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Auto abandonado,
Ciudad Nezahualcóyotl.
Kevin Dooley's Pan-American Trek using Google Street View.
Panamericana Trek de Kevin Dooley usando Google Street View.
Chassis n° 0051
Les Grandes Marques du Monde au Grand Palais
Bonhams
Estimated : € 580.000 - 780.000
Parijs - Paris
Frankrijk - France
February 2018
- Genuine works car
- First registered to FIAT Auto Spa
- Abarth Classiche certified
- 100% original and never restored
- Ready to enjoy
From the mid-1960s until the early 1990s, Lancia was a major force in international rallying, winning the World Rally Championship for Makes no fewer than 11 times between 1972 and 1992, including a remarkable six successive victories commencing in 1987. During the same period, Lancia drivers won the European Rally Championship on 14 occasions and the World Drivers' Championship (only instigated in 1978) four times. The models used – Fulvia HF, Stratos, Rally 037, and the Delta family: S4, HF, and Integrale – are among the most successful rally cars of all time.
Following Audi's lead, Lancia had introduced a new four-wheel-drive World Rally Championship contender in 1985, the Delta S4, which bore more than a passing resemblance to its road-going namesake. That deliberate likeness though, was merely skin deep, for the two cars had next to nothing in common mechanically. For whereas the Delta road car was a conventional, front-wheel-drive, five-seater hatchback, the two-seater S4 carried its engine where the rear seat passengers would have been and concealed a tubular spaceframe chassis - similar to that of the Rally 037 and incorporating fully adjustable all-independent suspension – beneath lightweight composite bodywork. Featuring numerous aerodynamic aids designed to increase downforce at high speeds, both front and rear sections of the S4's body were quickly detachable in the case of an accident.
The transmission drove all four wheels via central and rear differentials while the Abarth-designed 1.759 cc, 16-valve engine broke new ground also, employing both supercharging and turbo-charging to reduce the effects of 'turbo lag' at low revs. As the FIA applied a 'x1.4' formula to the capacity of forced induction engines, the Delta S4 ran in the up-to-2.500 cc class, which permitted a minimum weight of 890 kg (1,958 lbs). A maximum power output of around 400bhp was available from the start, rising to in excess of 500bhp by the end of development.
After the required 200 Stradale (road-going) models required by Group B regulations had - allegedly - been constructed, the competition version made its first appearance in November 1985 at the RAC Rally, Henri Toivonen and Markku Alén finishing 1st and 2nd respectively to record one of the most successful debuts in rallying history. The Delta S4 went on to score three more World Championship victories in 1986, securing Lancia 2nd place in the Makes' competition and 2nd place for Alén in the Drivers', before being compulsorily retired at the end of the year when the FIA imposed Group A regulations for 1987. The FIA's decision had been prompted by a series of serious accidents, including Toivonen's fatal crash in Corsica at the wheel of a works S4, which also claimed the life of his co-driver, Sergio Cresto.
In use for only 13 months, the Lancia Delta S4 is one of the rarest of Group B rally cars. There is considerable doubt that Lancia actually produced the 200 road cars required for homologation, expert opinion being that fewer than 80 exist today. Genuine works cars are even rarer.
The Lancia Delta S4 Group B rally car offered here was first registered on 20th October 1986 in Turin as 'TO 44805F' to FIAT Auto Spa. It is not a converted Stradale model but a genuine works rally car built by Abarth, which had previously been acting as parent-company FIAT's competitions department and had recently merged with Lancia's Squadra Corse. It is finished in the distinctive white livery of the famous Martini drinks company, Lancia's sponsors at the time.
According to Abarth, '0051' is probably one of the three 'muletto' (reconnaissance) cars built. It was never raced in the World Championship, and along with its contemporaries was rendered obsolete when Group B was cancelled at the end of 1986. The registration was changed to 'TO-44816F' soon afterwards, and then in 1988 the car was sold to Comauto, an Italian Racing team. Subsequently, the Lancia belonged to two different Italian collections before being sold to German collector, John Bosch, a major Ferraristi who was drove for Audi and Opel in the 1970s and '80s. The file of this rare Delta S4 includes important documents like a copy of the car's original Italian registration document; original conformity and homologation paperwork; Abarth Classiche certificate, etc.
The current owner purchased the Lancia on 17th June 2008 and participated with it in the Rally Legend in 2008, 2009, and 2015. The owner also entered 'Les Boucles de Spa' in 2012 with the car, while Frenchman Bruno Saby (a Lancia Delta S4 driver in 1988) drove it at the Legend Show Serre Chevalier that same year on the ice racetrack.
This ultra-rare ex-works Lancia is in excellent condition and 100% original in specification, even retaining its original seats marked with the names of Markku Alén and his co-driver, Ilkka Kivimäki. We are advised that for security reasons, the original fuel tanks have been replaced by more secure ones for the Legend Show. An additional front light is included in the sale as well as the original fuel tanks. Regularly maintained by an Abarth Classiche professional team, this rare ex-works Lancia Group B supercar is ready to enjoy.
I made this image from the Portage Hike and Bike Trail bridge over the CSX New Castle Subdivision in Kent, Ohio. The auto rack train is coming eastbound.
Enjoy photos of the refreshed Kia optima TVC filming spot.
