Robert Armstrong commenced operations as a contract operator in the Westerhope area, north-west of Newcastle, and developed into a leading coach operator, later taking control of Galleys Coaches Ltd and Moor-Dale Bus Services. Contract work remained significant across the group and the original company, R Armstong (Bus Proprietor) Ltd, undertook a small amount of stage carriage work. KWX 19 was new as London Transport RTL 669 in 1950. Armstrong acquired it in 1965 and operated it until the business was sold to Tyne & Wear PTE in 1973. Tyne & Wear retained it until 1974 but it was not repainted and may not have been operated in service (15-May-16).

 

All rights reserved. These rights cannot be overridden by the rules of individual Flickr groups to which I agree to add my work. Please follow the link below for full terms and conditions and additional information about my work:

www.flickr.com/photos/northernblue109/6046035749/in/set-7...

 

On this day 1000 British bombers dropped 5000 tons of bombs on German gun batteries in preparation for D-Day. I wonder if the quarryman who chiselled this into the slate hoped for the end of all wars? Sadly, mankind still hasn't learnt and suffering continues and will continue for a long time to come. Doesn't it just make you want to sit and weep. :-(

Commencal Meta

At 12:55 on a hot mid-summer's day there was never going to be any appreciable amount of exhaust on display from these efficient two-cylinder Pacifics, but documenting a once in a life-time experience was a must. Hof-based 4-6-2 001.111-4 takes the sharp curve away from Neuenmarkt-Wirsberg heading a 'Schnell Zug' (possibly D853), starting the five mile average 1 in 40 climb to Marktschorgast and onward to Hof on Sunday 4th June 1972. The neatly ballasted track and grass-covered line-side embankments with wild flowers are noteworthy features of an era sadly long past. The station hotel, my strategic lodgings for the two previous nights, is just to the left of the large block-house to the right of the photo. Regrettably, a 570-kilometre road journey was ahead of me very soon after this in my Mini!

 

© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission

This commences what will be a small series on Pildammsparken, a park in Malmö. There is a lot to see, but I will hopefully show some of the potential it has to offer regarding photography and how versatile it is in that respect.

Week Commencing - 14/7/14,

 

Presenting your new 10/10A service from Dom's Buses brought to you by a fleet of 11 Dominian Domestic 150SL's the 10/10A or the Golden Bubble is shown in a very customised vibrant colourful livery.

 

These buses will operate fictionally between Union Street & Aberdeen Airport on this round loop service the 10 will Call at Union Street, Aberdeen ARI, Bucksburn & Airport where as the 10A will also stop at The Harbour & Train Station at peak hours...

 

The fleet of 11 will mainly operate using only 10 with 1 reserve at a frequency of Every 20 Minutes...

 

This along with many is the start of the first attempts to make Dom's Buses stand out to the public and make it noticed...

Work commenced on Casa Grande as a home for the then General Manager of Mount Isa Mines, Julius Kruttschnitt, in 1949. It was a 'grand house', designed by the prominent Brisbane firm of Donoghue, Cusick and Edwards, but reflecting the influence of Kruschnitt's time spent in both Arizona and Mexico.

 

Kruttschnitt, with a background of developing mines in America for ASARCO's mining department, had taken on the challenge in 1930, of revitalising the ailing Mount Isa Mine at a time when the company was unable to meet outstanding financial commitments. The 1930s, a time of depression and austerity throughout Australia, was reflected in the price of lead plunging to the lowest point in the history of the metal markets.

 

Kruttschnitt tackled Mount Isa's problems with relentless energy and after more capital was raised through overseas financiers, ore production commenced again in 1931. In earlier years of the mine's operation, the company expended large amounts of money providing housing for employees. Two-storeyed timber houses, a number of dormitories and community buildings were constructed for workers during these more buoyant years. The 1930s saw more austere housing accommodation for workers often in the form of tin huts and tent houses. The problem of a lack of financial resources for accommodation extended to Kruttschnitt's own residence. Initially, he was housed in a modest staff house overlooking Central Park and the Band Rotunda. Kruttschnitt was reported to be unimpressed with his quarters.

 

The finances of the company did not improve until after World War II. While copper had been discovered in 1930, the Japanese attack on Pearl Harbour, and the consumption of copper in Australian factories and munition works, meant that Mount Isa Mines went into full-scale copper production during that period. By 1946, with the end of the war, and a soaring consumption of lead in the United States for assembly lines and defence stockpiles, the price of lead rose to the unprecedented height of £91 a ton. In 1947, for the first time, the mine was able to pay a dividend to its investors. With the mine in an increasingly healthy financial position and an influx of workers to accommodate, the company renewed its housing program. Houses of simple design were constructed, as were dormitories. The company included in its program improved recreational facilities, including tennis courts and a swimming pool.

