how anyone gets fed in the dining room of your ship when you’ve always been such a slowpoke!” She prods Bert in the ribs as she speaks, making him exclaim in surprise.
“We say the same, Jeannie,” Conlin agrees, squeezing Alice’s arm with his own as he draws her closer to him. “But Martin and I keep him on time, don’t we Martin?”
“Aye, we do that.” Martin concurs.
“We just have to wait for Mum and Dad and the Pyecrofts.” Bert defends himself against his friends and shipmates light hearted teasing.
“Well, I’m ready.” Ada replies, squashing her red velvet hat with springs of dried flowers around the brim onto her head.
“And we’re here too!” George announces, walking into the room with Lilian and Earnest Pyecroft, all three wrapped up in their coats and hats, ready to go out with the others to cheer in the new year around Harlesden’s Jubilee Clock Tower.
“Right! Let’s go then!” Jeannie exclaims excitedly.
“Will you like to lead the way, Ernie and Lilian?” George asks with a sweeping gesture towards the door.
“Come Lilian my dear.” Mr. Pyecroft says, chivalrously offering his wife his hand. “Shall we?”
“Rather!” Mrs. Pyecroft answers, taking his proffered hand with her right as she pulls the small fox fur collar at her throat a little tighter around her neck. “What a marvellous way to end a jolly good knees up, George.”
“Glad you’ve enjoyed it, Lilian.” George replies with pleasure.
Lead by Mr. and Mrs. Pyecroft, Martin and Katy, Conlin and Alice, Bert and Jeannie and George and Ada begin to drift noisily out of the kitchen, all full of good spirits and laughter.
“You know you have to kiss me when the clock strikes twelve, Conlin,” Alice says as the pair of them follow Martin and Katy through the door leading from the Watsford’s kitchen to the scullery and then out the back door.
“I promise to kiss those organ playing hands of yours, Alice Dunn.” he replies with a chuckle.
“I should hope you’ll kiss me on the lips, Conlin Campbell!” she replies indignantly.
“Only if you’re lucky.” his retort rewarding him with a kittenish slap to his upper left arm from Alice.
“Are you quite sure you don’t want to come and shout in the new year with the rest of us?” Bert asks his sister and Frank as he moves towards the frosted and stained glass paned door that leads to the scullery with Jeannie on his arm. “It will be ripping fun.”
“No thank you, Bert.” Frank replies steadfastly. He raises his hands and grasps Edith’s forearms affectionately. “I’ll be fine here with Edith.”
“You go on and cheer the new year in for me, Bert.” Edith assures her brother.
“It won’t be the same without you, Edith.” Bert says a little imploringly.
“Oh Bert!” Ada scoffs. “It won’t be the last new year that you are on shore leave.” She gives his shoulder a shallow swipe at his silliness. “Come along with you.” She starts to steer her son towards the door.
“Are you so blind, Bert, that you can’t see that Edith and Frank would much rather celebrate the new year together, and alone,” Jeannie emphasises the last two words as she speaks.
“Yes, let’s give the lovebirds a little privacy.” George agrees, winking at his daughter conspiratorially, making both she and Frank blush at his remark.
“Come on! Let’s go, or it will be midnight, and we won’t have reached the Jubilee Clock!” Jeannie urges Bert.
“Alright then.” Bert shrugs, allowing himself to be steered out the kitchen door. “I say!” he calls to Edith and Frank over his shoulder. “You won’t play ‘There’s Life in the Old Girl Yet’********** before we get back, will you?”
“We won’t be gone that long, Bert!” Jeannie insists in a hiss.
“We promise.” Edith assures her brother with a comforting smile.
As Jeannie, Ada and George bustle Bert out the back door, he stops on the threshold and says to Jeannie, “You go on ahead. I just want to have a quick word with Mum and Dad. We’ll catch up in a minute.” He gives her a gentle push.
“You always were such a slowpoke, Bert.” Jeannie teases again. She smiles as she wags her finger at him warningly. “Don’t be too long, or you really will miss midnight, and I’ll be disappointed if you do.”
“I promise I won’t, Jeannie.” he assures her, shooing her away.
“What’s all this about then, Bert?” George says seriously as they stand in the streak light cast through the chink in the curtains at the kitchen window and watch Jeannie’s hat covered head disappear out the back gate and into the alleyway that runs between the Watsford’s terrace and the terrace backing onto the next street.
“Sorry Dad.” Bert apologises. “I just wanted to ask, whilst we’re alone and no-one else is in earshot, but is everything alright between Edith and Frank?”
“What do you mean, Bert?” Ada asks.
“Has Frank actually proposed yet?” Bert asks with concern.
“Well, no. Not as such yet, that I know of, anyway. Ada?”
“Edith hasn’t said anything to me, Bert.” Ada answers, her breath spilling out in a cloud of white vapour in the cold of the winter’s night. “I mean, there is an understanding between the two of them. They are both just saving up a bit more money so that they can set up house together before they formalise anything.”
“But we are expecting some kind of announcement in the new year, Bert.” George assures his son. “Quite soon as a matter of fact.”
“Frank is a good lad,” Ada goes on. “He’d ask your Dad for permission before he formally proposes to your sister.”
“What’s all this about, Bert?” George asks, his face clouding with concern.
“Well,” Bert says, lowering his gaze and shifting a loose stone across the paving stone beneath the sole of his right boot. “It’s just I had this feeling.”
“Feeling? What feeling?” George persists.
“Tonight, when they were together, there just seems to be something between them.” Bert says a little uncertainly. “Something awkward.”
“I felt that too!” hisses Ada quietly. “On Christmas Day when Frank and old Mrs. McTavish came here.”
“I can’t quite put my finger on it.” Bert goes on.
“I can’t either, but Edith’s said nothing to me, and she usually tells me most things.” Ada adds.
“But not everything.” Bert says dourly.
“Look, I’m sure it’s nothing for either of you to worry about.” George assures them, winding an arm around each of them and placing a knitted glove clad hand on their shoulders.
“Perhaps that’s why they wanted to stay behind whilst the rest of us went out.” Bert goes on, his eyes brightening.
“Perhaps lad,” George agrees. “But if it is, it is none of our affair. So, let’s go and cheer in the new year and leave them to it. Eh?”
With a firm hand, George steers his wife and son towards the open gate at the rear of the courtyard.
In the Watsford’s kitchen, with the departure of everyone else, a stillness settles in. Edith removes the needle from the gramophone record of the ‘H.M.S. Pinafore selection’ performed by the Court Symphony Orchestra, which has reached its conclusion. The stylus had been sending a soft hissing noise through the copper-plated morning glory horn of the gramophone as the needle remained locked into the groove of the recording. She carefully lifts the record from the gramophone player and slides the shiny black shellack record back into its slip case which rustles as she does.
“Gosh!” Frank opines from his seat. “You don’t notice how noisy everyone is until they are gone, do you?”
Edith smiles and chuckles. “Bert and his friends are always loud, and Katy, Jeannie and Alice are such giggling girties*********** when they get together.”
“Still, they are all very nice,” Frank adds. “And very welcoming. You brother has been so solicitous to me this evening, offering me his stout.”
“And Katy dancing with you to try and make Conlin Campbell jealous.” Edith smiles.
“Is that her game, then?”
“Yes,” Edith laughs. “Although I don’t think it worked. I think Conlin was only happy to leave you in the arms of Katy and more to the point, her two left feet.”
“Yes,” Frank admits, sighing as he does. “She wasn’t exactly light on her feet when we danced to ‘Lady Be Good’************.”
“No, I could see that.” giggles Edith. “It was rather funny seeing the two of you dance.”
“For you, maybe!”
“It was… Francis.” Edith adds Frank’s proper name at the end of the sentence cheekily, teasing him.
“I wish Gran had never let that slip.” Frank mutters begrudgingly again, as he has several times in the past. “I’m Frank now. No-one at the trades union will take me seriously if I’m called Francis.”
“Still, it was awfully good of you to bring the gramophone and records tonight, Frank.” Edith waves her hand across the selection of records on the kitchen table next to the gramophone.
“Well, really it’s my friend Richard from the Trade Unionists that we have to thank. He’s spending the new year in Wales with friends, and they already have a gramophone up there, so he didn’t need his.”
“Then thank you to Richard of the Trades Union for lending them, but thank you to you, Frank, for being kind enough to bring them with you tonight.” Edith replies. “It certainly made for a much livelier party.”
“Well, I’m glad, Edith.”
“And it brough Mum and Dad and Mr. and Mrs. Pyecroft down from the front room.”
“I’m glad for that too.”
The pair fall silent, with only the deep ticking of the kitchen clock on the wall, the crackle from the coal range and the occasional distant squeal or cheer from a new year reveller in the darkened streets outside to break the quiet as it settles down around them. Edith pulls her mother’s Windsor chair up towards Frank so that she can sit opposite him, and once she has settled down comfortably into it, she toys absentmindedly with Frank’s fingers and he lets her.
“Frank, there is actually something important I want to talk to you about.” Edith says at length, her head lowered so Frank can’t read her expression as she speaks. “And that’s why I wanted us to stay behind whilst the others went on to the Jubilee Clock to ring in the new year.”
“I thought it might have been something like that.” Frank says seriously.
“Well, I just think that this needs saying before midnight, so that we can go into 1925 clear in our understanding.”
“Oh!” Frank gasps. “That does sound jolly serious, Edith.”
“It is serious, Frank.” Ediths head shoots up and she looks at him earnestly.
“Oh my!” Frank’s shoulders slump. “Best get it out then, Edith.” He turns and looks at the clock. “There are only a few minutes left in the old year, before the new one starts.”
“Well… Frank…” Edith wraps her fingers around Frank’s and holds them tightly in a still grasp as she heaves a heavy sigh. “I’ve been giving this some serious thought.”
“Should I be worried, Edith?”
“What?” Edith queries, shaking her head. “No. No, Frank. No.”
“That’s a relief.” It is Frank’s turn to sigh.
“Please Frank,” Edith pleads. “Just hear me out and don’t interrupt for a moment.”
When Frank nods shallowly and stares at her intensely with his loving eyes, Edith goes on.
“I’ve been thinking about that proposal you made to me that Sunday in the Corner House************* up Tottenham Court Road.”
“What proposal, Edith?” Frank blasts. “I haven’t actually proposed marriage yet.” Then he adds hurriedly, “Not that I won’t,” He pauses. “So long as you still want to marry me, Edith.”
“Frank!” Edith exclaims in frustration. “You don’t make things easy sometimes! I asked you not to interrupt me.”
“Oh! Sorry Edith. I won’t interrupt again.”
Edith shakes her head and sighs deeply again as she tries to recollect her thoughts.
“So, I thought long and hard about what you said that day. I won’t lie, Frank.” She looks him squarely in the face. “The idea of moving to the country from the city frightened me. In fact, it still does, if I’m being completely honest. I’ve only ever known the city you see.”
Realising what she is talking about, Frank longs to speak, and to take his sweetheart into his arms and comfort her, but he thinks better of it, understanding that Edith needs to speak her piece. So, he simply sits in his seat, leaning forward and giving her his full attention.
“But now I see that you are only trying to do the best by me, well by both of us really. After that afternoon, I went down to see Mrs. Boothby, and it was she who made me realise that if you and I do go and live in Metroland************** after we are married, it wouldn’t be so bad.” Edith takes a deep breath. “So, I guess what I’m saying, Frank, is that if the opportunity arises after we’re married, for a better position in Chalk Hill or wherever, I’ll go with you.”
“Oh Edith!” Frank gasps, standing up.
Edith stands too, and they both embrace lovingly.
“I knew the idea upset you, Edith, but not as much as it obviously has!” Frank exclaims. “I’m so sorry.”
“It’s alright, Frank. I didn’t want to let you see how much it did, because I could see how much it meant to you. You only want a better paying job to help support me, and our family if God grants us one, and a better life for us all. I can see that now.”
“Well,” Frank holds Edith at arm’s length, beaming from ear to ear. “God bless Mrs. Boothby for helping you see that, and bless you for being so brave and courageous, my down dear Edith! I must be the luckiest man in the world to have you, Edith Watsford!”
“And I must be the luckiest girl.” Edith murmurs in return,
“I mean, a job hasn’t turned up yet, and it may not, but if it does, I promise you that you won’t regret it.”
The pair embrace again, even more deeply this time.
“I better not, Frank Leadbetter!” Edith says with a laugh. “I hope wherever you take me, I will be close to a cinema. I don’t want to miss out on the latest Wanetta Ward film, just because we are living in Metroland.”
“I promise you won’t miss out, dear Edith!” Frank assures her.
Suddenly there is the distant chime of clocks striking midnight and cheers going up.
“Listen!” Edith exclaims. “It’s midnight! Happy New Year, Frank.”
“Happy 1925 Edith.” Frank replies.
And with that, the two press their lips together in the first kiss between them for 1925, the new year suddenly full of possibility, trepidation and excitement.
*The SS Demosthenes was a British steam ocean liner and refrigerated cargo ship which ran scheduled services between London and Australia via Cape Town. It stopped at ports including those in Sydney and Melbourne. She was launched in 1911 in Ireland for the Aberdeen Line and scrapped in 1931 in England. In the First World War she was an Allied troop ship.