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Haynes Apperson Surrey (1902) Engine 500cc 8 HP Two Cylinder
Country of Origin USA (Kokomo, Indiana)
Registration Number BS 8683
Body Type Runabout
2021 London-Brighton Number 151
Entrant Martin Bodenham
Pilote Martin Bodenham
HAYNES (HAYNES APPERSON) ALBUM
www.flickr.com/photos/45676495@N05/albums/72157700577222292/
With a badge that carried the slogan - Americas First Car, the Haynes Automobile Company can trace its car making history back to 1898 when the company, formerly known as Haynes-Apperson company was established in Kokomo, Indiana, by brothers Edgar Apperson, Elmer Apperson and Elwood Haynes. Elwood Haynes was a talented metallurgist who invented a very special stainless steel alloy called Stellite which is still used to this day on the space shuttle to this day, he approached the Apperson Brothers to build his first car. The cars were powered by 5 HP engines while the heavy parts were made of aluminium alloy.
In 1905 the Apperson brothers left the company to form Apperson Brothers Automobile Company. Elwood Haynes remained renaming the old company simply the Haynes Automobile Co. from 1914,
Haynes offered a Light Six at $1485. Their ads boasted that it was, - The result of 22 years successful experience in building motor Haynes also proclaimed it Americas greatest light six, and that it will travel 22 to 25 miles on one gallon of gas and has more than 1 horsepower to every 55 pounds of weight.
For 1916 Haynes introduced the twelve cylinder Light Twelve, sold alongside a refined Light Six in the guise of Models 36 and 37
1923 saw the introduction of the 57, with a 121 inch wheelbase in five-seat four-door sedan, three-seat coupelet, and two-seat roadster advertised as being complete with front and rear bumpers, six disc (as opposed to wire) wheels, wind wings, sun visors, artistically fashioned individual steps (for the running boards), and individual fenders
But the end was in sight, Haynes Automobiles was declared bankrupt in 1924 and went out of business in 1925.
Haynes was a relatively expensive make, film star Cleo Madison drove a Haynes Light Six as did composer Louis F. Gottschalk .
In 1915 a Haynes 50-60 Model Y Touring Car achieved notoriety when it was featured in what has been called the worlds oldest known pornographic film - A Free Ride
Diolch am 89,601,768 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 89,601,768 amazing views, every one is greatly appreciated.
Shot 06.11.2021 Regents Street In that London in the South (London-Brighton weekend). Ref. 123-060
Els Jardins de Laribal
És una de les perles del Parc de Montjuïc i passejar-s'hi és una autèntica delícia. La vegetació riquíssima, juntament amb l'aigua que baixa per cascades i llisca delicadament pel mig d'amples baranes, els bancs de rajola i les placetes, creen un conjunt de bellesa excepcional. Aquest és un lloc per estar-s'hi, per contemplar-lo i per anar descobrint els mil detalls que el configuren, amb una harmonia difícil de superar.
Els Jardins de Laribal, de gran valor històric, estan configurats per terrasses, camins, placetes, bassinyols i una vegetació esponerosa i consolidada. Una sèrie de terrasses superposades estan unides entre elles per camins i dreceres de fort pendent, amb trams d'escales intercalats amb un disseny sempre diferent. Pèrgoles de maó vist, pedra i pilars blancs, ombregen les àrees més planeres. La vegetació, és majoritàriament exòtica, rica i variada en espècies.
Jardins mediterranis
Aquests jardins, inclosos dins del recinte de l'Exposició Internacional de Barcelona de 1929, van obtenir una gran anomenada. Els seus autors, Jean Claude Nicolas Forestier i Nicolau M. Rubió Tudurí, van crear un nou estil paisatgístic d'arrel mediterrània.
La vegetació preexistent -des de plantes autòctones fins als arbres fruiters del passat agrícola de la muntanya-, es va integrar en els jardins amb un concepte de jardineria renovador i original, que segueix lliurement la inspiració dels antics jardins àrabs i dels "cármenes" de Granada, amb una gran presència de rajoles ceràmiques, aigües ornamentals i el conreu de plantes de flor en testos situats en baranes i ampits.
Les escales del Generalife
L'aigua és l'essència del jardí, amb estanys i estanyols. Per connectar la part superior del parc amb els Jardins Amargós -actualment Jardins del Teatre Grec-, Forestier va fer una escala inspirada en la dels jardins del Generalife, amb cascades als passamans, estanyols amb brolladors als replans i bancs d'obra per reposar i gaudir de la fresca i el so de l'aigua.
Els jardins de la font del Gat
Unes pèrgoles mirador porten d'uns jardins als altres, units per eixos de rampes, escales i cascades que desemboquen a la font del Gat, des de la qual es poden contemplar unes magnífiques vistes de Barcelona.
Ocupen el pendent que va des de la part més alta dels Jardins Laribal fins al passeig de Santa Madrona, i integren la popular font del Gat i un edifici del segle dinou. Es tracta d'un conjunt de camins, terrasses i racons que s'adapten al relleu del terreny amb escales, rampes i una cascada monumental amb quatre seccions separades per camins i canals, que van connectant els diferents trams.