 

By the late 1940s attention was also paid to providing improved housing for mine executives. The building of a house for Julius Kruttschnitt, now Chairman of Directors, was commenced in 1949 on part of Special Mineral Lease 5589, overlooking older company housing dating from 1928-29. The name given to the house, literally 'big house', reflected the prosperity of Mount Isa Mines at that time and is a term commonly used in Arizona and New Mexico to describe the 'boss's' house. Casa Grande was designed by the prominent Brisbane architectural firm of Donoghue, Cusick and Edwards, probably incorporating the ideas of their client, Julius Kruttschnitt.

 

On the 22nd of July 1950, a housewarming party was given at 'Casa Grande' by Mr & Mrs Kruttschnitt, who entertained their guests under a marquee on the lawns. Small groups of people were shown over the house; certainly the largest and most elaborate house to be built in the hot, dry western district of Queensland.

 

Casa Grande has been used for many social events. In 1951 when badges were presented to employees of MIM who had served twenty years with the Company, a dinner was arranged for the 87 men and their wives by Mrs Kruttschnitt. An annual New Year's Eve punchbowl party was just one of the functions hosted by the Kruttschnitts during their time at Casa Grande.

 

Julius Kruttschnitt resigned as Chairman of Directors in 1952 but did not return to the United States, settling in Brisbane at his home Casa Ita. He was succeeded at Mount Isa by George Fisher who lived with his family at Casa Grande until 1966. During the time of the Fisher's occupancy, the house was refurnished and much of this furniture remains at Casa Grande.

 

Casa Grande became a guest house for visiting directors of the company and VIPs from 1966. A suite at the house was redecorated and refurnished for Queen Elizabeth, who visited the town in 1970. A dining room table, with the tabletop constructed from one piece of cedar was bought by the Company for the Queen's visit.

 

Casa Grande reflects the period in the life of Mount Isa Mines when the first dividend was paid, and the Company, after years of struggle, was becoming profitable. By 1955 MIM Ltd was the largest mining company in Australia and a company with a strong international reputation.

 

Source: Queensland Heritage Register.

7yrold hamming it up with a balloon we picked up in our holiday shopping travels. Slid a bit, not that I had time, but I do like to participate in Sliders Sunday group even if it means slapping something together like this. hss and Merry Christmas everyone.

Lots of the 'blue stuff' here, as the leading class 37, 37422/266, ex-D6966, 'Victorious' gets under way south, passing under the large Station Road over-bridge. The scene here is now denuded of its semaphore signalling, old sidings track and junctions and the general feel of the place has changed considerably. As these and other pictures show, the surrounding area to the seaside, south of the station has now been filled not with the 'Sheds' we are familiar with on the tracks, but with medium sized air-craft hangar type buildings of 'BnQ', 'Block & Quayle, 'Lidl Supermarket' and, not opened yet, the last bit of space, by 'B&M' which I believe stands for, 'Big and Massive'?. So the Station now feels totally hemmed in on all sides with no open space at all, palisade fencing has gone up alongside the old derelict platform 7 line, the line now gone. The 37 could be heard 'warbling' and tooting, at accommodation crossings quite a way south towards Carnaby, and the blue smoke was also another tell-tale marker, with the departure of the set, and its return not timed here until after dark, at 19:30, was time to leave... 1st day in the bag!

 

This was the first day's run of the East Yorkshire R.H.T.T. with D.R.S. class 37s, 'Electro-Diesel Locomotives', 37422/266, ex-D6966, 'Victorious', and, at the back, 37218, ex-D6918, 37422 looks to have a 'small bird emblem?' on the side of the loco, though it looks like its been recently 'stuck on', the loco also has a small 'B.R. Intercity Logo' on the side as well. This is the 3J51, York Thrall Europa, via Scarborough, Bridlington, Hull, Goole, Hatfield, and return via Hessle and Bridlington, at 19:31, to York Thrall Europa working. The set consists of the usual 'Sandite Units', blue FEA-B, R.H.T.T. A Tank Wagons', mostly water, heated, with the Sandite added as the units sprays the railhead.

An early, rare Sony radio. When this radio was manufactured (commencing in the spring of 1956) Sony was the brand name for the fledgling electronics company Tokyo Tsushin Kogyo.

The TR-6 was produced in very small numbers and the majority of them were sold in Japan.

Some made their way into Canada via General Distributors and a few were exported to Europe.

 

This was a trend setting coat pocket set. It's long, lean, streamlined dimensions inspired other radio makers like Hitachi, Standard and NEC to design similar radios.