**An ironmonger is the old fashioned term for someone who sells items, tools and equipment for use in homes and gardens: what today we would call a hardware shop. Ironmongery stems from the forges of blacksmiths and the workshops of woodworkers. Ironmongery can refer to a wide variety of metal items, including door handles, cabinet knobs, window fittings, hinges, locks, and latches. It can also refer to larger items, such as metal gates and railings. By the 1920s when this story is set, the ironmonger may also have sold cast iron cookware and crockery for the kitchen and even packets of seeds for the nation of British gardeners, as quoted by the Scot, Adam Smith.
***The Italian quarter of London, known commonly today as “Little Italy” is an Italian ethnic enclave in London. Little Italy’s core historical borders are usually placed at Clerkenwell Road, Farringdon Road and Rosebery Avenue - the Saffron Hill area of Clerkenwell. Clerkenwell spans Camden Borough and Islington Borough. Saffron Hill and St. Peter’s Italian Catholic Church fall within the Camden side. However, even though this was the traditional enclave for Italians, immigrants moved elsewhere in London, bleeding into areas like Islington and Soho where they established bars, cafes and restaurants which sold Italian cuisine and wines.
****The cast iron Jubilee Clock has remained a Harlesden landmark since its erection at Queen Victoria’s Golden Jubilee in 1887. It is ornate, decorated with dolphins, armorial bearings, a fluted circular column with spirals, shields of arms and swags. When it was built, it featured four ornate gas lit lamps sprouting from its column and two drinking fountains with taps and bowls at its base. It also featured a weathervane on its top. During the late Twentieth Century elements were removed, including the lanterns and the fountain bowls. In 1997 the clock was restored without these elements, but plans are underway to restore of the weathervane and recreation of the original four circular lanterns to the clock and the two fountains.
*****“I Am the Very Model of a Modern Major-General” (often referred to as the "Major-General's Song" or "Modern Major-General's Song") is a patter song from Gilbert and Sullivan's 1879 comic opera “The Pirates of Penzance”. It has been called the most famous Gilbert and Sullivan patter song. The piece is difficult to perform because of the fast pace and tongue-twisting nature of the lyrics.
******Voile is a lightweight, plain woven fabric usually made from 100% cotton or cotton blend. It has the higher thread count than most cotton fabrics, which results in a silky soft hand. Voile fabric is a perfect dressmaking option for summer because it is lightweight, breathable and semi-sheer.
*******A bandeau is a narrow band of ribbon, velvet, or similar, worn round the head. They were often accessorised with jewels, imitation flowers, feathers and other trimmings in the 1920s when they were at the height of their popularity.
********The vicar of All Souls Parish Church in Harlesden between 1918 and 1927 was Ernest Arnold Dunn. Whilst I cannot find any details about his family life, I’d like to think that he was a happily married man of god and could well have had a daughter named Alice who no doubt played the organ in church on Sundays.
*********‘Little Polly Flinders’, is an English nursery rhyme which emerged in the early 1800s. Charles Dibdin, a talented English poet, is said to have composed this delightful ditty. The rhyme spins the tale of a young girl who, one fine morning, wakes up early and adorns her hair with roses. The rhyme was likely concocted as a cautionary tale and a relatable experience for young children. The primary message of the rhyme is to inspire a sense of responsibility, discipline, and order. It cautions against the consequences of neglecting one's duties, such as ruining one's garments. In the mid Nineteenth Century, the song's fame grew tremendously, frequently acting as a helpful aid for instructing children in reading and writing which is why the friends of the Watsford’s children would have known it so well.
**********‘There’s Life in the Old Girl Yet’ is a song that was very popular in Britain in 1924. With music and lyrics by Noël Coward the song comes from the 1923 London West End musical, ‘London Calling’ and was popularised by English singer and comic character actor Maisie Gay.
***********A “giggling girty” means a girl who laughs a great deal. The term was turned into a popular song in America by the “original radio girl” Vaughn DeLeath. The term has generally fallen out of fashion because the name Gertrude is equally out of favour today.
************‘Lady Be Good’ is a foxtrot from the Broadway musical ‘Lady Be Good’ written by George Gershwin, released in 1924.
************J. Lyons and Co. was a British restaurant chain, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons’ first teashop opened in Piccadilly in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the United Kingdom. At its peak the chain numbered around two hundred cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their Art Deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time, the Corner Houses were open twenty-four hours a day, and at their peak each branch employed around four hundred staff including their famous waitresses, commonly known as Nippies for the way they nipped in and out between the tables taking orders and serving meals. The tea houses featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.
*************Metroland is a name given to the suburban areas that were built to the north-west of London in the counties of Buckinghamshire, Hertfordshire and Middlesex in the early part of the Twentieth Century that were served by the Metropolitan Railway. The railway company was in the privileged position of being allowed to retain surplus land; from 1919 this was developed for housing by the nominally independent Metropolitan Railway Country Estates Limited (MRCE). The term "Metroland" was coined by the Met's marketing department in 1915 when the Guide to the Extension Line became the Metro-land guide. It promoted a dream of a modern home in beautiful countryside with a fast railway service to central London until the Met was absorbed into the London Passenger Transport Board in 1933.
This cluttered, yet cheerful and festive domestic scene is not all it seems to be at first glance, for it is made up of part of my 1:12 size dollhouse miniatures collection. Some pieces come from my own childhood. Other items I acquired as an adult through specialist online dealers and artists who specialise in 1:12 miniatures.
Fun things to look for in this tableau include:
The wonderful nickel plated ‘morning glory horn’ portable gramophone, complete with His Master’s Voice labelling, is a 1:12 miniature artisan piece made by Jonesy’s Miniatures in the United Kingdom. It arrived in a similarly labelled 1:12 packing box along with the box of RCA Victor records that you can see peeping out of their box to the right of the gramophone. The gramophone has a rotating crank and a position adjustable horn.
The records scattered across Ada’s kitchen table at the front of the gramophone are all made by the British miniature artisan Ken Blythe. Known for his authentic recreation of books, most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection. What might amaze you is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. Not only did Ken Blythe create books, he also created other 1:12 miniatures with paper and that includes the wonderful gramophone records you see here. Each record is correctly labelled to match its dust cover, and can be removed from its sleeve. Each record sleeve is authentically recreated just like its life-sized equivalent, right down to its creasing and curling corners. To create something so authentic to the original in such detail and so clearly, really does make them all miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The bottle of champagne is a 1:12 size artisan miniature made of glass by Little Things Dollhouse Miniatures in Lancashire. The champagne glasses on the table are hand-made 1:12 artisan miniature pieces made from blown glass, acquired from Karen Ladybug Miniatures. The glass and bottles of ale are also :12 artisan miniature pieces made from blown glass, acquired from Kathleen Knight’s Dolls’ House Shop in the United Kingdom.
The tablecloth is actually a piece of bright cotton print that was tied around the lid of a jar of home made peach and rhubarb jam that I was given a few years ago.
The paper chains festooning Ada’s kitchen I made myself using very thinly cut paper. It was a fiddly job to do, but I think it adds festive cheer and realism to this scene, as fancy Christmas decorations would have been beyond the budget of Edith’s parents, and homemade paper chains were common in households before the advent of cheap mass manufactured Christmas decorations.
In the background you can see Ada’s dark Welsh dresser cluttered with household items. Like Ada’s table, the Windsor chair and the ladderback chair to the left of the photo, I have had the dresser since I was a child. The shelves of the dresser have different patterned crockery and silver pots on them which have come from different miniature stockists both in Australia and the United Kingdom. There are also some rather worn and beaten looking enamelled cannisters and a bread tin in the typical domestic Art Deco design and kitchen colours of the 1920s, cream and green. Aged on purpose, these artisan pieces I recently acquired from The Dolls’ House Shop in the United Kingdom.
You will also notice on the shelves of the dresser a few of the common groceries a household like the Watsfords’ may have had: Bisto gravy powder, Ty-Phoo tea and Oxo stock cubes. All these items are 1:12 size artisan miniatures made by Little Things Dollhouse Miniatures in Lancashire, with great attention to detail paid to their labels and the shapes of their packaging.
The first Bisto product, in 1908, was a meat-flavoured gravy powder, which rapidly became a bestseller in Britain. It was added to gravies to give a richer taste and aroma. Invented by Messrs Roberts and Patterson, it was named "Bisto" because it "Browns, Seasons and Thickens in One". Bisto Gravy is still a household name in Britain and Ireland today, and the brand is currently owned by Premier Foods.
In 1863, William Sumner published A Popular Treatise on Tea as a by-product of the first trade missions to China from London. In 1870, William and his son John Sumner founded a pharmacy/grocery business in Birmingham. William's grandson, John Sumner Jr. (born in 1856), took over the running of the business in the 1900s. Following comments from his sister on the calming effects of tea fannings, in 1903, John Jr. decided to create a new tea that he could sell in his shop. He set his own criteria for the new brand. The name had to be distinctive and unlike others, it had to be a name that would trip off the tongue and it had to be one that would be protected by registration. The name Typhoo comes from the Mandarin Chinese word for “doctor”. Typhoo began making tea bags in 1967. In 1978, production was moved from Birmingham to Moreton on the Wirral Peninsula, in Merseyside. The Moreton site is also the location of Burton's Foods and Manor Bakeries factories. Typhoo has been owned since July 2021 by British private-equity firm Zetland Capital. It was previously owned by Apeejay Surrendra Group of India.
Oxo is a brand of food products, including stock cubes, herbs and spices, dried gravy, and yeast extract. The original product was the beef stock cube, and the company now also markets chicken and other flavour cubes, including versions with Chinese and Indian spices. The cubes are broken up and used as flavouring in meals or gravy or dissolved into boiling water to produce a bouillon. Oxo produced their first cubes in 1910 and further increased Oxo's popularity.
The large kitchen range in the background is a 1:12 miniature replica of the coal fed Phoenix Kitchen Range. A mid-Victorian model, it has hinged opening doors, hanging bars above the stove and a little bass hot water tap (used in the days before plumbed hot water).
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
A pretty serious book published by Simon & Schuster 1996 (Harcourt 1997) …it's available from Amazon second-hand for under £5 including postage.
(See here.)
for utata 260 which requires:
1. Something cosy/cozy
2. Something you’d expect to find in a bathroom
3. Slanted
Cosy like a hot cup of tea in a chintzy cup? I don't know if this looks cosy or just messy; for me it's the cosy corner of my living room where I sit to read. The massage oil should really go back into the bathroom where it belongs but I've been using it to sooth my sprained foot while watching telly.
Beautiful Icelandic Horses Reyjavik Iceland Sony A1 ILCE-1 Fine Art Photography! Pretty Equus Photos Sony Alpha 1 & Sony FE Lens Elliot McGucken Fine Art Animal Photography Sony Alpha1
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
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Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
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Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
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[Unidentified young soldier in Union uniform and plumed Hardee hat with plain gauntlets and revolver sitting next to table with books]
[between 1861 and 1865]
1 photograph : sixth-plate ambrotype, hand-colored ; 9.4 x 8.1 cm (case)
Notes:
Title devised by Library staff.
Case: Rinhart, no. 141.
Photograph shows Infantry insignia on Hardee hat.
Gift; Tom Liljenquist; 2010; (DLC/PP-2010:105).
Subjects:
United States.--Army--People--1860-1870.
Soldiers--Union--1860-1870.
Military uniforms--Union--1860-1870.
Handguns--1860-1870.
Books--1860-1870.
Youth--1860-1870.
United States--History--Civil War, 1861-1865--Military personnel--Union.
Format: Portrait photographs--1860-1870.
Ambrotypes--Hand-colored--1860-1870.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Ambrotype/Tintype filing series (Library of Congress) (DLC) 2010650518
Liljenquist Family collection (Library of Congress) (DLC) 2010650519
More information about this collection is available at hdl.loc.gov/loc.pnp/pp.lilj
Persistent URL: hdl.loc.gov/loc.pnp/ppmsca.27070
Call Number: AMB/TIN no. 2216
Joshua Tree National Park Pretty Model Summer Dress Portrait Photoshoot! Joshua Trees NP California Desert Landscape Photography! Pretty Venus Woman! Gorgeous Girl! Sony A7 R & Carl Zeiss Sony Sonnar T* FE 55mm f/1.8 ZA Lens! Epic Bokeh!
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Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
The Tao of Epic Landscape Photography: geni.us/taophotography
Epic High Resolution Malibu Sunset! Malibu Sea Cave Sunset California Socal Photography! Fine Art Landscape & Nature Photography: Light Beams & Dr. Elliot McGucken Epic Fine Art! High Res!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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Photographing Women Models! geni.us/m90Ms
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Grizzly Bear Running Montana Winter Snow Sony A1 ILCE-1 Fine Art Wildlife Grizzly Bears Photography! Sony Alpha 1 & Sony FE 600 mm F4 GM OSS Full-frame Super-Prime G Master Lens Optical SteadyShot! West Yellowstone Montana Elliot McGucken Fine Art Photography Sony Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
The American Eagle Klamath National Wildlife Refuge Sony A1 ILCE-1 Fine Art Bald Eagle Bird Photography! Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G Tule Lake Klamath Basin Oregon! Elliot McGucken Fine Art Wildlife Eagle Photography Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
German postcard, no. E 8. Photo: Constantin. Lex Barker in Winnetou - 1. Teil/Apache Gold (Harald Reinl, 1963). Caption: The Kiowa Indians are overwhelming, one has to get the best out of the situation. Old Shatterhand comes up with a trick.