Tot està cobert d'una espessa fronda mediterrània i d'arbres fruiters, com ara nesprers i figueres, i palmeres d'enormes capçades. Si ens ho mirem des de baix, a tocar del pg. de Santa Madrona, uns xiprers altíssims situats a l'inici de la cascada accentuen la verticalitat del conjunt.
El roserar de la Colla de l'Arròs
Una glorieta de xiprers, amb una petita font al centre, marca l'inici d'un recorregut que, sota una pèrgola amb pilars de terracota, porta a un pati ovalat i reclòs, també envoltat de xiprers: és el roserar de la Colla de l'Arròs.
El jardí es configura en diversos plans, amb aire de pati, que estan vorejats per vorades, també de xiprer, i rengleres de troanes. En diversos parterres rectangulars hi ha plantades varietats antigues de rosers. Al centre destaca un bassinyol quadrangular amb rajols esmaltats, presidit a la part de dalt per Estival, un nu femení de marbre que contempla el roserar i, més enllà, Barcelona.
La plaça del Claustre
És a tocar del passeig de Santa Madrona i, de fet, es tracta del Jardí de Sant Miquel, on destaquen tres grans plàtans ja existents abans que Forestier dissenyés els jardins. Al fons, els murs del que fou una antiga pedrera confereixen a aquesta part dels jardins Laribal un aire reclòs i claustral. D'aquí el seu nom. A la dreta, un passadís comunica amb els Jardins del Teatre Grec.
Vegetació
La vegetació madura i mediterrània dóna sentit als jardins. Així, hi ha, entre d'altres espècies, pins blancs (Pinus halepensis), pins pinyers (Pinus pinea), llorers (Laurus nobilis), tarongers amargs (Citrus aurantium) i xiprers (Cupressus sempervirens).
Les escales del Generalife estan envoltades per grans acàcies (Robinia pseudoacacia) i arbustos com la troana (Ligustrum lucidum) i el pitòspor (Pittosporum tobira), una espècie arbustiva molt abundant als jardins, juntament amb el baladre (Nerium oleander) i l'evònim del Japó (Evonymus japonicus).
En testos de terracota, llueixen les elegants fulles de saló (Aspidistra elatior) i els geranis (Pelargonium sp.), i cobrint les pèrgoles, anglesines (Wisteria sinensis) i Rosa banksiae. En diferents llocs dels jardins hi ha plantes aromàtiques, com l'espígol (Lavandula angustifolia) i el romaní (Rosmarinus officinalis), i espècies entapissants com l'heura (Hedera helix)
Els Jardins de Laribal també hi ha pins australians (Casuarina cunninghamiana), eucaliptus (Eucalyptus globulus), xiprers de Lambert (Cupressus macrocarpa), cedres de l'Himàlaia (Cedrus deodara) i, a la plaça del Claustre, tres grans exemplars de plàtan (Platanus X hispanica).
Art i arquitectura
L'escultura és notable en aquests jardins, tant per la seva qualitat com per la seva bellesa. Presidint el roserar hi ha Estival, de Jaume Otero (1929), una figura femenina asseguda d'estil art déco feta de marbre.
La Noia de la trena, de Josep Viladomat (1928), és un altre nu femení, en aquest cas de bronze, i representa una noia jove recollint-se els cabells en una trena. És en una placeta ombrívola, molt a prop de les escales que comuniquen amb altres nivells dels jardins.
La tercera escultura també és d'una dona i de Josep Viladomat, que la va fer partint d'un original de Manolo Hugué. Es tracta de Repòs (1925), un nu femení de pedra de mida natural situat en una placeta circular molt a prop de l'entrada que hi ha al costat de la Fundació Joan Miró.
A prop del roserar hi ha una font de ceràmica esmaltada amb motius marins, coronada amb un brollador, obra del ceramista Llorenç Artigas.
La font del Gat
L'aigua que raja de la font del Gat ho fa des del cap d'un felí, esculpit per Joan Antoni Homs el 1918, que és quan van quedar enllestits els Jardins Laribal. Aquesta font era una de les moltes que aleshores rajava a Barcelona, i el lloc on està situada, molt popular a la ciutat a finals del segle XIX.
Tan popular era la font, que el periodista i autor teatral Joan Amich va escriure una cançó: "La Marieta de l'ull viu", que avui encara es canta i que inclou l'estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Història
Al començament del segle passat, la zona que avui ocupen els jardins Laribal era lloc de trobades populars, sobretot a la font del Gat, o de reunions selectes, com ara les que feia la Colla de l'Arròs, un grup entre gastronòmic i polític que va tenir una certa influència a la Barcelona de la darreria del segle XIX i principi del XX, i que es reunia en un petit edifici situat on ara hi ha el Museu Etnològic.
La part alta dels actuals jardins pertanyia a la finca de Josep Laribal, un prestigiós advocat el nom del qual s'ha perpetuat als jardins. S'hi va fer construir un xalet neoàrab, envoltat d'uns jardins eclèctics, amb grans arbres.
Mort Laribal, el 1908 la finca va ser adquirida per l'Ajuntament, que hi va fundar l'Escola del Bosc, encara existent. Simultàniament, es van iniciar els estudis per urbanitzar i enjardinar la muntanya, amb un projecte global que va ser encarregat inicialment a Josep Amargós.