 

If you'd like to learn more about the TR-6 please visit this link and be amazed!

tabiwallah.com/radiowallah/sony/tr6/index.html

 

Below is what the radio looked like when I got it.

Osprey with a fish in sight.

Retail display at the Berlin Farmers Market, Berlin, NJ USA

 

This and the next 7 pictures are all from a recent re-enactment of what is known in history as “The Races of Castlebar.

 

The “Races of Castlebar” is the name given to a battle fought in Castlebar (where I live) on 27 August 1798 when a combined force of 2,000 French and Irish routed a British force of 6,000 militia men. Five days earlier 1,100 French troops, under the command of General Jean Joseph Amable Humbert, landed near Killala. It was quickly taken, as was the larger town of Ballina. Humbert left 200 French regulars in Killala to cover his rear. Following the news of the French landing, Irish volunteers began to trickle into the French camp from all over Mayo. By the time he reached Castlebar Humbert had a combined French and Irish force of 2,000. There he met an English army, under the command of General Gerard Lake, with 6,000 men together with dozens of artillery pieces and huge cashes of supplies.

The English expected the French to come from Ballina via the main road between the towns. However, on the advice of the Irish who had joined them, they came instead via a longer wild mountain route that the English wrongly thought impassable for a modern army with attendant artillery train.

 

Most of Lakes army was deployed in the wrong place when the French, after a 20 hour march, arrived suddenly in Castlebar at 6.00am on the morning of 27th August. This caused considerable panic in the English ranks. The French and Irish did suffer high casualties in the early exchanges from the English artillery. However, when the French launched a bayonet charge its ferocity, and the determination of those involved, unnerved units of the militia standing behind the artillery and they fled the battlefield in panic, abandoning the gunners and artillery.

While there were subsequent attempts by the British forces to halt the advancing Franch army the rout had begun and thousands of British soldiers fled Castlebar. Some did not stop until they reached Tuam – some 40 miles away.

 

This picture shows the re-enactment of the initial action, which subsequently proved critical to the outcome of the battle. This location is known as Staball. It is so called because the cry of the Irish pikemen who took part in the charge was “stab them all”.

 

Ref: www.kgw.com/article/news/community/sign-outside-portland-...

+++ 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:

The 80th Pursuit Group (Interceptor) was constituted on 13 January 1942 and activated on February 1942. It was redesignated as the 80th Fighter Group in May 1942. During World War II, the group was the first USAAF unit to be stationed in Burma after the Allied retreat in 1942. During its two years in combat, this group, which called itself the Burma Banshees, kept the supply lines open to China while clearing the way for Allied forces and US Army units such as Merrill's Marauders to sweep Japanese forces from northern Burma.

 

The 80th trained for combat and served as part of the defense force for the northeastern United States from, 1942–1943. Its flying squadrons were the 88th, 89th, and 90th Pursuit (later Fighter) Squadrons, later augmented by the 459th Fighter Squadron.

The 80th sailed for India, via Brazil, the Cape of Good Hope, and Ceylon, in May 1943, commencing combat operations in the China-Burma-India theater in September 1943. The group supported Allied ground forces during the battle for northern Burma and the push southward to Rangoon, bombing and strafing troop concentrations, supply dumps, lines of communication, artillery positions, and other objectives.

 

Initial flying material consisted mainly of the P-40 and a few P-38 fighters. Using modified, so-called “B-40 fighter” bombers (P-40s fitted with a single 1,000-pound bomb), the 80th FG attacked Japanese-held bridges, sometimes demolishing their target with a single bomb. The 80th was assigned the defense of the Indian terminus of the Hump route, which it carried out by striking Japanese airfields and patrolling Allied air bases to safeguard them from attack. The 80th received a Distinguished Unit Citation for intercepting a formation of Japanese aircraft, preventing the destruction of a large oil refinery in Assam, India, on 27 March 1944. During this engagement, they shot down 18 enemy machines without losing any of their own.

 

After the capture of Myitkyina and the nearby airfield on May 17, 1944, parts of the 80th Fighter Group relocated to this location. During the heavy fighting around Kohima and Imphal, the British troops deployed there requested air support and the 80th Fighter Group was able to successfully thwart the Japanese advance. In the further course of the operations in Burma, the pilots of the 80th Fighter Group destroyed more than 200 bridges held by the Japanese and shot down around 80 Japanese planes.

Though its primary mission in Burma was the protection of the "Hump" cargo route, the group also played an important role in reopening the Ledo/Burma Road.

 

From mid-1944 onwards, the P-40s were supplemented and gradually replaced with the new, much more potent P-47 Thunderbolt. With their heavier machine gun armament (eight instead of six 0.5” machine guns) and a much higher ordnance load of up to 2,500 lb (1,100 kg) of bombs, unguided rockets and M10 “Bazooka” launchers, this new aircraft type proved to be very effective.