Der Schatz im Silbersee/Treasure of Silver Lake (Harald Reinl, 1962) was the most successful German film of the 1962/1963 season. Director Harald Reinl and producer Horst Wendlandt then created a series of Eurowesterns, all based on the novels by Karl May. Their next film, Winnetou - 1. Teil/Apache Gold (Harald Reinl, 1963) was, in fact, a prequel to Der Schatz im Silbersee which introduced Apache chief Winnetou and told how he met Old Shatterhand.
The stars of Winnetou – 1. Teil were again Lex Barker as Old Shatterhand and Pierre Brice as Winnetou. They both came up with a fine performance and Brice became so popular that he would stay Winnetou throughout his whole life. First, he played the native American chief in several film sequels during the 1960s. After the period of the Karl May films was over, Brice continued to perform the role on several stages in Germany and also in TV series. The cast of Winnetou – 1. Teil also included French actress Marie Versini as Winnetou’s sister Nscho-tschi, Mario Adorf as Frederick Santer - the bad guy who shoots Ntscho-tschi, Chris Howland as the comic Lord Tuff-Tuff, Ralf Wolter as Sam Hawkens, Mavid Popovic as Intschu-tschuna - Winnetou's father, and Dunja Rajter as Belle. Christian Wolff was the German voice of Winnetou. The principal shooting took place in national park Paklenica karst river canyon, Yugoslavia now Croatia.
The storyline of every Karl May film is basically the same. The two friends Winnetou and Old Shatterhand try to solve the problems between red and white people and in the end they succeed, of course. According to Karl May's story, first-person narrator Old Shatterhand encounters Winnetou and after initial dramatic events, a true friendship between Old Shatterhand and the Apache arises. On many occasions, they give proof of great fighting skills but also of compassion for other human beings. It portrays a belief in an innate ‘goodness’ of mankind. Karl May was with about 200 million copies worldwide one of the best selling German writers of all time. In the books of Karl May Winnetou became the chief of the tribe of the Mescalero Apaches (and of the Apaches in general, with the Navaho included) after his father Intschu-tschuna and his sister Nscho-tschi were slain by the white bandit Santer. He rode a horse called Iltschi (Wind) and had a famous rifle called Silberbüchse (The Silver Gun, a double-barrel rifle whose stock and butt were decorated with silver studs). Old Shatterhand became the blood brother of Winnetou and rode the brother of Iltschi, called Hatatitla (Lightning). Karl May's Winnetou novels symbolize, to some extent, a romantic desire for a simpler life in close contact with nature. In fact, the popularity of the series is due in large part to the ability of the stories to tantalize fantasies many Europeans had and have for this more untamed environment.
"A thief, an impostor, a sexual pervert, a grotesque prophet of a sham Messiah!"..."The Third Reich is Karl May's ultimate triumph!" wrote Klaus Mann, son of Thomas Mann in 1940. To which Albert Einstein replied: "...even today he has been dear to me in many a desperate hour." Herman Hesse called his books "indispensable and eternal" and the writer and director Carl Zuckmayer even christened his daughter Winnetou in honor of May's great Apache chief. Yet, the English-speaking world is almost totally ignorant of May and his heroes Winnetou, Old Shatterhand, or Kara Ben Nemsi and his Arab friend Hadji Halef Omar who shared many an adventure in what is now called Kurdistan just over a hundred years ago. The reason is simple. Almost none of May's books have ever been translated into English.
Sources: Wikipedia, Julian Crandall Hollick (Karl May's Imaginary America), and IMDb.
And, please check out our blog European Film Star Postcards.
I made this cute rabbit using the patterns from a Tilda book called Crafting Springtime Gifts. All the fabric is linen, most of it was machine sewed apart from the embellishments.
For the fans of the author Susan Elizabeth Lowell, Daphne would be familiar from the book This Heart of Mine - its the only name that jumped in my head since I started making this rabbit, and I think it suits her…...
Blogged here.
In 2009, Kirk Hammett, the lead guitarist for Metallica, bought Frazetta’s cover artwork for this paperback for $1 million.
Morris Marina 1.3 Coupe (1971-78) Engine 1275cc S4 OHV Production 515,888 (1.3 only but including the Mk.II 1,3 models)
Registration Number GPC 421 J
MORRIS SET
www.flickr.com/photos/45676495@N05/sets/72157623690377489...
The registration on this car denotes a 1980 vehicle which is clearly wrong, it now sports the registration CFK 488 K
Launched by BL as a Cortina beater as a 1.3 and 1.8ltr Coupe and Saloon with Estates from 1972. Conventional engineering and specification and scary understeer on the larger engine models.
The range was supplemented with a range of higher performance 1.8 models, with a Mk.II version from 1978-80 in total around 953000 were sold.
Despite it becoming fashionable in the 1970's and 1980's to bash the Marina it provided undemanding moting and sold almost 1000000 cars. What is often forgotten is that the Marina was also an accomplished rally car. In 1970 BMC chairman Donald Stokes had ordered the closure of the BMC Competitions Department, by the time the Marina came on stream stage rallying was gaining in popularity and in early 1971 it was decided to use the new model in the 1971 RAC rally, the following November. Luckily for BL, Special Tuning had a rally driver on its books by the name of Brian Culcheth and so with no team, no mechanics, no funding and initially no sponsorship a team of talented engineers developed a 1.3 Coupe into a rally car, funded purely by sales of performance parts from Special Tuning. The 1.3 engine was chosen against the more powerful 1.8 on the basis of its weight affecting the handling of the 1.8 engined cars.With the 1.3 and using Mini components decent horepower figures were achieved and in the 1971 RAC Rally the team claimed 1st in class. Subsequently, the car was entered in seventeen more national and international rallies until 1975, either being placed or winning class honours in twelve of them, the others being crashes/failures.
For 1976, BL management decided to move to the Triumph Dolomite Sprint for its main rallying weapon.
A big thanks for 21.5 million views
Shot 20:04:2014 at Weston Park Ref 99a-355
Yes I counted them, but was a little disappointed that after 50 hours of work that there was only 750 loose books, I swear it felt like I made thousands. That being said I'm very happy with the finished product. Tello is the name of the future shop keeper who will be taking over, Clive was just standing in for these photos.
Resting Wolf Gray Wolves West Yellowstone Montana Winter Snow Wolfpack Sony A1 ILCE-1 Fine Art Wolf Apex Predator Photography! Canis Lupus Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G Elliot McGucken
I had great fun photographing wolves, bears, and eagles with the awesome Sony Alpha 1 and two of my favorite Sony Gmaster lenses -- the 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G and the Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G ! The Sony A1 is the best wildlife I have ever used!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
Antanas Gustaitis (March 26, 1898 – October 16, 1941) was an officer in the Lithuanian Armed Forces who modernized the Lithuanian Air Force, which at that time was part of the Lithuanian Army. He was the architect or aeronautical engineer who undertook the task to design and construct several military aircraft before WWII broke out.
Gustaitis was born in the village of Obelinė, in Javaravas county, in the Marijampolė district. He attended high school in Yaroslavl, and from there studied at the Institute of Engineering and School of Artillery in Petrograd. After joining the Lithuanian Army in 1919, he graduated from the School of Military Aviation as a Junior Lieutenant in 1920. Later that year, he saw action in the Polish-Lithuanian War. By 1922 he began to train pilots, and later became the head of the training squadron. He also oversaw the construction of aircraft for Lithuania in Italy and Czechoslovakia. Gustaitis was one of the founding members of the Aero Club of Lithuania, and later its Vice-President. He did much to promote aviation among the young people in Lithuania, especially concerning the sport of gliding. He also won the Lithuanian Chess Championship in 1922.
Between 1925 and 1928, Gustaitis studied aeronautical engineering in Paris. After his graduation he returned to Lithuania and was promoted to deputy Commander-in-Chief of Military Aviation and made chief of the Aviation Workshop (Karo Aviacijos Tiekimo Skyrius) in Kaunas. During this time, he reorganized the workshop and expanded its capability to repair aircraft as well. The aircraft he designed were named ANBO, an acronym for "Antanas Nori Būti Ore", which literally means “Antanas wants to be in the air” in Lithuanian.
Between 1925 and 1939, the ANBO design bureau developed, built and flew several trainers, reconnaissance and even fighter aircraft for the Lithuanian air force. The last projects, the ANBO VIII, a light single-engine reconnaissance bomber, and the ANBO IX, a single-seat fighter, were the most ambitious.
The ANBO IX started in 1935 as a light low-wing design with spatted, fixed landing gear and an open cockpit, powered by a British Bristol Mercury 830 hp (619 kW) 9-cylinder radial engine – a very clean all-metal design, outwardly not unlike the contemporary Japanese Nakajima Ki-27 or the Dutch Fokker D.XXI, but a much more modern construction.
A first prototype had been completed in summer 1936 and it flew for the first time on 1st of August, with good flight characteristics, but Gustaitis was not satisfied with the aircraft anymore. More powerful and aerodynamically more efficient engines had become available, and a retractable landing gear would improve the performance of the ANBO IX even more, so that the aircraft was heavily modified during the rest of the year.
The large Mercury was replaced with a Pratt & Whitney R-1535 Twin Wasp Junior, a two-row 14-cylinder radial engine with 825 hp and a much smaller frontal area that allowed the ANBO IX’s cowling to be wrapped much tighter around the engine than the Mercury’s former Townend ring, leading to a very aerodynamic overall shape. The oil cooler, formerly mounted starboard flank in front of the cockpit, was moved into a mutual fairing with the carburetor intake under the fuselage behind the engine.
The wings had to be modified to accommodate a retractable main landing gear: to make space for suitable wells, the inner wing section in front of the main spar was deepened, resulting in a kinked leading edge of the wing. The landing gear retracted inwards and was initially completely covered. The tail remained fixed, though, even though the former simple tailskid was replaced with a pressurized rubber wheel for better handling on paved runways.
These measures alone improved the ANBO IX’s top speed by 25 mph (40 km/h), and to improve the pilot’s working conditions the originally open cockpit with just a windscreen and a small headrest fairing was covered with a fully closed clear canopy and an enlarged aerodynamic spinal fairing that ended at the fin’s base. This additional space was used to introduce another contemporary novel feature on board: a radio set.
Together with some other refinements on a second prototype (e. g. a smaller diameter of the front fuselage section, an even more streamlined cowling that now also covered two synchronized machine guns above the engine and a recontoured wing/fuselage intersection), which flew in September 1937, top speed rose by another 6 mph (10 km/h) from 460 km/h (285 mph) of the original aircraft to a competitive 510 km/h (317 mph) that put the ANBO IX on a par with many other contemporary European fighter aircraft.
In this form the ANBO IX was cleared for production in early 1938, even though the desired R-1535 Twin Wasp Junior was not cleared for export or license production. With the Manfréd Weiss WM K.14 engine from Hungary, a derivative of the French Gnôme-Rhône 14 K with 900 hp, a similar, even slightly more powerful replacement could be quickly found, even though the adaptation of the airframe to the different powerplant delayed production by four months. Beyond a new engine mount, the machine guns in the fuselage and its synchronization gearbox had to be deleted, but the weapons could be moved into the outer wings, so that a total of four machine guns as main armament was retained. Additionally, a single ventral hardpoint was added that could either carry a single bomb with its respective shackles or – more frequently – a drop tank that extended the fighter’s rather limited range.
The Lithuanian air force ordered fifty of these machines, primarily to replace its Fiat CR.20 biplane fighters, and several regional export customers like Finland, Estonia and Bulgaria showed interest in the modern ANBO IX, too. Due to the complex all-metal airframe and limited workshop capacities, however, production started only slowly.
The first batch of six ANBO IXs arrived at Lithuanian frontline units in November 1939, more were in the ANBO workshops in Kaunas at that time in various stages of assembly. In 1940, the Lithuanian Air Force consisted of eight Air Squadrons, including reconnaissance, fighter, bomber and training units. However, only the 5th fighter squadron had by the time enough ANBO IXs and trained pilots to be fully operational with the new type. Air Force bases had been established in the cities and towns of Kaunas/Žagariškės, Šiauliai /Zokniai (Zokniai airfield), Panevėžys /Pajuostis. In the summertime, airports in the cities of Palanga and Rukla were also used. A total of 117 aircraft and 230 pilots and observers were listed in the books at that time, but less than ten of them were modern ANBO IX fighters, and probably only half of them were actually operational.
Following the Soviet occupation of Lithuania, however, the Lithuanian Air Force was formally disbanded on October 23, 1940. Part of Lithuanian Air Force (77 senior officers, 72 junior officers, 59 privates, 20 aircraft) was reorganized into Red Army's 29th Territorial Rifle Corps Aviation, also referred to as National Squadron (Tautinė eskadrilė). Other planes and equipment were taken over by Red Army's Air Force Bases No. 13 and 213. About third of Tautinė eskadrilė's personnel latter suffered repressions by Soviet authorities, significant share joined June uprising, after the start of German invasion into Soviet Union several pilots of Tautinė eskadrilė and fewer than six planes withdrew with the Soviet army.