L'Exposició de 1929
Els Jardins de Laribal, enllestits el 1922, estan vinculats a un esdeveniment posterior: l'Exposició Internacional de Barcelona de 1929. Aquest esdeveniment va representar la culminació d'un projecte iniciat l'any 1905 per organitzar a Montjuïc una exposició sobre les indústries elèctriques, l'energia emergent d'aquell temps.
Un dels comissaris de l'Exposició Internacional de Barcelona va ser Francesc Cambó, que va encarregar els treballs d'enjardinament a l'enginyer i paisatgista francès Jean Claude Nicolas Forestier. Va ser ajudant seu el jove arquitecte Nicolau M. Rubió i Tudurí, que el 1917 es convertiria en el director de la Direcció de Parcs Públics i Arbrat, antecedent del Servei de Parcs i Jardins de Barcelona, del qual va ser primer responsable i una de les persones determinants en el futur desenvolupament dels espais verds públics de la ciutat.
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These gardens are one of the treasures of the Park of Montjuïc and taking a stroll around them is a real pleasure. The rich plant life, together with the water that flows delicately through the wide handrails; the tiled benches and the small squares all create exceptionally beautiful gardens. It is a place to be, to gaze at and to discover the thousands of details that shape a harmony that is difficult to surpass.
The historically-important Laribal Gardens are sculpted by terraces, pathways, small squares, ponds and lush, established plant life. A series of terraces are linked by paths and steeply sloped shortcuts, with stretches of differently designed stairways interspersed. The flattest areas are afforded shade by exposed brick, stone and white pillar pergolas. The mostly exotic plant life has a rich and varied range of species.
Mediterranean Gardens
These gardens, which were included in the International Exposition of Barcelona (a World's Fair) in 1929, were greatly reputed. The garden's designers, Jean Claude Nicolas Forestier and Nicolau M. Rubió Tudurí, created a new style of Mediterranean landscaping.
The pre-existing plant life, from native plants to fruit trees from the mountain's agricultural past, was integrated into the gardens with an original and innovative gardening concept that is openly inspired by the ancient Arabian gardens and from the "Carmenes" in Granada with prominent ceramic tiles, ornamental water features and flowering plants in pots on railings and parapets.
The Stairway of the Generalife Gardens
Water is the essence of this garden, with its large and small ponds. In order to connect the upper area of the park with the Amargós Gardens, now the Teatre Grec Gardens, Forestier designed a stairway inspired by the one in the Generalife Gardens, with waterfalls on the banisters, small ponds with fountains on the landings and benches for relaxing and enjoying the freshness and sound of the water.
The Gardens of the Font del Gat
Viewpoint pergolas link the gardens with ramps, stairs and waterfalls that flow into the Font del Gat ("Fountain of the Cat"), a point at which magnificent views of Barcelona can be enjoyed.
The gardens lie on the slope from the highest point of the Laribal Gardens down to the Passeig de Santa Madrona and include the popular Font del Gat and a nineteenth-century building. There are paths, terraces and corners that adapt to the terrain with stairways, ramps and a monumental waterfall with four sections separated by paths and canals that connect the different areas.
Everything is covered in a thick, Mediterranean foliage, fruit trees such as loquat and fig and enormous palm trees. From the Passeig de Santa Madrona below, some very tall cypresses by the waterfall accentuate its height.
The Rose Gardens of the Colla de l'Arròs
A circle of cypress trees with a small fountain in the centre marks the beginning of a path that, beneath a pergola with terracotta pillars, leads to an oval patio surrounded by cypresses. These are the Rose Gardens of the Colla de l'Arròs.
These gardens are arranged on different levels with the feeling of being on a patio, bordered by rows of cypresses and privets. In various rectangular parterres, many diverse old varieties of roses have been planted. At the centre is a square pool with ceramic tiles, dominated by the marble female nude sculpture "Estival", who looks over the rose garden and beyond to Barcelona.
Plaça del Claustre
From the Sant Miquel Garden, next to the Passeig de Santa Madrona, there are three large London Plane trees that existed before Forestier designed the gardens. At the end, the walls of what was once an old quarry gives this part of the Laribal Gardens a confined and cloister-like air. This is where it gets its name. On the right there is a path that connects the gardens with the Teatre Grec Gardens.
Plant Life
The mature and Mediterranean plant life gives the gardens meaning. Among other species there are Aleppo Pines (Pinus halepensis), Umbrella Pines (Pinus pinea), Bay Laurels (Laurus nobilis), Bitter Orange trees (Citrus aurantium) and Mediterranean Cypresses (Cupressus sempervirens).
The Generalife stairs are surrounded by large Black Locust trees (Robinia pseudoacacia) and shrubs such as the Chinese Privet (Ligustrum lucidum) and the Pittosporum (Pittosporum tobira), a species in abundance in the gardens along with the Oleander (Nerium oleander) and the Japanese Spindle tree (Euonymus japonicus).
The elegant leaves of an Aspidistra elatior shine in terracotta pots and Garden Geraniums (Pelargonium sp.), Chinese Wisterias (Wisteria sinensis) and Lady Banks' Roses (Rosa banksiae) cover the pergolas. In different areas around the gardens aromatic plants like Lavender (Lavandula angustifolia), Rosemary (Rosmarinus offcinalis) and climbing plants such as Ivy (Hedera helix) can be found.