 

The Republic P-47 Thunderbolt was a World War II-era fighter aircraft produced by the American aerospace company Republic Aviation from 1941 through 1945. When fully loaded, the P-47 weighed up to eight tons, making it one of the heaviest fighters of the war. The Thunderbolt was effective as a short-to medium-range escort fighter in high-altitude air-to-air combat and ground attack in both the European and Pacific theaters. The P-47 was designed around the powerful Pratt & Whitney R-2800 Double Wasp 18-cylinder radial engine, which also powered two U.S. Navy/U.S. Marine Corps fighters, the Grumman F6F Hellcat and the Vought F4U Corsair. The P-47 became one of the main United States Army Air Forces (USAAF) fighters of World War II and also served with other Allied air forces, including those of France, the United Kingdom, and the Soviet Union. Mexican and Brazilian squadrons fighting alongside the USAAF also flew the P-47. The Thunderbolt’s armored cockpit was relatively roomy and comfortable. Nicknamed the "Jug" owing to its appearance if stood on its nose, the P-47 was noted for its firepower, as well as its ability to resist battle damage and remain airworthy.

 

From October 1944 the operations of the 80th Fighter Group in Northern Burma concentrated on the destruction of the routes of the Burma Railway. Operations with army support (operating as "cab ranks" to be called in when needed) were very successful, with attacks on enemy airfields and lines of communication, and the aircraft flew a number escort sorties. An 80th FG squadron could finally be relocated to Shingbwiyang and was thus in the immediate vicinity of Ledo Street, which was under construction. The squadron flew many sorties against advancing Japanese forces and was instrumental in the capture of Myitkyina. Napalm bombs, a new weapon and initially improvised from drop tanks with makeshift fins, were also used with devastating effect, but some of them very close to the company's own lines.

 

By the end of the war, the group had destroyed more than 200 bridges and killed scores of bridge repair crews. Air-to-air and air-to-ground sweeps by the group's pilots claimed 80 enemy planes destroyed in the air or on the ground. The 80th Fighter Group was withdrawn from combat in May 1945 and inactivated in November.

  

General characteristics:

Crew: 1

Length: 36 ft 1.75 in (11.02 m)

Wingspan: 40 ft 9 5/16 in (12.429 m)

Height: 14 ft 8 1/16 in (4.472 m)

Airfoil: Seversky S-3

Empty weight: 10,000 lb (4,536 kg)

Max takeoff weight: 17,500 lb (7,938 kg)

 

Powerplant:

1 × Pratt & Whitney R-2800-59 18-cylinder air-cooled radial piston engine, 2,000 hp (1,500 kW),

driving a 4-bladed Curtiss Electric C542S constant-speed propeller, 13 ft (4.0 m) diameter

 

Performance:

Maximum speed: 426 mph (686 km/h, 370 kn) at 30,000 ft (9,100 m)

Range: 1,030 mi (1,660 km, 900 nmi)

Service ceiling: 42,000 ft (13,000 m)

 

Armament:

8x 0.5” caliber (12.7 mm) M2 Browning machine guns (3.400 rounds)

Up to 2,500 lb (1,100 kg) of bombs, drop tanks and/or up to ten 5” (130 mm) unguided rockets

  

The kit and its assembly:

This is a very modest what-if model – just a fictional livery on a stock model, and part of the ongoing plan to “build down” The Stash™ of kits during the ongoing Corona lockdown. The idea behind it was spawned by a number of decals for P-40s for the 80th FG I found in my scrap box, which all carried spectacular skull markings on their noses. I wondered if and how these could be adapted to another aircraft type – and the P-47 lent itself for this project due to its sheer “canvas” size, despite having a radial engine, and being the natural successor of the P-40 in USAAF service.

 

From that I spun the idea further and settled for an early Razorback P-47D, in the form of the very nice Academy kit. The kit was basically built OOB, it went together nicely without major fights – a trait that I really like about most Academy kits. The only true weak spot of the P-47 is the flaps’ undersides: they are pretty thick/massive, so that there are shallow sinkholes. These are easy to fill, though, even though I ignored this flaw and rather lowered the flaps, a mod that’s pretty easy to do.

An addition is a scratched D/F loop antenna on a streamlined socket behind the cockpit, a typical feature of P-47s operated in the BMI theatre. The loop was created with thin wire, the socket is a piece of sprue, integrated into the spine with some putty. As a late-production Razorback Thunderbolt I gave the aircraft a Curtiss Electric paddle-bladed propeller, which the Academy kit offers as an optional piece.