General characteristics:
Crew: 1
Length: 7.71 m (25 ft 2¾ in)
Wingspan: 10.22 m (33 ft 5¾ in)
Wing area: 16 m2 (170 sq ft)
Height: 2.62 m (8 ft 7 in)
Empty weight: 2,070 kg (4,564 lb)
Gross weight: 2,520 kg (5,556 lb)
Powerplant:
1× Manfred Weiss WM K.14 (Gnome-Rhône 14Kfrs Mistral-Major) 14-cyinder air-cooled radial
piston engine with 647 kW (900 hp), driving a 3-bladed constant-speed metal propeller
Performance:
Maximum speed: 510 km/h (320 mph, 280 kn)
Minimum control speed: 113 km/h (70 mph, 61 kn)
Range: 730 km (450 mi, 390 nmi) on internal fuel
1.000 km (621 mi, 543 nmi) with 300 l drop tank
Service ceiling: 10.000 m (33,000 ft)
Time to altitude: 4'41" to 5,000 meters
Wing loading: 157,5 kg/m² (32.7 lb/sq ft)
Power/mass: 3.89 kg/kW (6.17 lb/hp)
Take-off run to 8 m (26 ft): 270 m (886 ft)
Landing run from 8 m (26 ft): 340 m (1,115 ft)
Armament:
4x 7.7 mm (0.303 in) fixed forward-firing M1919 Browning machine guns with 500 rpg
in the outer wings
1x ventral hardpoint for a single 250 kg (550 lb) bomb or a 300 l (66 imp gal) drop tank
The kit and its assembly:
This small aircraft model is the result of a spontaneous kitbashing flash, when I dug through the sprue piles and the spares box. It started with a leftover fuselage from a Mistercraft PZL P-7 fighter, and further searches revealed the wings from a PM Model Fokker D.XXI and the sawn-off wings from a Hobby Boss MS.406. The sprue stash came up with other useful parts like small stabilizers and a landing gear – and it turned out to be the rest of the MS.406, which had originally been butchered to be mated with the P-7 wings to become my fictional Polish RWD-24 fighter prototype. So, as a serious recycling project, I decided to accept the challenge and use the remains of the P-7 and the MS.406 to create a “counterpart” to the RWD-24, and it became the fictional ANBO IX.
While the ingredients for a basic airframe were now available, some parts were still missing. Most important: an engine. One option was an early Merlin, left over from a Spitfire, but due to the circular P-7 fuselage I preferred a radial engine. With the cowling from a Japanese Mitsubishi Ha-102 two-row radial (from an Airfix Ki-46 “Dinah”) I found a suitable and very streamlined donor, which received a small three-blade propeller with a scratched spinner on a metal axis inside.
The cockpit and the canopy caused more headaches, because the P-7 has an open cockpit with a rather wide opening. For a fighter with a retractable landing gear this would hardly work anymore and finding a solution as well as a suitable donor piece took a while. I initially wanted to use a kind of bubble canopy (with struts, so that it would not look too modern), but eventually rejected this because the proportions would have looked odd – and the overall style would have been too modern.
So I switched to an early Spitfire canopy, which had a good size for the small aircraft, even though it called for a spinal fairing – the latter became the half from a drop tank (IIRC from an Airfix P-61?).
Lots of PSR was necessary everywhere to blend the disparate parts together. The cockpit opening had to be partly filled and reshaped, blending both canopy and spine into the hull took several layers.
The area in front of the cockpit (originally holding the P-7’s shoulder-mounted wings) had to be re-sculpted and blended into the Ki-46 cowling.
The ventral area between the wings had also to be fully sculpted with putty, and huge gaps along the wing roots on the wings’ upper surfaces had to be filled and formed, too. No wonder that many surface details disappeared along the way… Nevertheless, the effort was worthwhile, because the resulting airframe, esp. the sleek fuselage, looks very aerodynamic, almost like a Thirties air speed record contender?
Painting and markings:
This is where the real trouble came to play. It took a while to find a suitable/authentic paint scheme for a pre-WWII Lithuanian aircraft, and I took inspiration from mid-Thirties Letov S.20 biplane fighters and the real ANBO VIII light bomber prototype. Apparently, a two-tone camouflage in two shades of green were an option, even though the tones appear debatable. The only real-life reference was a b/w picture of an S.20, and it showed a good contrast between the greens, so that my first choice were Humbrol 120 (FS 34227) and 172 (Satin Dark Green). However: 120 turned out to be much too pale, and the 172 had a somewhat grainy consistency. Leaving a horrible finish on the already less-than-perfect PSR mess of the model.
With a heavy heart I eventually decided to remove the initial coat of enamel paint with a two-day bath in foamed oven cleaner, which did the job but also worked on the putty. Disaster struck when one wing came loose while cleaning the model, and the canopy came off, too…
Repairs were possible, but did not improve the model’s surface finish – but I eventually pulled a second coat of paint through, this time with slightly different green tones: a mix of Humbrol 80 (Grass Green) and Revell 360 (fern Green), resulting in a rich but rather yellow-ish tone, and Humbrol 245 (RLM 75, Graugrün), as a subdued contrast. The result, though, reminded a lot of Finnish WWII aircraft, so that I gave the aircraft an NMF cowling (again inspired by the ANBO VIII prototype) and a very light grey (Modelmaster 2077, RLM 63) underside with a low waterline. This gave the model a somewhat Italian touch?
The national markings came from two different Blue Rider decal sheets for modern Lithuanian aircraft, the tactical code and the knight helmet as squadron emblem came from a French Dewoitine D.520 (PrintScale sheet).
After a black ink washing the kit received light panel post-shading to virtually restore some of the missing surface details, some weathering with Tamiya Smoke and silver was done and the model received a final overall coat of matt acrylic varnish.
Well, I am not happy with the outcome – mostly because of the painting mishaps and the resulting collateral damage overall. However, the kitbashed aircraft looks pretty conclusive and plays the role of one of the many European pre-WWII monoplane fighters with modern features like a retractable landing gear and a closed canopy well, it’s a very subtle result.
Prague - visited in dez. 2005. Historical Halls of the Strahov Library. Impressive view through time tunnel... Go there! :-) www.strahovmonastery.cz/
Thanks for being in Flickr Explore! bighugelabs.com/flickr/scout.php?username=44547563@N00&am...
Controlled books at Barnes and Noble November 2006
I asked why these books are all behind the counter, the answer is beacause these are what is most commonly stolen from the store.
Noted
The Absolute Sandman, Vol. 1 by Neil Gaiman, Sam Kieth, Mike Dringenberg, and Charles Vess
Choke by Chuck Palahniuk
Almost anything else by Chuck Palahniuk
Dungeons and Dragons books
i111306 188
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
Antanas Gustaitis (March 26, 1898 – October 16, 1941) was an officer in the Lithuanian Armed Forces who modernized the Lithuanian Air Force, which at that time was part of the Lithuanian Army. He was the architect or aeronautical engineer who undertook the task to design and construct several military aircraft before WWII broke out.
Gustaitis was born in the village of Obelinė, in Javaravas county, in the Marijampolė district. He attended high school in Yaroslavl, and from there studied at the Institute of Engineering and School of Artillery in Petrograd. After joining the Lithuanian Army in 1919, he graduated from the School of Military Aviation as a Junior Lieutenant in 1920. Later that year, he saw action in the Polish-Lithuanian War. By 1922 he began to train pilots, and later became the head of the training squadron. He also oversaw the construction of aircraft for Lithuania in Italy and Czechoslovakia. Gustaitis was one of the founding members of the Aero Club of Lithuania, and later its Vice-President. He did much to promote aviation among the young people in Lithuania, especially concerning the sport of gliding. He also won the Lithuanian Chess Championship in 1922.
Between 1925 and 1928, Gustaitis studied aeronautical engineering in Paris. After his graduation he returned to Lithuania and was promoted to deputy Commander-in-Chief of Military Aviation and made chief of the Aviation Workshop (Karo Aviacijos Tiekimo Skyrius) in Kaunas. During this time, he reorganized the workshop and expanded its capability to repair aircraft as well. The aircraft he designed were named ANBO, an acronym for "Antanas Nori Būti Ore", which literally means “Antanas wants to be in the air” in Lithuanian.
Between 1925 and 1939, the ANBO design bureau developed, built and flew several trainers, reconnaissance and even fighter aircraft for the Lithuanian air force. The last projects, the ANBO VIII, a light single-engine reconnaissance bomber, and the ANBO IX, a single-seat fighter, were the most ambitious.
The ANBO IX started in 1935 as a light low-wing design with spatted, fixed landing gear and an open cockpit, powered by a British Bristol Mercury 830 hp (619 kW) 9-cylinder radial engine – a very clean all-metal design, outwardly not unlike the contemporary Japanese Nakajima Ki-27 or the Dutch Fokker D.XXI, but a much more modern construction.
A first prototype had been completed in summer 1936 and it flew for the first time on 1st of August, with good flight characteristics, but Gustaitis was not satisfied with the aircraft anymore. More powerful and aerodynamically more efficient engines had become available, and a retractable landing gear would improve the performance of the ANBO IX even more, so that the aircraft was heavily modified during the rest of the year.
The large Mercury was replaced with a Pratt & Whitney R-1535 Twin Wasp Junior, a two-row 14-cylinder radial engine with 825 hp and a much smaller frontal area that allowed the ANBO IX’s cowling to be wrapped much tighter around the engine than the Mercury’s former Townend ring, leading to a very aerodynamic overall shape. The oil cooler, formerly mounted starboard flank in front of the cockpit, was moved into a mutual fairing with the carburetor intake under the fuselage behind the engine.
The wings had to be modified to accommodate a retractable main landing gear: to make space for suitable wells, the inner wing section in front of the main spar was deepened, resulting in a kinked leading edge of the wing. The landing gear retracted inwards and was initially completely covered. The tail remained fixed, though, even though the former simple tailskid was replaced with a pressurized rubber wheel for better handling on paved runways.
These measures alone improved the ANBO IX’s top speed by 25 mph (40 km/h), and to improve the pilot’s working conditions the originally open cockpit with just a windscreen and a small headrest fairing was covered with a fully closed clear canopy and an enlarged aerodynamic spinal fairing that ended at the fin’s base. This additional space was used to introduce another contemporary novel feature on board: a radio set.
Together with some other refinements on a second prototype (e. g. a smaller diameter of the front fuselage section, an even more streamlined cowling that now also covered two synchronized machine guns above the engine and a recontoured wing/fuselage intersection), which flew in September 1937, top speed rose by another 6 mph (10 km/h) from 460 km/h (285 mph) of the original aircraft to a competitive 510 km/h (317 mph) that put the ANBO IX on a par with many other contemporary European fighter aircraft.
In this form the ANBO IX was cleared for production in early 1938, even though the desired R-1535 Twin Wasp Junior was not cleared for export or license production. With the Manfréd Weiss WM K.14 engine from Hungary, a derivative of the French Gnôme-Rhône 14 K with 900 hp, a similar, even slightly more powerful replacement could be quickly found, even though the adaptation of the airframe to the different powerplant delayed production by four months. Beyond a new engine mount, the machine guns in the fuselage and its synchronization gearbox had to be deleted, but the weapons could be moved into the outer wings, so that a total of four machine guns as main armament was retained. Additionally, a single ventral hardpoint was added that could either carry a single bomb with its respective shackles or – more frequently – a drop tank that extended the fighter’s rather limited range.
The Lithuanian air force ordered fifty of these machines, primarily to replace its Fiat CR.20 biplane fighters, and several regional export customers like Finland, Estonia and Bulgaria showed interest in the modern ANBO IX, too. Due to the complex all-metal airframe and limited workshop capacities, however, production started only slowly.
The first batch of six ANBO IXs arrived at Lithuanian frontline units in November 1939, more were in the ANBO workshops in Kaunas at that time in various stages of assembly. In 1940, the Lithuanian Air Force consisted of eight Air Squadrons, including reconnaissance, fighter, bomber and training units. However, only the 5th fighter squadron had by the time enough ANBO IXs and trained pilots to be fully operational with the new type. Air Force bases had been established in the cities and towns of Kaunas/Žagariškės, Šiauliai /Zokniai (Zokniai airfield), Panevėžys /Pajuostis. In the summertime, airports in the cities of Palanga and Rukla were also used. A total of 117 aircraft and 230 pilots and observers were listed in the books at that time, but less than ten of them were modern ANBO IX fighters, and probably only half of them were actually operational.
Following the Soviet occupation of Lithuania, however, the Lithuanian Air Force was formally disbanded on October 23, 1940. Part of Lithuanian Air Force (77 senior officers, 72 junior officers, 59 privates, 20 aircraft) was reorganized into Red Army's 29th Territorial Rifle Corps Aviation, also referred to as National Squadron (Tautinė eskadrilė). Other planes and equipment were taken over by Red Army's Air Force Bases No. 13 and 213. About third of Tautinė eskadrilė's personnel latter suffered repressions by Soviet authorities, significant share joined June uprising, after the start of German invasion into Soviet Union several pilots of Tautinė eskadrilė and fewer than six planes withdrew with the Soviet army.