In the Laribal Gardens there are also River Oaks (Casuarina cunninghamiana), Tasmanian Blue Gums (Eucalyptus globules), Monterey Cypresses (Cupressus macrocarpa) Deodar Cedar (Cedrus deodara) and in Plaça del Claustre, three large London Planes (Platanus X hispanica).
Art and Architecture
The sculptures are notable in these gardens, both for their quality and their beauty. There is an Art Deco style marble female nude, "Estival" (1929) by Jaume Otero, that dominates the rose garden.
The "Noia de la trena" (1928) by Joseph Viladomar is another female nude, in this case made of bronze, which represents a young girl plaiting her hair. It is in a small shaded square, close to the stairway that links to other areas of the gardens.
The third sculpture is again of a woman and by Joseph Viladomar and was based on the Manolo Hugué original. "Repòs" (1925) a life-sized female nude made of stone situated in a small square close to the entrance next to the Joan Miró Foundation.
Near the rose garden, there is a glazed ceramic fountain influenced by the sea, crowned by a jet, which was the work of Llorenç Artigas.
The Font del Gat
The water from the Font del Gat ("Fountain of the Cat") pours from a feline head, sculpted by Joan Antoni Homs in 1918, when the Laribal Gardens were being finished. This fountain is one of many that flowed in Barcelona at the time and is situated in a place in the city that was very popular at the end of the nineteenth century.
The fountain was so popular that the journalist and playwright Joan Amich wrote a song about it: "La Marieta de l'ull viu" that is still sung today and includes the verse: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat..." ("Coming down from the cat Fountain / a girl, a girl / Coming down from the cat Fountain / a girl with a soldier...").
History
The area where the Laribal Gardens now lie was a popular meeting place at the beginning of the last century, in particular the Font del Gat, which was also an area for exclusive gatherings, such as those of Colla de l'Arròs, a gastronomic-political group who had a certain influence over Barcelona at the turn of the last century, would meet in a small building situated where the Museu Etnològic (Ethnological Museum) now stands.
The upper part of the current gardens once belonged to Joseph Laribal, an esteemed lawyer whose name the gardens bear. He built a neo-Arabian chalet, surrounded by eclectic gardens, with large trees.
After Laribal died in 1908, the house was acquired by the Town Council, which established the Escola del Bosc, which still exists to this day. Simultaneously, studies began for the development and gardening of the mountain, a comprehensive project that was initially the responsibility of Josep Amargós.
The 1929 World's Fair
Completed in 1922, the Laribal Gardens are linked to a later event: the International Exposition of Barcelona of 1929 (a World's Fair). This event represented the culmination of a project which began in 1905 to organise an exhibition on Montjuïc about the electrical industries, the emerging energy at the time.
One of the commissioners at the International Exhibition of Barcelona was Francesc Cambó, who was responsible for the gardening and engineering work and the work of the French landscape architect Jean Claude Nicolas Forestier. His assistant was the young architect Nicolau M. Rubió I Tudurí, who, in 1917, became the director of the Public and Wooded Parks Board, the predecessor of the Parks and Gardens Service of Barcelona, of which he was mainly responsible and one of the key people in the development of green spaces in the city.
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Es una de las perlas del Parque de Montjuïc y pasearse por ellos es un autentica delicia. La riquísima vegetación, junto con el agua que baja por cascadas y se escurre delicadamente en medio de amplias barandillas, los bancos de ladrillo y las placetas, crean un conjunto de una belleza excepcional. Es un lugar en el que estar, para contemplarlo e ir descubriendo los miles de detalles que lo configuran, con una armonía difícil de superar.
Los Jardines de Laribal, de gran valor histórico, están formados por terrazas, caminos, placetas, pequeños estanques y una vegetación lozana y consolidada. Una serie de terrazas sobrepuestas están unidas entre si por caminos y atajos de gran pendiente, con tramos de escaleras intercalados de diseño siempre diferente. Pérgolas de ladrillo visto, piedra y pilares blancos dan sombra a las zonas más llanas. La vegetación, exótica en su mayoría, es rica y variada en especies.
Jardines mediterráneos
Estos jardines, incluidos en el recinto de la Exposición Internacional de Barcelona de 1929, obtuvieron una gran reputación. Sus autores, Jean Claude Nicolas Forestier y Nicolau M. Rubió Tudurí, crearon un nuevo estilo paisajístico de raíz mediterránea.
La vegetación preexistente, desde plantas autóctonas hasta árboles frutales del pasado agrícola de la montaña, se integró en los jardines con un concepto de jardinería renovador y original, que sigue libremente la inspiración de los antiguos jardines árabes y de los "cármenes" de Granada, con una gran presencia de azulejos de cerámica, aguas ornamentales y el cultivo de plantas de flor en macetas colocadas en barandillas y alféizares.
Las escaleras del Generalife
El agua es la esencia del jardín, con pequeños y grandes estanques. Para conectar la parte superior del parque con los Jardines Amargós, actualmente Jardines del Teatre Grec, Forestier diseñó una escalera inspirada en la de los jardines del Generalife, con cascadas en los pasamanos, estanques con fuentes en los rellanos y bancos de piedra para reponerse y disfrutar del frescor y el sonido del agua.