 

The ordnance was also taken from the kit: a pair of Bazooka triple launchers for ground attack duties and a drop tank under the fuselage.

  

Painting and markings:

A simple affair: as an early P-47, I gave the aircraft the standard USAAF livery of olive drab and neutral grey. I used Tamiya XF-62, IMHO the best interpretation of the tone, and ModelMaster 1740, actually FS 36231 instead of FS 36173, but the Dark Gull Grey is a bit lighter than Neutral Grey and looks IMHO better on the 1:72 scale model. AFAIK, no P-47 carried the earlier mid-green blotches on the wings anymore. The cockpit was painted in Interior Green, while the landing gear wells became zinc chromate yellow, very traditional.

 

The individual aircraft markings were more spectacular and also challenging. The real eye-catcher is pair of 80th FG skulls on the cowling flanks, even though these had to be completed with paint since they come from a Hobby Boss P-40N and feature empty sections for the exhaust stubs. The empty eye sockets had to be added manually, too, and since there was now a lot of white, I added – after consulting pictures of 80th FG P-40s - thin black lines to the skull with a felt tip pen. A real improvement, and it’s even authentic!

 

Furthermore, I added 1st Air Commando Group markings in the form of five white diagonal stripes around the rear fuselage. This group operated in the BMI area, e.g. P-51s, B-25s and even P-47s, but the 80th FG was not part of it. Nevertheless, the stripes suit the Razorback very well, and they were created with generic 2mm decal stripes from TL Modellbau. Each stripe had to be applied and trimmed individually, not an easy task on the conical tail with its concave and convex surface. The result is not perfect, but I am fine with it, and it looks very cool.

 

Pictures of early USAAF P-47s in the BMI are hard to find, but what I found suggests that Allied machines wore single bands on wings and tail surfaces as additional ID markings from 1943 on, much like the P-47s over Europe. On later NMF aircraft, these were dark blue (on both USAAF and RAF aircraft), and I was lucky to have a complete set of white P-47 markings left over from an Xtradecal set for SEAC RAF Thunderbolts, which comes with pre-cut bands in white and blue, very convenient! On the downside, the white fuselage stripes dramatically revealed that the P-47’s OOB decals, esp. the Stars and Bars, lacked opacity, so that I had to add some white paint manually to hide the resulting mess.

 

Typical unit markings of the 89th FS are a red spinner, and since the P-47 has only a small one, I added a thin red frame around the cowling, as carried by later real-world 89th FS P-47s, which were left in bare metal, though. As a gimmick I painted the wheel hubs in red, too. As a personal marking of the pilot I christened the aircraft “The Big Fella”, taken from an Irish pre-WWII armored car, and I added some air victory markings.

 

As usual, the kit received a black ink washing overall and some post panel shading with Revell 42 and 46 on the upper surfaces and ModelMaster 2105 (Dark French Blue Gray) underneath for visual drama and weathering. Some light soot stains around the gun muzzled were created with graphite, oil stains under the fuselage with Tamiya “Smoke”.

  

While this was not a complex build and even the livery is pretty close to real world standards, I like the outcome and how the skull markings stand out on the huge P-47. The array of fuselage stripes are an interesting visual extra, even though I was afraid that they were, together with the white ID stripes on the wings, a bit too much. The red highlights are an interesting contrast, too, and IMHO the whole decoration works fine. Everything fictional, but plausible and believable.

Grantham depot today commenced operation of the 12 between Uppingham and Stamford, and the 146 Oakham Hopper - plus one single journey on the RF1 (or a round trip and a bit on a Saturday).

 

Seen here on North Street East in Uppingham is Grantham's Solo 321, ready to work the 1230 journey to Stamford. This was the first time I'd driven the route, which is very quirky indeed, with no less than two turnaround points en route - both of which are in the same village, at Edith Weston!

 

Spot the new font for the route numbers on the destination display too! This matches the font used in some of our publicity, most notably banners on social media and filler adverts in timetable booklets.

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 a short distance from Cavendish Mews, in the nearby upper-class suburb of Belgravia where Lettice is paying an unexpected call on Lady Gladys Caxton at her Regency terrace in Eaton Square*. 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 Bloomsbury pied-à-terre** in Ridgmount Gardens. 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 Ridgmount Gardens. Lady Gladys felt that the pied-à-terre was too old fashioned and outdated in its appointment for a young girl like Phoebe. When Lady Gladys arranged for Lettice to inspect the flat, Lettice quickly became aware of Lady Gladys’ ulterior motives as she overrode the rather mousy Pheobe and instructed Lettice to redecorate everything to her own instructions and taste, whist eradicating any traces of Pheobe’s parents. Reluctantly, Lettice commenced on the commission which is nearing its completion. However earlier today Pheobe came to visit the flat whilst Lettice was there, and with a little coercion, Pheobe shared what she really felt about the redecoration of her parent’s pied-à-terre. Desperately wanting to express herself independently, Pheobe hoped living at the flat she would finally be able to get out from underneath the domineering influence of her aunt. Yet now the flat is simply another extension of Lady Glady’s wishes, and the elements of her parents that Pheobe adored have been appropriated by Lady Gladys. Determined to undo the wrong she has done by Pheobe by agreeing to all of Lady Glady’s wishes, in a moment of energizing anger, Lettice has decided to confront Lady Gladys, so now she is at Eaton Square.