General characteristics:
Crew: 1
Length: 7.71 m (25 ft 2¾ in)
Wingspan: 10.22 m (33 ft 5¾ in)
Wing area: 16 m2 (170 sq ft)
Height: 2.62 m (8 ft 7 in)
Empty weight: 2,070 kg (4,564 lb)
Gross weight: 2,520 kg (5,556 lb)
Powerplant:
1× Manfred Weiss WM K.14 (Gnome-Rhône 14Kfrs Mistral-Major) 14-cyinder air-cooled radial
piston engine with 647 kW (900 hp), driving a 3-bladed constant-speed metal propeller
Performance:
Maximum speed: 510 km/h (320 mph, 280 kn)
Minimum control speed: 113 km/h (70 mph, 61 kn)
Range: 730 km (450 mi, 390 nmi) on internal fuel
1.000 km (621 mi, 543 nmi) with 300 l drop tank
Service ceiling: 10.000 m (33,000 ft)
Time to altitude: 4'41" to 5,000 meters
Wing loading: 157,5 kg/m² (32.7 lb/sq ft)
Power/mass: 3.89 kg/kW (6.17 lb/hp)
Take-off run to 8 m (26 ft): 270 m (886 ft)
Landing run from 8 m (26 ft): 340 m (1,115 ft)
Armament:
4x 7.7 mm (0.303 in) fixed forward-firing M1919 Browning machine guns with 500 rpg
in the outer wings
1x ventral hardpoint for a single 250 kg (550 lb) bomb or a 300 l (66 imp gal) drop tank
The kit and its assembly:
This small aircraft model is the result of a spontaneous kitbashing flash, when I dug through the sprue piles and the spares box. It started with a leftover fuselage from a Mistercraft PZL P-7 fighter, and further searches revealed the wings from a PM Model Fokker D.XXI and the sawn-off wings from a Hobby Boss MS.406. The sprue stash came up with other useful parts like small stabilizers and a landing gear – and it turned out to be the rest of the MS.406, which had originally been butchered to be mated with the P-7 wings to become my fictional Polish RWD-24 fighter prototype. So, as a serious recycling project, I decided to accept the challenge and use the remains of the P-7 and the MS.406 to create a “counterpart” to the RWD-24, and it became the fictional ANBO IX.
While the ingredients for a basic airframe were now available, some parts were still missing. Most important: an engine. One option was an early Merlin, left over from a Spitfire, but due to the circular P-7 fuselage I preferred a radial engine. With the cowling from a Japanese Mitsubishi Ha-102 two-row radial (from an Airfix Ki-46 “Dinah”) I found a suitable and very streamlined donor, which received a small three-blade propeller with a scratched spinner on a metal axis inside.
The cockpit and the canopy caused more headaches, because the P-7 has an open cockpit with a rather wide opening. For a fighter with a retractable landing gear this would hardly work anymore and finding a solution as well as a suitable donor piece took a while. I initially wanted to use a kind of bubble canopy (with struts, so that it would not look too modern), but eventually rejected this because the proportions would have looked odd – and the overall style would have been too modern.
So I switched to an early Spitfire canopy, which had a good size for the small aircraft, even though it called for a spinal fairing – the latter became the half from a drop tank (IIRC from an Airfix P-61?).
Lots of PSR was necessary everywhere to blend the disparate parts together. The cockpit opening had to be partly filled and reshaped, blending both canopy and spine into the hull took several layers.
The area in front of the cockpit (originally holding the P-7’s shoulder-mounted wings) had to be re-sculpted and blended into the Ki-46 cowling.
The ventral area between the wings had also to be fully sculpted with putty, and huge gaps along the wing roots on the wings’ upper surfaces had to be filled and formed, too. No wonder that many surface details disappeared along the way… Nevertheless, the effort was worthwhile, because the resulting airframe, esp. the sleek fuselage, looks very aerodynamic, almost like a Thirties air speed record contender?
Painting and markings:
This is where the real trouble came to play. It took a while to find a suitable/authentic paint scheme for a pre-WWII Lithuanian aircraft, and I took inspiration from mid-Thirties Letov S.20 biplane fighters and the real ANBO VIII light bomber prototype. Apparently, a two-tone camouflage in two shades of green were an option, even though the tones appear debatable. The only real-life reference was a b/w picture of an S.20, and it showed a good contrast between the greens, so that my first choice were Humbrol 120 (FS 34227) and 172 (Satin Dark Green). However: 120 turned out to be much too pale, and the 172 had a somewhat grainy consistency. Leaving a horrible finish on the already less-than-perfect PSR mess of the model.
With a heavy heart I eventually decided to remove the initial coat of enamel paint with a two-day bath in foamed oven cleaner, which did the job but also worked on the putty. Disaster struck when one wing came loose while cleaning the model, and the canopy came off, too…
Repairs were possible, but did not improve the model’s surface finish – but I eventually pulled a second coat of paint through, this time with slightly different green tones: a mix of Humbrol 80 (Grass Green) and Revell 360 (fern Green), resulting in a rich but rather yellow-ish tone, and Humbrol 245 (RLM 75, Graugrün), as a subdued contrast. The result, though, reminded a lot of Finnish WWII aircraft, so that I gave the aircraft an NMF cowling (again inspired by the ANBO VIII prototype) and a very light grey (Modelmaster 2077, RLM 63) underside with a low waterline. This gave the model a somewhat Italian touch?
The national markings came from two different Blue Rider decal sheets for modern Lithuanian aircraft, the tactical code and the knight helmet as squadron emblem came from a French Dewoitine D.520 (PrintScale sheet).
After a black ink washing the kit received light panel post-shading to virtually restore some of the missing surface details, some weathering with Tamiya Smoke and silver was done and the model received a final overall coat of matt acrylic varnish.
Well, I am not happy with the outcome – mostly because of the painting mishaps and the resulting collateral damage overall. However, the kitbashed aircraft looks pretty conclusive and plays the role of one of the many European pre-WWII monoplane fighters with modern features like a retractable landing gear and a closed canopy well, it’s a very subtle result.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today we are just a short distance from Cavendish Mews, in the artistic and bohemian suburb of Bloomsbury, where Lettice is visiting the pied-à-terre* of Phoebe Chambers, niece and ward of Lady Gladys Caxton. Through her social connections, Lettice’s Aunt Egg contrived an invitation for Lettice to an amusing Friday to Monday long weekend party held by Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their weekend parties at their Scottish country estate, Gossington, and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John. Over the course of the weekend, Lettice was coerced into accepting Lady Glady’s request that she redecorate Phoebe’s small London flat. Phoebe, upon coming of age inherited the flat, which had belonged to her parents, Reginald and Marjorie Chambers, who died out in India when Phoebe was still a little girl. The flat was held in trust by Lady Gladys until her ward came of age. When Phoebe decided to pursue a career in garden design and was accepted by a school in London closely associated with the Royal Society, she started living part time in Bloomsbury. Lady Gladys feels that the flat is too old fashioned and outdated for a young girl like Phoebe. When Lettice agreed to take on the commission, Lady Gladys said she would arrange a time for Lettice to inspect the flat the next time Lady Gladys was in London. Now the day has arrived.
Having heard from Lady Gladys over the course of the weekend party in Gossington that Phoebe’s pied-à-terre had been shut up for years and was in a somewhat neglected state of affairs, she expected it to be not unlike the study she recently saw at Arkwright Bury in Wiltshire, the home of Mr. and Mrs. Gifford: a room which she has also agreed to redecorate. However, unlike the musty, dust filled and forgotten study, shut up and stuffed with an odd assortment of bits and pieces and boxes of junk, Lettice is pleasantly surprised to find Pheobe’s flat remarkably cosy. Although too small for her own liking and tastes, Lettice can see how a small flat like this would suit an independent girl like Pheobe. It has one bedroom with an adjoining dressing room, a small kitchenette and a bathroom in addition to the drawing room she stands in now. Traces of the studious and serious Phoebe are everywhere with piles of books stacked on footstools and occasional tables and a cluttered desk buried under books and notes from her studies. The general feel of the flat is comfortable, studious clutter, and whilst Lettice cannot deny that the pre-war furnishings are a little outdated, they seem to be perfectly functional for Pheobe, who appears far more concerned about and focussed upon reading her collection of horticulture books and referring to her notes written in a neat hand, rather than the pattern or design of the sofa or chairs upon which she perches.
“So these are your friends from your horticulture course, Pheobe?” Lettice asks as she stands before the small coal fireplace that heats the drawing room and stares at the unframed photographs on its narrow mantle shelf which jostle for space with one another and packets of flower seeds. When Phoebe nods shallowly in a timid manner, Lettice takes a moment to look more closely at them. They are women of around Lettice’s age, all different sizes and shapes as they pose on a pier in an undisclosed seaside town, in front of a formal building which Lettice assumes is likely to be the Royal Horticulture Society and a final one where four girls pose in their bathing costumes at a lido. Phoebe is not amongst their number, Lettice observes. “You aren’t with them, Pheobe?”
“I prefer to take photographs.” Pheobe mumbles.
“Do you like photography, Pheobe?”
Pheobe nods shallowly again, and then mutters, “I prefer plants.”
Lettice smiles as she turns back to the photographs and goes on gingerly, so as not to frighten the mousey Pheobe, “Well, all your friends look like quite a jolly crew. Do you get along well with them all?” Phoebe doesn’t reply, but nods quickly again, causing the halo of blonde wispy curls around her face to bounce about and take on a lithe and lively life of their own.
“Here we are then!” comes Lady Glady’s booming voice cheerfully as she sails into the cluttered room, a sweep of lavender, lace and winking diamonds and faceted glass beads. “Tea for three.” She deposits a galleried silver tray topped with tea making paraphernalia onto an ornately decorated Edwardian tea table of mahogany standing between two armchairs upholstered in peach floral brocade and an upright backed chair upholstered in cream satin. “I can still find the tea things, even after not having lived here for more than a decade,” She looks pointedly at Pheobe. “Which just confirms my suspicions.”
“And what suspicions are those, Lady Gladys?” Lettice asks.
“Ah-ah!” the older woman wags her finger admonishing at Lettice. “We may not be at Gossington, my dear, but remember that I am still a Fabian**, and Fabianism is not bound by walls. We are egalitarian, Lettice. We are all on a first name basis.”
“Sorry,” Lettice apologises, lowering her head in admonishment. “Old habits die hard, Gladys.”
“Never mind, dear.” Lady Gladys reaches out and rubs Lettice’s shoulder comfortingly.
“What suspicions were you referring to, Auntie Gladys?” Phoebe asks, uttering the most words Lettice has heard her say since she and Lady Gladys arrived.
“The suspicion, Pheobe dear,” The older woman raises one of her diamond ring encrusted hands up to her niece’s face and tugs gently on her chin, teasingly. “And don’t call me Auntie. You know I don’t like it!” she scolds.
“No Gladys.” Pheobe replies, lowering her head.
“The suspicion is, Pheobe, that this flat is more of a mausoleum to Reginald and Marjorie’s memory, rather than a place for you to live in.”
“Where things were left by my parents makes sense to me, Gladys.”
“Well, be that as it may,” Lady Gladys says with a serious look clouding her jowly face. “It’s unhealthy to live in the shadows of two people who have been dead for many, many years.”
Lettice glances anxiously at Pheobe, who in Lettice’s experience has only shown a demonstrative concern for her parents’ memories beyond her interest in plants. The way her aunt speaks about Pheobe’s parents, she worries the poor, fey girl will start to cry. However, to her surprise, she remains stoic and silent, her gaze falling to the polished floorboards and worn Indian carpet beneath her.
Lady Gladys glances up with a critical gaze at the two photographic studio portraits in oval frames hanging to either side of the fireplace. “Don’t you agree, Lettice?”
“Me?” Lettice gulps, not wishing to come between the older woman, her niece and the ghosts of both their pasts which are so complexly entwined. “Well I…”
However, before Lettice has to try and stumble her way through a stuttered response, Lady Gladys gasps, “The cake! I forgot the cake! It’s still in the kitchenette. We can’t have tea and not have cake, can we?” She asks rhetorically. She quickly sweeps out of the room again with heavy, clumping footsteps.
“I only call her Auntie when Gladys is being especially frustrating.” Phoebe whispers, her mouth ends perking up in a tentative smile. “Which is quite often, really.”
“Pheobe!” Lettice finds herself surprised that Phoebe can muster that much pluck to rebel against her domineering aunt.
“She hates me calling her Auntie because she thinks it ages her, and there are few things Gladys hates more than being reminded that she is old.”
“Phoebe!” Lettice gasps again, startled by the girl’s sudden daring streak.
“That’s why, aside from Nettie and a very select few others, Gladys won’t entertain anyone her own age. The last thing she wants is to become irrelevant.”
“Oh, she isn’t that vain, surely, Pheobe.”
Phoebe is about to counter Lettice’s remark when Lady Gladys strides back into the drawing room.
“Here we are then, my dears! Since I only pay my London housekeeper to keep house, and Mrs. Brookhurst is very particular about sticking to the assigned specifics designated in her role, Harrod’s finest comes to the rescue!” She places a beautifully light and golden Victoria sponge oozing jam and cream onto the tea table next to the pink Art Nouveau floral teapot.
“Not bake it yourself, Gladys?” Phoebe remarks saucily, glancing cheekily at Lettice from below her fluttering blonde lashes.
“I may have lived here once, Phoebe, but I wouldn’t remember how to use that old range in there.” Lady Gladys defends. “Besides, you know my opinion on household chores.” She looks at Lettice and goes on with a bright smile. “It is my opinion, which is to the contrary of what is written in story books, that cooking and cleaning are a guaranteed way to quash beauty, charm and wit in women. It’s why you’ll never see any of my heroines scrubbing pots and pans or dusting mantlepieces. I’ve yet to see a maid who, after a few years of service, doesn’t look as drab as an old worn bedsheet washed and put through the mangle one too many times.” She sinks onto an armchair dramatically. “My main readership consists of middle-class housewives and I suspect more than a few domestics. None of them want to read about a girl who skivvies away just like them. They want escape from the dull everyday through glamour, excitement and romance.”