Los jardines de la Font del Gat
Unas pérgolas mirador llevan de unos jardines a otros, unidos por ejes de rampas, escaleras y cascadas que desembocan en la Font del Gat desde donde se pueden contemplar unas magníficas vistas de Barcelona.
Ocupan la pendiente que va desde la parte más alta de los jardines Laribal hasta el paseo de Santa Madrona e integran la popular Font del Gat y un edificio decimonónico. Se trata de un conjunto de caminos, terrazas y rincones que se adaptan al relieve con escaleras, rampas y una cascada monumental con cuatro secciones separadas por caminos y canales, que van conectando los diferentes tramos.
Todo está cubierto por un espeso follaje mediterráneo y árboles frutales, como nísperos e higueras y palmeras de enormes copas. Si lo miramos desde abajo, junto al paseo de Santa Madrona, vemos que los altísimos cipreses situados al inicio de la cascada acentúan la verticalidad del conjunto.
La rosaleda de la Colla de l'Arròs
Una glorieta de cipreses, con una pequeña fuente en el centro, marca el inicio de un recorrido que, debajo de una pérgola con pilares de terracota, conduce a un patio ovalado y recluido también rodeado de cipreses: la rosaleda de la Colla de l'Arròs
El jardín se configura en diferentes planos, con aire de patio, que están rodeados de cipreses e hileras de aligustres. En diferentes parterres rectangulares se han plantado antiguas variedades de rosales. En el centro destaca un pequeño estanque cuadrangular con azulejos esmaltados, presidido en la parte superior por Estival, una escultura de un desnudo femenino en mármol que contempla la rosaleda y, más allá, Barcelona.
La plaza del Claustre
De hecho se trata del jardín de Sant Miquel, junto al paseo de Santa Madrona, en el que destacan tres grandes plataneros que ya existían antes de que Forestier diseñara los jardines. Al fondo, los muros de lo que antes había sido una antigua cantera confieren a esta parte de los jardines Laribal un aire recluido y claustral. Y de aquí viene su nombre. A la derecha encontramos un corredor que comunica con los jardines del Teatre Grec.
Vegetación
La vegetación madura y mediterránea da sentido a los jardines. Así, entre otras especies, hay pinos carrascos (Pinus halepensis), pinos piñoneros (Pinus pinea), laureles (Laurus nobilis), naranjos amargos (Citrus aurantium) y cipreses (Cupressus sempervirens).
Las escaleras del Generalife están rodeadas de grandes acacias (Robinia pseudoacacia) y arbustos como el aligustre (Ligustrum lucidum) y el pitosporo (Pittosporum tobira), una especie de arbusto muy abundante en los jardines, junto con la adelfa (Nerium oleander) y el evónimo del Japón (Evonymus japonicus).
En macetas de terracota lucen las elegantes hojas de salón (Aspidistra elatior) y los geranios (Pelargonium sp.), al tiempo que las glicinias (Wisteria sinensis) y los rosales de Banksia (Rosa banksiae) cubren las pérgolas. En diferentes lugares de los jardines encontramos plantas aromáticas, como la lavanda (Lavandula angustifolia), el romero (Rosmarinus officinalis) y otras especies tapizantes como la hiedra (Hedera helix).
En los jardines de Laribal también encontramos pinos australianos (Casuarina cunninghamiana), eucaliptos (Eucalyptus globulus), cipreses de Lambert (Cupressus macrocarpa), cedros del Himalaya (Cedrus deodara) y, en la plaza del Claustre, tres grandes ejemplares de platanero (Platanus X hispanica).
Arte y arquitectura
En estos jardines la escultura es notable, tanto por su calidad como por su belleza. Presidiendo la rosaleda tenemos el Estival, de Jaume Otero (1929), una figura femenina sentada, de estilo art decó y realizada en mármol.
La Noia de la trena, de Josep Viladomat (1928), es otro desnudo femenino, en este caso de bronce, que representa una joven que se recoge el pelo en una trenza. Se encuentra en una placeta sombría muy cerca de las escaleras que comunican con los otros niveles de los jardines.
La tercera escultura también es de una mujer y de Josep Viladomat, que la realizó en base a un original de Manolo Hugué. Se trata de Repòs (1925), un desnudo femenino de piedra, a tamaño natural, situado en una placeta circular muy cerca de la entrada que hay al lado de la Fundació Joan Miró.
Cerca de la rosaleda se encuentra una fuente de cerámica esmaltada con motivos marinos, coronada con un surtidor, obra del ceramista Llorenç Artigas.
La Font del Gat
El agua de la Font del Gat mana desde la cabeza de un felino, esculpido por Joan Antoni Homs en 1918, año en el que se terminaron los jardines Laribal. Esta fuente era una de las muchas que manaban en aquellos momentos en Barcelona y, el lugar en el que se encuentra era muy popular en la ciudad a finales del siglo XIX.
La fuente era tan popular que el periodista y autor teatral Joan Amich escribió una canción: "La Marieta de l'ull viu", que todavía hoy se canta e incluye la estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Historia
A principios del siglo pasado, en la zona que hoy ocupan los jardines Laribal se celebraban encuentros populares, sobre todo en la Font del Gat, o reuniones selectas, como las que hacía la Colla de l'Arròs, un grupo medio gastronómico medio político que tuvo una cierta influencia en la Barcelona del final del siglo XIX y principio del XX y que se reunía en un pequeño edificio situado donde ahora se encuentra el Museo Etnológico.