 

“I’m sorry Miss Chetwynd, but if you haven’t made an appointment, I’m afraid that Lady Gladys cannot see you.” explains Miss Goodwin, Lady Gladys’ rather harried personal secretary, as she rustles papers, rearranging them distractedly into different piles on her small desk as she speaks. “She is simply too busy!”

 

“But Miss Goodwin…” Lettice begins.

 

“No, Miss Chetwynd!” the secretary replies more firmly. “Lady Gladys had a book reading in Charing Cross at two, and then there are the details of her American book tour to iron out.”

 

“You must be able to fit me in, Miss Goodwyn!” Lettice implores desperately. “I simply must see her about Phoebe’s pied-à-terre.”

 

“Is there something wrong with Miss Chambers’ pied-à-terre, Miss Chetwynd?”

 

“No… well, yes… well… it’s nearly ready, but it’s all wrong.” Lettice replies, flustered as she falls under the sharp, owl-like gaze of the middle-aged spinster secretary, made all the more prominent by her gold rimmed pince-nez****. “It’s difficult to explain.” she finally concludes in a rather deflated fashion.

 

Miss Goodwin arches her expertly plucked and shaped eyebrows over her eyes sceptically. “Evidently.” she remarks in a dismissive fashion. Reluctantly picking up her appointment book for Lady Gladys, she flips through the lined pages filled with her neatly written copperplate. “Let’s see.” she mutters, exhaling through her nostrils in frustration as she does. “I can fit you in next Tuesday at three o’clock if you like.” She picks up her fountain pen in readiness to record Lettice’s name.

 

“Next Tuesday?” Lettice retorts in horror. “But I can’t wait until next Tuesday, Miss Goodwin.”

 

“Oh?” Miss Goodwin queries. “But I thought you said the flat redecoration was nearly complete, Miss Chetwynd.”

 

“Well it is, Miss Goodwin.”

 

“Then, I’m sure this small matter,” the secretary emphasises the last two words as she speaks. “Can wait until then.”

 

Lettice gulps for air in an exasperated fashion. “But… I…”

 

“No, Miss Chetwynd!” Miss Goodwin says again, firmly pressing the palms of both her hands into the piles of paper before her defiantly.

 

“What’s all this sound of discourse then?” comes a male voice, booming through the charged air of Miss Goodwin’s small office on the ground floor of the Eaton Square terrace.

 

“Oh! Sir John!” the secretary exclaims, as Lady Glady’s husband, a tall and white haired gentleman in a smart morning suit pops his head around the door, his gentle face moulded into a look of concern. “Please forgive us. I was just explaining to Miss Chetwynd, that Lady Gladys cannot possibly see her now.”

 

“Oh enough of the ‘sir’ and ‘lady’, Goody,” Sir John says with a smile as he sees Lettice standing in front of the secretary’s desk, addressing Lady Glady’s secretary by the pet name given her by Sir John and Lady Gladys. “Lettice knows us intimately enough to know we don’t go by the titles bestowed upon us.” His smile broadens. “Lettice, what an unexpected pleasure.” He steps into the room and places his large hands firmly upon her shoulders. “I was just on my way out to Whites***** when I heard the commotion. Whatever is the matter, my dear?”

 

“Si… John,” Lettice begins, her eyes looking imploringly at Sir John as he towers over her. “It’s imperative I see Gladys right away. It’s about Pheobe and the flat.”

 

“That does sound serious.” he remarks, his face clouding over.

 

“Oh it is, and that’s why I must see Gladys now.” She turns her head slightly and glares at Miss Goodwin, whose own face is sternly defiant in her reluctance to admit Lettice.

 

“Well,” Sir John says with a chuckle. “I’ve quite literally just left her in her upstairs study, autographing some of her novels. She isn’t due at Foyles****** until two o’clock, is she, Goody?” Sir John doesn’t wait for her reply as he sweeps an arm around Lettice’s shoulder comfortingly and guides her away from the secretary and towards the door. “So come along.”