“My maid reads your novels, Gladys. She was positively thrilled when she saw your name on the invitation to the weekend we had at Gossington.”
“Well, I must sign a spare copy of one of my latest novels for her when the redecoration is done, Lettice. Would she like that?”
“Oh I’m sure she’d love that, Gladys. Thank you.” Lettice replies with a smile as she takes a seat in a remarkably comfortable straight backed chair. “Thinking of Edith, she is only a plain cook, so I too, find Harrod’s Food Hall and catering service to be of great service.”
Lady Gladys nods in appreciation. “Not poured the tea yet, Pheobe?” she remarks critically as she watches her niece drape herself like a falling leaf into the armchair opposite the tea table and withdraw a black pencil marking the page in a large botanical studies book on roses before lowering her head towards it to read.
“You may be adverse to housework, Auntie Gladys, but you’re far better at playing hostess than me.” Phoebe responds with a tired sigh without looking up from the page.
“Don’t call me that, Phoebe.” Lady Gladys snaps irritably. “Anyway, you’d be far more adept at hosting, if you’d only try and make an effort to play the host a little, dear.”
Phoebe pointedly ignores her aunt’s whining protestations and runs the point of her pencil underneath a sentence in the description of a red dogwood rose, demonstrating how ardent her studies are.
“Very well then.” Lady Gladys says with a huff of irritation. “Shall I be mother*** then?”
Without waiting for a reply, Lady Gladys takes up a cup and pours in some strong tea before handing the cup to Lettice. She indicates with a sweeping gesture to the milk jug and sugar bowl, implying that Lettice should help herself. After pouring tea for Phoebe and herself, she slices the Victoria sponge, her knife gliding through the layers of soft cake, jam and cream.
As Lettice carefully pushes a pile of books so as not to topple them, to clear some space on the table to the left of her elbow to place her plate, Lady Gladys opines, “I do wish you’d made a little room for us, Phoebe dear. All these piles of books are most difficult to navigate. You knew we were coming today.”
“In case you don’t remember, Gladys,” Phoebe mutters testily from her book. “There isn’t any more room.”
“A lesser person might think you didn’t want us here, dear.” Lady Gladys goes on, a slightly hurt and clearly annoyed tone to her voice as she speaks.
Phoebe sighs as she reluctantly withdraws her head from the book she is studying. “As you well know, I’ve been busy attending my garden design classes, and besides, this arrangement suits me very well. Why should I change it?”
“Humph!” snorts Lady Gladys, frowning. She turns her attentions away from her niece, who has already returned her nose to her book, and focuses instead on Lettice. “Now, thinking of arrangements: my dear Lettice, what do you think? It’s a rather poky little place, isn’t it, and shabby?” She sighs. “But, it was Reginald and Marjorie’s intention to bequeath it to Phoebe.”
“Well,” Lettice begins, feeling rather awkward when being faced with Lady Glady’s overt criticism of the flat that belonged to her brother and sister-in-law. “I think it’s quite compact and charming.”
“Compact!” Lady Gladys snorts derisively. “Charming! Come, come, Lettice. There is no need for your diplomacy here, my dear. Let’s be honest: it’s old and shabby, and most things need flinging out into the street, and replacing with something newer, fresher and more stylish.”
“Oh, I wouldn’t be that dramatic, Gladys.” Lettice retorts.
“Nonsense, Lettice! The dustbin is where most of this old tatt should go. Out with the old, and in with the new. Eh?”
“Well, what do you think, Pheobe?”
When Pheobe’s head doesn’t rise from her book, and her wispy blonde curls continue to obscure her face, Lady Gladys goes on. “It’s no use trying to engage her my dear Lettice. Goodness knows I’ve tried.” She raises her voice and annunciates each syllable even more clearly than she was already doing with round vowels and clipped tones. “Pheobe could test the patience of a saint! She can hear us perfectly well, but as Phoebe seems to have abrogated her involvement in redecorating the flat, I see that like most things outside her life as a landscape gardener, I shall have to step in and fill her place and make the decisions, like usual.”
“I said I was happy with repainting the flat green. Isn’t that enough?” Phoebe grumbles, almost in a resigned whisper. “I’d rather the flat wasn’t disturbed whilst I’m studying for my latest round of horticulture exams.”
“Don’t worry, Phoebe dear.” Lady Gladys says with a dismissive wave of her bejewelled fingers. “We’ll organise it all to take place when there is a hiatus in your studies. Now,” She claps her hands and looks about her gleefully, like a small child with a shiny new toy, with sparkling eyes. “I think these can go for a start.” She starts bouncing up and down on her seat, the springs groaning in protest as dust motes emitted from the old armchair tumble and fly through the air around her. “Nasty old Edwardian things. Marjorie chose them of course, even though my dear Reginald wanted something a bit more up-to-date and fashionable. She always was frightfully dull and conservative, my sister-in-law.”
“Oh, I’m sure they are quite comfortable, Gladys.” Lettice begins. “With a little bit of respringing and some new fab…”
Lady Gladys stops Lettice speaking by holding up her hand in protest. “No, no! I won’t hear of these awful things being kept. They represent everything vulgar in Marjorie’s middling middle-class taste. No, fling them out!”
Lettice glances at Phoebe again, but the girl makes no move to interject.
“Didn’t I read about an eau de nil sofa and chairs in the Country Life article about your redecoration of the Channons house, Lettice?” Lady Gladys goes on unabated.
“Err… yes.” Lettice replies warily.
“Good. Then we’ll have an eau de nil suite here too. Quite fashionable and up-to-date! Excellent! Excellent!” Gladys toys excitedly with the violet faceted beads draped around her neck and down her front. “Now, of course being the bookish girl that she is, we’ll need something better than this rather haphazard arrangement,” She waves her hands about at the precariously balanced towers of books about the drawing room. “For her library.” She looks around. “There!” She points to a lovely old, stylised Art Nouveau china cabinet full of pretty Edwardian floral porcelain cups and saucers. “We’ll replace that monstrosity of the last decade with a new era bookcase. What do you say, Lettice?”
“Well perhaps we should…” Lettice begins as she turns once more to Pheobe’s halo of blonde curls.
“Don’t delegate decisions to Pheobe when I’m asking the question, Lettice!” Lady Gladys snaps sharply, causing Lettice to shudder involuntarily at the tone of her quip. “She’s clearly demonstrated that she isn’t interested, so I’m the one making decisions.”
“Of course, Gladys.” Lettice answers in quiet deference to the dominating woman. “A more modern bookshelf will be perfect there.”
“Splendid! Splendid!” Lady Gladys replies, rubbing her fingers together in glee. “I knew you’d see it my way, my dear. Everyone does,” She pauses. “Eventually.” She picks up her plate and scoops off a slice of cake with her fork and eats it. As Lady Gladys chews, her powdered and rouged cheeks expanding and contracting and her painted lips moving around rhythmically, Lettice can almost see the thoughts in her head as she glances around. Swallowing she eyes the two photographs to either side of the fireplace.
Following her gaze, Lettice quick says, “I have a great fondness for family photographs, Gladys. I think we should keep the photos of your brother and sister-in-law where they are in the new scheme. They are, after all,” She looks imploringly at Pheobe’s gently bobbing head, but she does not look up from the printed page. “Phoebe’s parents.”
“Yes of course, Lettice. Very good. Then there is that.” She points to the pretty Georgian desk in the corner of the room. “That desk was my brother’s, and is an old family heirloom. I’ll take that.”
Pheobe’s head suddenly shoots up from her books. “But that’s mine, Gladys. It was Father’s.”
Lady Gladys looks across at her niece with cool eyes. “I know it was dear.” She pauses for a moment and makes a show of sighing heavily for dramatic effect before continuing. “And I didn’t want to tell you this, but he really did want to leave it to me. I’ve just left it here out of ease. I’ll have it moved to the Belgravia when the redecoration starts.”
“But I thought you said that Mother and Father left me the flat and all its contents.” Phoebe exclaims, sitting upright in her seat, suddenly very alert and aware of everything going on around her, any appearance of nonchalance gone.
“Well, they did, dear.” Lady Gladys replies.
“Then it stays here, where it belongs.” Phoebe insists, a sudden anxiousness in her voice as she glances between Lettice and her aunt with startled eyes.
“But Reginald really did want me to have it, Phoebe dear.” Lady Gladys insists.
“But that’s the most poignant thing I have to remind me of Father.” Phoebe tries to protest.
“It was my father’s, and his father’s before him, and his before that, Pheobe. It should come to me, by rights. Don’t be selfish.”
“But… but I love it.” Tears begin to fill Pheobe’s pale blue eyes, making them sparkle and glitter. “It was… Father’s.”
“I see now, I should have removed it before you became attached to it,” Lady Gladys remarks, settling back comfortably into the armchair she seems so much to dislike and takes another scoop of cake, popping it into her mouth.
Lettice sees her moment to interject and pipes up, “I’m sure I could easily accommodate such a pretty and classical piece of furniture into my designs, Gladys. My style is Classical Revivalist, after all.”
“The desk is mine!” Lady Gladys commands in a sharp and raised voice that indicates she is not to be crossed on this matter, a few pieces of sponge not yet consumed flying from her mouth and through the air, landing in half chewed wet globs on the carpet. “This is not your concern, Lettice.” She forces a chuckle. “With all due respect of course.” She swivels her head back to her niece. “You heard Lettice. You will have your parents’ portraits retained as part of the redecoration. What could be more poignant than that?”
“But I…” Phoebe begins meekly.
“Don’t worry, Phoebe dear. Lettice will get you a much nicer, and bigger new desk as part of the design.” She sharply turns her head back to Lettice and eyes her with a hard stare. “Won’t you, Lettice?”
Lettice hears the undisguised warning in the older lady’s bristling tone of voice. “Yes, yes of course I will, Pheobe.” She answers brightly with a smile, but failing to obscure her awkwardness and regret as she utters the words which she does not want to air.
“That’s settled then.” Lady Gladys says with a smile, confirming the end to that particular part of the conversation about décor. “You’ll soon forget it, Pheobe dear. After all, until you came of age, you didn’t even know any of this existed.” She glances around the small drawing room of the flat. “And anyway, you’ll get it back when I die. Now, about curtains and carpets,” she adds, quickly changing the subject. “I think we’ll have new ones in more contemporary patterns, in shades of green, perhaps with a touch of blue or yellow, Lettice.”
“Yes, of course, Gladys.” Lettice answers in a deflated tone.
As Lady Gladys continues to talk unabated about her vision for the flat’s redecoration, Lettice listens in silence, occasionally nodding her polite ascent, even though the words just wash around her like the distant drone of London traffic. After meeting Lady Gladys at Gossington, Lettice had her suspicions that she had an underlying ulterior motive to her request for Lettice to redecorate the flat: to eradicate the presence of her deceased brother and sister-in-law from the place, and perhaps make them even more of a distant memory to Phoebe, who has spent more of her life growing up with Lady Gladys and her husband, than her parents. Although she could not pin it specifically to anything she had said or done, Lettice fancied that having raised Phoebe, Lady Gladys sees the memory of her dead brother and his wife as a threatening spectre in Pheobe’s and her own life. Now she knows her suspicions to be well founded, and clearly out in the open as Lady Gladys strips away almost every reminder of her brother and sister-in-law as she shares her wishes about the redecoration of the flat. She feels sick to her stomach as she glances over at Phoebe, who up until now has shown little emotion, as silent tears well in her eyes and spill down her pale cheeks.
*A pied-à-terre is a small flat, house, or room kept for occasional use.
**The Fabian Society is a British socialist organisation whose purpose is to advance the principles of social democracy and democratic socialism via gradualist and reformist effort in democracies, rather than by revolutionary overthrow. The Fabian Society was also historically related to radicalism, a left-wing liberal tradition.
***The meaning of the very British term “shall I be mother” is “shall I pour the tea?”
This rather ramshackle drawing room of the studious Phoebe Chambers may look real to you, but in fact it is made up entirely with pieces from my 1:12 miniatures collection, including pieces from my own childhood.
Fun things to look for in this tableau include:
Phoebe’s drawing room has a very studious look thanks to the many 1:12 size miniature books made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. Therefore, it is a pleasure to give you a glimpse inside one of the books he has made as it lies open on a footstool in the foreground, the page bookmarked by a pencil. It is a book of botanical prints by the renown botanical illustrator Pierre-Joseph Redouté (1759 – 1840). To give you an idea of the work that has gone into his volumes, the book contains fifty double sided pages of illustrations and text. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. He also made the packets of seeds seen on the mantlepiece and the bureau in the background, which once again are copies of real packets of Webbs seeds. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just two of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!
The floral Edwardian style armchairs are made by JaiYi miniatures, who are a high quality miniature furniture manufacturer, whilst the ornate Victorian tea table on which the tea set stands and the Art Nouveau china cabinet in the background were made by Bespaq miniatures, who are another high quality miniature furniture manufacturer. The two highly lacquered occasional tables in the mid and foreground I bought from a high street dolls’ house supplier when I was twelve. The dainty fringed footstool in the foreground with its tiny rose and leaf pattern ribbon trim was hand made and upholstered by a miniatures artisan in England. The armchair in the foreground with its serpentine arms I acquired from Kathleen Knight’s Doll House Shop in the United Kingdom.