La parte alta de los actuales jardines pertenecía a la finca de Josep Laribal, un prestigioso abogado cuyo nombre se ha perpetuado en los jardines. Allí se hizo construir un chalet neoárabe, rodeado de unos jardines eclécticos, con grandes árboles.
Tras la muerte de Laribal en 1908, la finca fue adquirida por el Ayuntamiento que fundó en ella la Escola del Bosc, que todavía existe. Simultáneamente, se iniciaron los estudios para urbanizar y enjardinar la montaña, con un proyecto global que inicialmente se encargó a Josep Amargós.
La Exposición de 1929
Los jardines de Laribal, terminados en el 1922, también están vinculados con un acontecimiento posterior: la Exposición Internacional de Barcelona de 1929. Este acontecimiento representó la culminación de un proyecto iniciado en 1905 para organizar en Montjuïc una exposición sobre las industrias eléctricas, la energía emergente de aquel momento.
Uno de los comisarios de la Exposición Internacional de Barcelona fue Francesc Cambó, que encargó los trabajos de ajardinamiento al ingeniero y paisajista francés Jean Claude Nicolas Forestier. Su ayudante fue el joven arquitecto Nicolau M. Rubió i Tudurí, que en 1917 se convertiría en el director de la Dirección de Parques Públicos y Arbolado, antecedente del Servicio de Parques y Jardines de Barcelona, del que fue el primer responsable y una de las personas determinantes en el futuro desarrollo de los espacios verdes públicos de la ciudad.
Vous avez surement entendu parler de la campagne de publicité « un test…un bisou », mais ce test de la glycémie qu’est-ce exactement ?
Les personnes atteintes de diabète comme c’est mon cas doivent relever leur taux de sucre dans le sang au moins une fois par jour. Pour ce faire, leur médecin leur a prescrit un lecteur de glycémie.
Ce lecteur est accompagné d’un auto-piqueur et de bandelettes réactives.
L’auto-piqueur est un outil destiné à faire une petite piqure plus ou moins profonde afin de faire sortir une petite goutte de sang. Vous remarquerez que contrairement à ce que l’on pourrait penser, on ne se pique pas la pulpe des doigts car sinon, on perdrait la sensibilité des doigts au bout d’un certain temps. Il vaut mieux se piquer sur le côté des doigts, la peau y est un petit peu plus épaisse mais il y a plus de place. Avant de se piquer, il est conseillé de bien se laver les mains en évitant bien évidemment d’utiliser une solution hydro-alcoolique puisque je vous rappelle ces solutions contiennent du sucre.
Les bandelettes réactives sont de deux modèles. Il y a celles qui aspire la goutte de sang et la teste ou celles qui lisent la glycémie à partir de la couleur d’une zone réactive. Celles que j’utilise l’aspire. Il faut faire attention à ne pas abimer les bandelettes c’est la raison pour laquelle elles sont stockées dans une petite boite de plastique.
Il y a encore deux type de lecteurs, ceux qui enregistrent le résultat et en tirent des statistiques directement ou d’autre qui ne sont pas dotés de cette fonction.
Pourquoi lire quotidiennement sa glycémie ?
L’intérêt est simple, il s’agit d’aider à modifier ses propres comportements vis à vis d’une alimentation sucrée mais aussi dans sa façon de vivre la maladie.
Il faut savoir concernant le diabète qu’en principe si notre corps fonctionne normalement, le sucre est stocké dans un certain nombre de cellules, celles du foie et des muscles. Toutefois lorsque le pancréas ne fournit plus l’insuline qui favorise la pénétration du sucre dans les cellules, celui-ci se retrouve dans le sang…En principe pas de problème, il sera éliminé dans les urines mais lorsque c’est trop fréquent, il fini par se stoker dans des lieux irrigués par de fines capillaires. Là, les reins, les yeux et les pieds trinquent quand ce n’est pas l’artériosclérose.
Il faut donc lire sa glycémie pour pouvoir corriger le tir.
Il existe en effet toute une artillerie d’astuces alimentaires pour faire baisser ce taux de sucre dans le sang. En voici quelques une :
Aliments pauvres en glucides (5 %) pouvant être consommés librement : Toutes les viandes, poissons, mollusques, crustacés, œufs, fromages et matières grasses (librement mais avec modération). Certains légumes verts: aubergine, asperge, céleri en branche, choux blanc et rouge, chou-fleur, champignon, chicorée, concombre, cresson, courgette, endive, épinard, laitue, scarole frisée, poivron, tomate, mâche, côte de bette, radis, certains fruits comme le pamplemousse, orange, melon, pastèque, mandarine, fraise, framboise, mûre.
Consommer des champignons contenant peu de glucides
Consommer du riz basmati dont l’index glycémique est moins élevé que le riz blanc
Assaisonner les plats avec du jus de citron qui permet d’abaisser le taux de la glycémie (plats et crudités)
Penser également à préparer des jus de citron, sans ajouter de sucre avec de l’eau minérale.