 

Leaving the affronted Miss Goodwin behind, Sir John leads Lettice up the grand main staircase of the terrace, with its thick stair carpet affixed with brass stair rods******* and stylish gilt detailed black metal balustrade.

 

“Are these all Caxtons?” Lettice asks as she gazes up the generous Regency proportioned stairwell at the portraits in oils hanging in gilded frames along the walls.

 

“Hhhmm… a few.” Sir John mutters. “Like him.” He points to a rather serious looking gentleman in middle-class mid Victorian sombre black. “But most of them I bought when I bought the house. It seemed a shame for them to be parted, especially as their former bankrupted owner had no use for them any more. He needed the money, and I… well…” He chuckles a little awkwardly.

 

“You needed the lineage.” Lettice completes his sentence.

 

“How perceptive you are, Lettice.” Sir John says without missing a beat as they walk. “It’s what comes with the pretentions of a social climbing first wife, and my acquired title*******. I’m not as fortunate as you to have such a distinguished lineage, having been born into a wool merchant family in Hallifax.”

 

Lettice doesn’t reply, and merely smiles and nods her acknowledgement.

 

“Now, what’s all this about Pheobe’s flat then, Lettice? I hope you aren’t having any problems with the wages for the tradesmen traipsing in and out of Ridgmount Gardens. I’ve been writing so many cheques for them lately that I can barely keep up.”

 

“Oh, it has nothing to do with their wages, John.”

 

“Then what? You sounded most insistent back there with Miss Goodwin, and whilst I don’t claim to know you well, you don’t strike me as a girl who gives in to having histrionic fits.”

 

Lettice smiles and chuckles softly as Sir John’s remark reminds her of her friend, ‘Moaning’ Minnie Palmerston, wife of a London banker, who is known for her histrionics.

 

The pair reach the landing between the ground and first floor, where a large marble bust of a gentleman in a periwig******** stares out with blind eyes and a frozen, magnanimous smile at the treetops of the garden square outside through a large twelve pane sash window. Lettice stops, causing Sir John to do the same.

 

“May I be frank, Si… err, John?” Lettice asks, gazing up at the man’s wrinkled face.

 

“Please, Lettice.” he agrees.

 

“Well, I’ve had concerns about this commission, ever since I first visited Ridgmount Gardens.”

 

“Concerns?” Sir John’s face crumples. “What concerns, Lettice?”

 

“When Gladys took me there, well no, even before that, I’ve been worried about Glady’s motivations for wanting the flat decorated.”

 

“What motivations?”

 

“It struck me, John, as she discussed the redecoration for the flat with me, that it is more to Gladys’ taste than Pheobe’s.”

 

“Is that all?” Sir John chuckles and sighs with relief. “You’ve met Pheobe. She’s a sweet child, and I love her as one of my own, but she isn’t overly forthcoming, is she?”

 

“But it’s more than that. I’ve observed that whenever Pheobe expresses an opinion that contradicts Gladys, that Gladys wears her down to her down, and brings her around to her own way of thinking.”

 

“Ahh..” Sir John says a little awkwardly. “Well, you may lay the blame for that solely at my feet, dear Lettice. I’m afraid that when I met Gladys, I was so taken by her pluck and spirit that I indulged her. I saw so much potential in her: potential that was stymied due to her lack of wealth. We’ve been married for a good many years now, and I’m afraid that she is rather used to getting her own way.”

 

“Well, I can work with that, John. Gladys isn’t without panache and certainly has a sense of style.”

 

“Then I don’t see the problem, my dear.” He looks quizzically at her. “You said you wanted to be frank. Speak plainly.”

 

Lettice sighs and her shoulders slump. “You’ll think it preposterous, and I am sorry to say this, but I think that Gladys is eradicating the memory of Pheobe’s parents.”

 

Sir John laughs. “You’re right, I do find that idea preposterous, my dear, but only because Pheobe has very little memories of her parents there to erase. She only ever lived the first year of her life in Ridgmount Gardens before Reginald took her and Marjorie back to India, and when he and Marjorie died out there, Pheobe was only five, and Gladys and I were married by that time, so we took Pheobe back to Gossington and she grew up there. She has no associations with Ridgmount Gardens, other than she has always known that her father bequeathed it to her and that she would take possession of it when she came of age.”

 

“John, Pheobe came to the flat today to fetch some of the books she needed that had been packed up when she decamped Ridgmount Gardens so the redecoration could commence, and she expressed the opinion which she also did with Gladys that she wanted to keep her father’s writing desk and her mother’s crockery. Pheobe says that she feels the essence of her parents in those pieces more than in the photographs she has of them.”