The floral tea set on the tea table, I acquired through an online stockist on E-Bay, whilst the silver galleried tray comes from Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. The Victoria sponge (named after Queen Victoria) on the tea table and the slices of it on the plates on the occasional tables are made by Polly’s Pantry Miniatures in America.
The Georgian revival bureau to the left of the picture comes from Town Hall Miniatures. Made to very high standards, each drawer opens and closes. On the writing surface of the bureau sit miniature ink bottles and a quill pen made by the Little Green Workshop in England who specialise in high end, high quality miniatures. The ink bottles are made from a tiny faceted crystal beads and feature sterling silver bottoms and lids. The pencils on the bureau, acquired from Melody Jane’s Doll House Suppliers are 1:12 miniature as well, and are only one millimetre wide and two centimetres long. The French dome clock bookended by Ken Blythe volumes on top of the bureau is a 1:12 artisan miniature made by Hall’s Miniature Clocks, supplied through Doreen Jeffries Small Wonders Miniatures in England.
The wonderful Carlton Ware Rouge Royale jardiniere (featuring real asparagus fern fronds from my own garden) comes from Mick and Marie’s Miniatures in the United Kingdom.
Phoebe’s photos of her student friends on the mantlepiece are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The photos of Phoebe’s parents in the gilded round frames come from Melody Jane’s Doll’s House Suppliers in the United Kingdom. The floral picture in the round frame came from Kathleen Knight’s Doll House Shop in the United Kingdom.
The china tea set in the cabinet in the background I sourced through a miniatures supplier in Australia, whilst the silver pieces came from Warwick Miniatures in Ireland.
The oriental rug is a copy of a popular 1920s style Chinese silk rug and has been machine woven.
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Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
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I had great fun photographing wolves, bears, and eagles with the awesome Sony Alpha 1 and two of my favorite Sony Gmaster lenses -- the 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G and the Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G ! The Sony A1 is the best wildlife I have ever used!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
American Bald Eagle Olympic National Park Sony A1 ILCE-1 Fine Art Bald Eagle Bird Photography! Sony Alpha 1 Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G Topaz Denoise AI Washington Olympic Peninsula Coast! Elliot McGucken Fine Art Wildlife Eagle Photography Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!'
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
After joining the global U.N. Spacy union, Germany adopted the VF-1 in late 2008, it replaced the Eurofighter Typhoon interceptors as well as Tornado IDS and ECR fighter bombers. An initial delivery of 120 aircraft was completed until 2011, partially delayed by the outbreak of Space War One in 2009. This initial batch included 85 VF-1A single seaters, fourteen VF-1J fighters for commanders and staff leaders, and twenty VF-1D two-seaters for conversion training over Germany (even though initial Valkyrie training took place at Ataria Island). These machines were erratically registered under the tactical codes 26+01 to 26+99. Additionally, there was a single VF-1S (27+00) as a personal mount for the General der Luftwaffe.
The German single-seaters were delivered as multi-role fighters that could operate as interceptors/air superiority fighters as well as attack aircraft. Beyond the standard equipment they also carried a passive IRST sensor in front of the cockpit that allowed target acquisition without emitting radar impulses, a LRMTS (Laser Rangefinder and Marked Target Sensor) under the nose, a Weapon Delivery and Navigation System (WDNS) and an extended suite of radar warning sensors and ECM jammers.
After Space War I, attritions were replaced with a second batch of VF-1 single seaters in 2015, called VF-1L (for “Luftwaffe”). These machines had updated avionics and, among modifications, a laser target designator in a small external pod under the cockpit. About forty VF-1 survivors from the first batch were upgraded to this standard, too, and the VF-1Ls were registered under the codes 27+01 – 90.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The kit and its assembly:
This fictional VF-1 is more or less “only” a camouflage experiment, spawned by a recent discussion about the German Luftwaffe’s so-called “Norm ‘81” paint scheme that was carried by the F-4Fs during the Eighties and the early Nineties. It is one of the most complex standardized paint scheme I am aware of, consisting of no less than six basic shades of grey and applied in two different patterns (early variant with angled/splinter camouflage, later this was changed into more organic shapes).
I have built a fictional post-GDR MiG-21 with the Norm ’81 scheme some years ago, but had always been curious how a Macross VF-1 would look with it, or how it could be adapted to the F-14esque airframe?
Concerning the model, it’s another vintage ARII VF-1, in this case a VF-1J, built OOB and with the landing gear down and an open canopy. However, I added some small details like the sensors in front of the cockpit, RHAWS sensors and bulges for ECM equipment on the lower legs (all canonical). The ordnance was subtly changed, with just two AMM-1 missiles on each outer pylon plus small ECM pods on the lo hardpoint (procured from an 1:144 Tornado). The inner stations were modified to hold quadruple starters for (fictional) air-to-ground missiles, left over from a Zvezda 1:72 Ka-58 helicopter and probably depicting Soviet/Russian 9M119 “Svir” laser-guided anti-tank missiles, or at least something similar. At the model’s 1:100 scale they are large enough to represent domestic alternatives to AGM-65 Maverick missiles – suitable against Zentraedi pods and other large ground targets. The ventral GU-11 pod was modified to hold a scratched wire display for in-flight pictures. Some blade antennae were added as a standard measure to improve the simple kit’s look. The cockpit was taken OOB, I just added a pilot figure for the scenic shots and the thick canopy was later mounted on a small lift arm in open position.
Painting and markings:
This was quite a challenge: adapting the Norm’ 81 scheme to the swing-wing Valkyrie, with its folded legs and the twin tail as well as lacking the Phantom’s spine and bulged air intakes, was not easy, and I went for the most straightforward solution and simplified things on the VF-1’s short spine.
The Norm ‘81’s “official” colors are all RAL tones, and I decided to use these for an authentic lokk, namely:
RAL 7009 Grüngrau: Revell 67 (acrylic)
RAL 7012 Basaltgrau: Revell 77 (acrylic)
RAL 7039 Quarzgrau: Xtracolor X259 (enamel)
RAL 7037 Staubgrau: Xtracolor X258 (enamel)
RAL 7030 Steingrau: Revell 75 (enamel)
RAL 7035 Lichtgrau: Humbrol 196 (enamel)
This basically plan worked and left me with a very murky aircraft: Norm ’81 turned out to be a kind of all-propose camouflage that works well against both sky and ground, at least in the typical German climate, and especially good at medium to low altitude. RAL 7030, 7037 and 7039 appear like gradually darker shades of the basically same brownish grey hue, framed with darker contrast areas that appear either greenish or bluish.
However, the Xtracolor enamels turned out to be total sh!t: they lacked pigments in the glossy and translucent base and therefore ANY opacity, esp. on any edge, at least when you use a brush like me. Not certain if using an airbrush improves this? The result were uneven and rather thick areas of paint, not what I had hoped for. And the Revell 75 just did what I hate about the company's enamels: drying up prematurely with a gooey consistency, leaving visible streaks.
After a black ink wash, very light post-shading was added. I should have from the start tried to stick to the acrylics and also mix the Xtracolor tones from Revell acrylics, a stunt that turned during the weathering process (trying to hide the many blemishes) out to be quite feasible. RAL 7037 was mixed from Revell 47 plus 89 in a ~1:1 ratio, and RAL 7039 from Revell 47, 77 and 87 with a touch of 09. Nevertheless, the paint finish turned out sub-optimal, but some shading and weathering saved most of the mess – even I am not satisfied with the outcome, the model looks more weathered than intended (even though most operational German F-4Fs with this paint scheme looked quite shaggy and worn, making the different shades of grey almost undiscernible).
After some consideration I gave this German VF-1 full-color (yet small) "Kite" roundels, together with a German tactical code. German flags and a vintage JaboG 32 squadron badge decorate the fin - a plausible move, because there are British Valkyries in source books that carry RAF fin flashes. Stencils and other markings came from VF-1 OOB sheets.
Finally, after some typical highlights with clear paint over a silver base were added, and the small VF-1 was sealed with a coat of matt acrylic varnish.
A spontaneous interim project, with interesting results. The adapted Norm ’81 scheme works well on the VF-1, and it even is a contemporary design from the era when the original TV series was conceived and aired. With the authentic tones I’d call it quite ugly – even though I was amazed during the photo session how well the different shades of grey (four from above!) blend into each other and break up the aircraft’s outlines. If there were no red-and-white roundels or the orange pilot in the cockpit (chosen intentionally for some color contrast), the camouflage would be very effective! Not perfect, but another special member in my growing VF-1 model fleet. ^^
Brinkmann
Book :
Masahisa Fukase
Mack Books
2019
CD :
Brinkmann
トゥキヨゥ+ 1
Max Ernst
MAXE6
Sounds . Thomas Brinkmann + Akemi Shimada
iMusic :
Thomas Brinkmann + Akemi Shimada
Ikaria
Max Ernst
MAXE6
GMA Kazoku ...
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Continuing 2020 with something a bit different - time to raise the bar a little with typed up notes:)
So here I am - not quite a 15yr old who's just inherited a typewriter:)
I decided to practise my typing skills by transcribing some of my Heathrow logs, taken from my scruffy school notebooks.
Trails - overflights - contrails
Not only was I typing, I was even making good use of the red ribbon, indicating the overflights or 'trails' as we called them - and by that I mean logging the overflights that passed 30,000' above Heathrow, mostly on corridor Upper Green 1 (UG1), from memory! What we had discovered, was that some of the staff at the desks of the European airlines in Terminal 2 would, if asked nicely, give you registration tie-ups off their computer systems :) This made logging them much more rewarding.
What then developed was a philosophical argument as to whether these reg's 'counted' in the same way as seeing an aircraft at an airport - a never ending debate!
The log just records my 'cops' for the day, and here are the highlights from the log books
N447T - Transmeridian Air Cargo CL-44-0 - who remembers the Conroy Skymonster!
Four G2s - N6JW, N99GA, N819GA & A6-HHZ
and the overflights:
a real feast logged here with:
HL7317 Korean Airlines on the daily flight from Paris to New York [can't remember how I got the reg tie-up for this one]
N108RD, N109RD Airlift DC-8s
Plenty of Lufthansas, and a couple of MAC Starlifters 40642 & 67955
'Aircraft spotting or plane spotting is a hobby of tracking the movement of aircraft, which is often accomplished by photography. Besides monitoring aircraft, aircraft spotting enthusiasts (who are usually called plane spotters) also record information regarding airports, air traffic control communications and airline routes.'
See more here! en.wikipedia.org/wiki/Aircraft_spotting
You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/
The Chase: Gray Wolves Running! West Yellowstone Montana Wolves Winter Wolfpack Sony A1 ILCE-1 Fine Art Wolf Apex Predator Photography! Canis Lupus Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G West Yellowstone Snow! Elliot McGucken Fine Art Wildlife Alpha1
I had great fun photographing wolves, bears, and eagles with the awesome Sony Alpha 1 and two of my favorite Sony Gmaster lenses -- the 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G and the Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G ! The Sony A1 is the best wildlife I have ever used!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
Antanas Gustaitis (March 26, 1898 – October 16, 1941) was an officer in the Lithuanian Armed Forces who modernized the Lithuanian Air Force, which at that time was part of the Lithuanian Army. He was the architect or aeronautical engineer who undertook the task to design and construct several military aircraft before WWII broke out.
Gustaitis was born in the village of Obelinė, in Javaravas county, in the Marijampolė district. He attended high school in Yaroslavl, and from there studied at the Institute of Engineering and School of Artillery in Petrograd. After joining the Lithuanian Army in 1919, he graduated from the School of Military Aviation as a Junior Lieutenant in 1920. Later that year, he saw action in the Polish-Lithuanian War. By 1922 he began to train pilots, and later became the head of the training squadron. He also oversaw the construction of aircraft for Lithuania in Italy and Czechoslovakia. Gustaitis was one of the founding members of the Aero Club of Lithuania, and later its Vice-President. He did much to promote aviation among the young people in Lithuania, especially concerning the sport of gliding. He also won the Lithuanian Chess Championship in 1922.
Between 1925 and 1928, Gustaitis studied aeronautical engineering in Paris. After his graduation he returned to Lithuania and was promoted to deputy Commander-in-Chief of Military Aviation and made chief of the Aviation Workshop (Karo Aviacijos Tiekimo Skyrius) in Kaunas. During this time, he reorganized the workshop and expanded its capability to repair aircraft as well. The aircraft he designed were named ANBO, an acronym for "Antanas Nori Būti Ore", which literally means “Antanas wants to be in the air” in Lithuanian.
Between 1925 and 1939, the ANBO design bureau developed, built and flew several trainers, reconnaissance and even fighter aircraft for the Lithuanian air force. The last projects, the ANBO VIII, a light single-engine reconnaissance bomber, and the ANBO IX, a single-seat fighter, were the most ambitious.
The ANBO IX started in 1935 as a light low-wing design with spatted, fixed landing gear and an open cockpit, powered by a British Bristol Mercury 830 hp (619 kW) 9-cylinder radial engine – a very clean all-metal design, outwardly not unlike the contemporary Japanese Nakajima Ki-27 or the Dutch Fokker D.XXI, but a much more modern construction.