Consommer des fibres : les fibres permettent de diminuer la vitesse du passage du sucre dans le sang
Légumes verts
Céréales complètes non raffinées : avoine ou blé complet
Légumineuses comme les lentilles mais pas de carottes ni de betteraves.
L’eau : en boire au minimum un litre par jour. Augmenter sa consommation en cas de forte chaleur ou lors d’activité sportive
Choisir les Soda « light » ou de préférence sans sucre.
Café, thé, infusions peuvent être consommés mais sans sucre ou avec un édulcorant
Penser au jus de citron, mais sans y ajouter de sucre
Ne pas oublier les jus de légumes, mais éviter ceux contenant des carottes et betteraves
Il est possible de consommer de l’alcool quand on est diabétique, mais en adoptant certaines règles et en en buvant en quantité limitée. Préférez le Whisky, la vodka et le gin enfin des alcools secs.
Mais attention, certains aliments sont strictement interdits : les bananes, le raisin, les figues fraîches, les marrons ou châtaignes, les dattes et tous les fruits secs et séchés, fruits confits ou en conserve. Presque tous les desserts: sucre et sucreries, bonbons, chocolat, nougat, pâte de fruit, confiture, miel, pâtisserie, pain d'épice, lait concentré sucré. Les liqueurs, le vin sucré, le cidre ou la bière, l’eaux-de-vie, la limonade, les sodas, sirops et jus de fruits du commerce sucrés.
Tour Auto 2018
passage près de Villeneuve lez Avignon; Gard
27/04/2018
66 : Peugeot 504 Berline de 1976
Manufactured by Ihagee Kamerawerk, Steenbergen & Co., Dresden, Germany
Model: c.1936, Ihagee Catalog no.2860,
produced between 1933-39,
all Ultrix series produced between 1922-39
Folder film camera, film 120 roll, picture sizes 6x9cm and 6x4.5 cm by a mask
Engravings on top of the camera and the camera leg: Ihagee
Note: The writing of Ihagee looks like Jhagee because it is written with an old German capital letter "I" which resembles a "J", pronounced Ihagee, and later changed with the new form of the "I" (in 1937?) info from: Old German Letters
Lens: Ihagee-Sol-Anastigmat 105mm f/4.5
Aperture: f/4.5 - f/32, no click stops, setting: lever and scale on the lens-shutter barrel
Focusing: manual helical focusing by a lever behind the lens-shutter barrel, guess the distance, scale on the lens standard
Focus range: 2.5-15m +inf
Shutter: Compur leaf shutter,
Manufacturer's logo engraved on front of the lens-shutter barrel: F.Deckel-München,
speeds: 1-1/250 no click stops, +T, B setting: ring and scale on the lens-shutter barrel,
For time exposures the shutter need not to be set, use release lever only
Shutter cocking lever: on the lens-shutter barrel
Shutter release lever: on the lens-shutter barrel
Cable release socket: on the lens-shutter barrel
Viewfinders:
1) Waist level Brilliant Finder on top of the lens, turning 90 degrees left on its own axis for landscape pictures
2) Eye level optical sports finder, folding, on the left side of the camera, w/ a sliding mask in the back frame for 6x9 and 6x4.5 (glasses were lost !)
Winding lever: folding, on the right side of the camera
Self timer button: on the lens-shutter barrel
Bellows: self erecting with the lens standard, opening button: on the right side of the camera, very rigid arrangement of struts, closing: press the handles on the struts
Flash PC socket: none
Back cover: Hinged, opens by a latch on top of the camera
Red windows: Two, for 6x9 and 6x4.5, w/ built in lids
Tripod sockets: old type 3/8'', Two, on the front cover and on the right side of the camera
Lugs for Leather hand grip
Serial no. 475062 (inside of the camera)
Body: metal, ribbed plastic covering and chromed trim, Weight: 550g
The known serial numbers for Zwei Format Ultrix 2860 are between 406720 - 591630.
Production years and serials data for estimating the manufacturing year of this camera is from Ihagee
Ihagee Kamerawerk is well known due to the famous Exacta cameras.
Before WW2 Ihagee produced a vast range of folding cameras with the name Ultrix.
Principal Ultrix models:
*Ultrix (1923) standard first model
*Ultrix-Duplex Nr.1560 (1924)
*Ultrix-Simplex (1924)
*Ultrix-Automat Nr.1250 (1925)
*Auto-Ultrix 6x9cm. Nr.2860 ( 1931)
*Auto-Ultrix mit Plattenrückwand Nr.3860 (1931)
*Auto-Ultrix 4x6.5cm Nr.2850 (1932)
*Zweiformat-Auto-Ultrix Nr.2860 (1933), same catalog Nr. with Auto-Ultrix 6x9cm
*Auto-Ultrix-Junior (1935) Simple version of Zweiformat-Auto-Ultrix Nr.2860
Too many varieties of lenses and shutters were used on Ultrix series. The shutters usually from Gauthier, like the Ibsor, Vario, Pronto and Prontor. The lenses labelled Ihagee Anastigmat. But Ihagee never made any lenses of their own, they were all bought from several lens makers. It is possible that the glasses may have been mounted by Ihagee.
Ihagee folders seem to have died with the WW2 and have been forgotten, even among Exakta collectors. more info: Peter's Ihagee page , Sylvain Halgand Collection
Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.