A first prototype had been completed in summer 1936 and it flew for the first time on 1st of August, with good flight characteristics, but Gustaitis was not satisfied with the aircraft anymore. More powerful and aerodynamically more efficient engines had become available, and a retractable landing gear would improve the performance of the ANBO IX even more, so that the aircraft was heavily modified during the rest of the year.
The large Mercury was replaced with a Pratt & Whitney R-1535 Twin Wasp Junior, a two-row 14-cylinder radial engine with 825 hp and a much smaller frontal area that allowed the ANBO IX’s cowling to be wrapped much tighter around the engine than the Mercury’s former Townend ring, leading to a very aerodynamic overall shape. The oil cooler, formerly mounted starboard flank in front of the cockpit, was moved into a mutual fairing with the carburetor intake under the fuselage behind the engine.
The wings had to be modified to accommodate a retractable main landing gear: to make space for suitable wells, the inner wing section in front of the main spar was deepened, resulting in a kinked leading edge of the wing. The landing gear retracted inwards and was initially completely covered. The tail remained fixed, though, even though the former simple tailskid was replaced with a pressurized rubber wheel for better handling on paved runways.
These measures alone improved the ANBO IX’s top speed by 25 mph (40 km/h), and to improve the pilot’s working conditions the originally open cockpit with just a windscreen and a small headrest fairing was covered with a fully closed clear canopy and an enlarged aerodynamic spinal fairing that ended at the fin’s base. This additional space was used to introduce another contemporary novel feature on board: a radio set.
Together with some other refinements on a second prototype (e. g. a smaller diameter of the front fuselage section, an even more streamlined cowling that now also covered two synchronized machine guns above the engine and a recontoured wing/fuselage intersection), which flew in September 1937, top speed rose by another 6 mph (10 km/h) from 460 km/h (285 mph) of the original aircraft to a competitive 510 km/h (317 mph) that put the ANBO IX on a par with many other contemporary European fighter aircraft.
In this form the ANBO IX was cleared for production in early 1938, even though the desired R-1535 Twin Wasp Junior was not cleared for export or license production. With the Manfréd Weiss WM K.14 engine from Hungary, a derivative of the French Gnôme-Rhône 14 K with 900 hp, a similar, even slightly more powerful replacement could be quickly found, even though the adaptation of the airframe to the different powerplant delayed production by four months. Beyond a new engine mount, the machine guns in the fuselage and its synchronization gearbox had to be deleted, but the weapons could be moved into the outer wings, so that a total of four machine guns as main armament was retained. Additionally, a single ventral hardpoint was added that could either carry a single bomb with its respective shackles or – more frequently – a drop tank that extended the fighter’s rather limited range.
The Lithuanian air force ordered fifty of these machines, primarily to replace its Fiat CR.20 biplane fighters, and several regional export customers like Finland, Estonia and Bulgaria showed interest in the modern ANBO IX, too. Due to the complex all-metal airframe and limited workshop capacities, however, production started only slowly.
The first batch of six ANBO IXs arrived at Lithuanian frontline units in November 1939, more were in the ANBO workshops in Kaunas at that time in various stages of assembly. In 1940, the Lithuanian Air Force consisted of eight Air Squadrons, including reconnaissance, fighter, bomber and training units. However, only the 5th fighter squadron had by the time enough ANBO IXs and trained pilots to be fully operational with the new type. Air Force bases had been established in the cities and towns of Kaunas/Žagariškės, Šiauliai /Zokniai (Zokniai airfield), Panevėžys /Pajuostis. In the summertime, airports in the cities of Palanga and Rukla were also used. A total of 117 aircraft and 230 pilots and observers were listed in the books at that time, but less than ten of them were modern ANBO IX fighters, and probably only half of them were actually operational.
Following the Soviet occupation of Lithuania, however, the Lithuanian Air Force was formally disbanded on October 23, 1940. Part of Lithuanian Air Force (77 senior officers, 72 junior officers, 59 privates, 20 aircraft) was reorganized into Red Army's 29th Territorial Rifle Corps Aviation, also referred to as National Squadron (Tautinė eskadrilė). Other planes and equipment were taken over by Red Army's Air Force Bases No. 13 and 213. About third of Tautinė eskadrilė's personnel latter suffered repressions by Soviet authorities, significant share joined June uprising, after the start of German invasion into Soviet Union several pilots of Tautinė eskadrilė and fewer than six planes withdrew with the Soviet army.
General characteristics:
Crew: 1
Length: 7.71 m (25 ft 2¾ in)
Wingspan: 10.22 m (33 ft 5¾ in)
Wing area: 16 m2 (170 sq ft)
Height: 2.62 m (8 ft 7 in)
Empty weight: 2,070 kg (4,564 lb)
Gross weight: 2,520 kg (5,556 lb)
Powerplant:
1× Manfred Weiss WM K.14 (Gnome-Rhône 14Kfrs Mistral-Major) 14-cyinder air-cooled radial
piston engine with 647 kW (900 hp), driving a 3-bladed constant-speed metal propeller
Performance:
Maximum speed: 510 km/h (320 mph, 280 kn)
Minimum control speed: 113 km/h (70 mph, 61 kn)
Range: 730 km (450 mi, 390 nmi) on internal fuel
1.000 km (621 mi, 543 nmi) with 300 l drop tank
Service ceiling: 10.000 m (33,000 ft)
Time to altitude: 4'41" to 5,000 meters
Wing loading: 157,5 kg/m² (32.7 lb/sq ft)
Power/mass: 3.89 kg/kW (6.17 lb/hp)
Take-off run to 8 m (26 ft): 270 m (886 ft)
Landing run from 8 m (26 ft): 340 m (1,115 ft)
Armament:
4x 7.7 mm (0.303 in) fixed forward-firing M1919 Browning machine guns with 500 rpg
in the outer wings
1x ventral hardpoint for a single 250 kg (550 lb) bomb or a 300 l (66 imp gal) drop tank
The kit and its assembly:
This small aircraft model is the result of a spontaneous kitbashing flash, when I dug through the sprue piles and the spares box. It started with a leftover fuselage from a Mistercraft PZL P-7 fighter, and further searches revealed the wings from a PM Model Fokker D.XXI and the sawn-off wings from a Hobby Boss MS.406. The sprue stash came up with other useful parts like small stabilizers and a landing gear – and it turned out to be the rest of the MS.406, which had originally been butchered to be mated with the P-7 wings to become my fictional Polish RWD-24 fighter prototype. So, as a serious recycling project, I decided to accept the challenge and use the remains of the P-7 and the MS.406 to create a “counterpart” to the RWD-24, and it became the fictional ANBO IX.
While the ingredients for a basic airframe were now available, some parts were still missing. Most important: an engine. One option was an early Merlin, left over from a Spitfire, but due to the circular P-7 fuselage I preferred a radial engine. With the cowling from a Japanese Mitsubishi Ha-102 two-row radial (from an Airfix Ki-46 “Dinah”) I found a suitable and very streamlined donor, which received a small three-blade propeller with a scratched spinner on a metal axis inside.
The cockpit and the canopy caused more headaches, because the P-7 has an open cockpit with a rather wide opening. For a fighter with a retractable landing gear this would hardly work anymore and finding a solution as well as a suitable donor piece took a while. I initially wanted to use a kind of bubble canopy (with struts, so that it would not look too modern), but eventually rejected this because the proportions would have looked odd – and the overall style would have been too modern.
So I switched to an early Spitfire canopy, which had a good size for the small aircraft, even though it called for a spinal fairing – the latter became the half from a drop tank (IIRC from an Airfix P-61?).
Lots of PSR was necessary everywhere to blend the disparate parts together. The cockpit opening had to be partly filled and reshaped, blending both canopy and spine into the hull took several layers.
The area in front of the cockpit (originally holding the P-7’s shoulder-mounted wings) had to be re-sculpted and blended into the Ki-46 cowling.
The ventral area between the wings had also to be fully sculpted with putty, and huge gaps along the wing roots on the wings’ upper surfaces had to be filled and formed, too. No wonder that many surface details disappeared along the way… Nevertheless, the effort was worthwhile, because the resulting airframe, esp. the sleek fuselage, looks very aerodynamic, almost like a Thirties air speed record contender?
Painting and markings:
This is where the real trouble came to play. It took a while to find a suitable/authentic paint scheme for a pre-WWII Lithuanian aircraft, and I took inspiration from mid-Thirties Letov S.20 biplane fighters and the real ANBO VIII light bomber prototype. Apparently, a two-tone camouflage in two shades of green were an option, even though the tones appear debatable. The only real-life reference was a b/w picture of an S.20, and it showed a good contrast between the greens, so that my first choice were Humbrol 120 (FS 34227) and 172 (Satin Dark Green). However: 120 turned out to be much too pale, and the 172 had a somewhat grainy consistency. Leaving a horrible finish on the already less-than-perfect PSR mess of the model.
With a heavy heart I eventually decided to remove the initial coat of enamel paint with a two-day bath in foamed oven cleaner, which did the job but also worked on the putty. Disaster struck when one wing came loose while cleaning the model, and the canopy came off, too…
Repairs were possible, but did not improve the model’s surface finish – but I eventually pulled a second coat of paint through, this time with slightly different green tones: a mix of Humbrol 80 (Grass Green) and Revell 360 (fern Green), resulting in a rich but rather yellow-ish tone, and Humbrol 245 (RLM 75, Graugrün), as a subdued contrast. The result, though, reminded a lot of Finnish WWII aircraft, so that I gave the aircraft an NMF cowling (again inspired by the ANBO VIII prototype) and a very light grey (Modelmaster 2077, RLM 63) underside with a low waterline. This gave the model a somewhat Italian touch?
The national markings came from two different Blue Rider decal sheets for modern Lithuanian aircraft, the tactical code and the knight helmet as squadron emblem came from a French Dewoitine D.520 (PrintScale sheet).
After a black ink washing the kit received light panel post-shading to virtually restore some of the missing surface details, some weathering with Tamiya Smoke and silver was done and the model received a final overall coat of matt acrylic varnish.
Well, I am not happy with the outcome – mostly because of the painting mishaps and the resulting collateral damage overall. However, the kitbashed aircraft looks pretty conclusive and plays the role of one of the many European pre-WWII monoplane fighters with modern features like a retractable landing gear and a closed canopy well, it’s a very subtle result.
Tall Girls, Short Boys, and the Medical Industry's Quest to Manipulate Height
"Normal at Any Cost" is the story, told decade by decade, of medical attempts to tinker with one inherited characteristic: height. It reveals the way drug companies redefined normal in order to expand markets, and how the best motives and worst motives combined to result in widespread experimentation on children. We think the temptations to tamper with heredity are just beginning.
Susan Cohen's book tells the horrible story of drug use to adjust the height of adolescent boys and girls who were threatening to be short, or tall, adults. DES was prescribed to prevent girls from growing “too tall.”
Sources and book reviews
* At What Height, Happiness? A Medical Tale, DES Action.
* Normal at Any Cost: Tall Girls, Short Boys, and the Medical Industry's Quest to Manipulate Height, N Engl J Med 2009.
* Read reviews on Amazon and GoodReads.
More DES DiEthylStilbestrol Resources
* All our posts tagged DES, the DES-exposed and DES victims.
* DES and cancer, breast cancer, CCA, vaginal cancer, screening.
* DES studies on fertility, gender identity, pregnancy.
* DES studies on in-utero exposure to DES and DES side-effects.
* DES articles on lawsuits and various studies.
* Watch DES videos, read more about DES Daughters and DES Sons.
Got a brand new Prime Lens--the Carl Zeiss Sony Alpha e-mount FE 55mm F/1.8 ZA Carl Zeiss Sonnar T* Lens! Let me know how you like it! :)
New Sony A7 R Test Photos of Pretty Redhead Bikini Swimsuit Model Goddess! Shot with the awesomely sharp, sharp Carl Zeiss Sony Sonnar Carl Zeiss Sony Sony FE 55 mm F/1.8 ZA Carl Zeiss Sonnar T* Lens and finished in Lightroom 5.3 ! Was using the B+W 49mm Kaesemann Circular Polarizer MRC Filter on bright, sunny day. Check out the low glare off the rocks and water and the bright blue sky! Super sharp images and crystal-clear pictures! Pretty ginger red hair with pretty blue eyes!
Here's some video shot at the same time as stills: youtu.be/Y7gq_gCk0jE
www.youtube.com/watch?v=RiOMrZIEzg8
Join my youtube channel for goddess video shot @ the same time as the stills with the Sony A7 !
www.youtube.com/user/bikiniswimsuitmodels
Beautiful swimsuit bikini model goddess on a beautiful January Malibu morning! Shot it yesterday. :) Love, love, love the new Sony A7 R + 55mm F/1.8 lens combo!
Was a fun test shoot. Many, many more to come!
All the best on your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Best on your hero's journey from Johnny Ranger McCoy! :)
Falling in love with the full frame 36 megapixel e mount Sony A7R!
The books behind the pretty goddess on the Malbu bluff and surfboard are The Decline and Fall of the Roman Empire by Edward Gibbon, Homer's Iliad, Homer's Odyssey, Shakespeare, and Herman Melville's Moby Dick! My favorite books! Will have some video of the pretty model reading them beside a campfire soon.
They're all collectors editions! My books cost as much as my surfboards!
And for those who always ask, I shoot in RAW! Always! :)