 

Sir John smiles indulgently. “That sounds like Pheobe. She’s always been fey and other world like, imagining that she can see inside people to their inner essence, ever since she was that forlorn child we brought back from Bombay.” He shakes his head dismissively.

 

“Yet Gladys has taken the bureau in spite of Phoebe’s wishes, claiming that her brother intended for her to have it, and she gave me the china to dispose of. Pheobe also told me that Gladys has said in front of her that her brother should never have married Phoebe’s mother. It seems to me that she is intentionally trying to remove any reminders of her brother and his wife.”

 

“It is true that there was never any love lost between Gladys and her sister-in-law. I’m not quite sure why, other that the fact she claimed that Marjorie stymied Reginald’s career in some way. I couldn’t see that myself. He was on his way to being a magistrate from what I could see. She was always evasive, never wanting to rake over the coals. I only ever met Reginald and Marjorie a few times around Gladys’ and my wedding day, and even then, it was only a fleeting visit, so I cannot say that I was critical of their marriage the way Gladys was. I did chide Gladys for speaking out of turn about Marjorie in front of Pheobe, but,” He looks guiltily at Lettice. “You know what Gladys is like. She’s always spoken her mind, and for all the fault in her that it may be, it is one of the reasons I love her.”

 

“But to intentionally remove any reminders of Mr. and Mrs. Chambers, John?”

 

“Oh I’m sure it isn’t intentional, Lettice.” Sir John assures her. “It’s good you’ve come when you have. You can speak to Gladys about this misunderstanding.”

 

“Misunderstanding?”

 

“Yes, I’m sure that’s all that it is. Whatever my wife may or may not be, she has tried all her life to do the best my Pheobe, and I’m sure that if Phoebe is as impassioned as you say she is about her father’s desk and her mother’s china, she probably just needs someone else to speak for her about it to Gladys.” He wraps his arm around Lettice assuring and gives her forearm a hearty rub. “And you’ll be capital about that. Now, come along.”

 

The pair take the final flight of stairs to the first floor in thoughtful silence. Sir John leads Lettice up to a doorway, knocks and opens it, walking in without waiting for a reply. “Look who I found downstairs, having the fiercest argument with your goodly protectress, Gladys.”

 

Lettice follows Sir John into a beautiful high ceilinged first-floor room flooded with light from two large and tall Regency windows. Like Gossington, the Scottish Baronial style English Art and Crafts castle near the hamlet of Kershopefoot in Cumberland belonging to Sir John and Lady Gladys, the walls are decorated with William Morris********* patterned wallpaper, and the room is furnished with Edwardian and Art Nouveau furnishings. However, unlike Gossington’s public rooms, which are crammed full of Edwardian clutter, the scheme in this room is far lighter, with the delicate and softer ‘Willow Bough’ pattern in the paper, and rather than being upholstered in Morris pattern as well, the sofas and chairs situated about the room are covered in a stripped back creamy Regency stripe, perhaps in deference to the terrace’s origins. Even the clutter here is less, with fewer vases and trinkets covering the surfaces of tables. In fact, the mantle is the most cluttered, and even then it is mostly with invitations and correspondence addressed to Lady Gladys’ non de plume of Madeline St John. And there, at a small black japanned regency desk sits Lady Gladys in her favoured pastel shades and pearls.

 

“Lettice!” she gasps, looking up from signing a copy of her latest Madeline St John romance novel, ‘Miranda’. “What an unexpected pleasure.” She picks herself up out of her high backed black japanned and gilt French Second Empire chair and opens her arms to Lettice, exposing the pretty knitted patterns woven through her light, pale pink cardigan that she has chosen to wear over a pink floral print cotton frock. As Lettice crosses the room, gracefully moving through the obstacle course of low occasional tables and comfortable salon and armchairs, Lady Gladys’ face clouds. “Or is it? Did… did we have an appointment today, my dear?”

 

“No, no, Gladys.” Lettice assures her as she reaches Lady Gladys and allows herself to enveloped in her lavender scented embrace. “It’s an unannounced visit.”

 

“Well then, I do hope that Goody wasn’t too cantankerous with you. I adore her, and she’s an excellent and superbly organised secretary, but Goody doesn’t particularly like surprise visits and will do almost anything to stick rigidly to her arrangement of my schedules.”

 

“I caught Goody in full flight, and rescued poor Lettice from her recalcitrant clutches.” Sir John remarks.

 

“Always the knight in shining armour, John. Bravo!” Lady Gladys applauds her husband.

 

“Well, I’m off then.” Sir John says.

 

“Oh, won’t you stay, John?” Lettice says, her voice cracking. She had been hoping he might stick to form as her rescuer and stay to help influence her pleas with Lady Gladys favourably.

 

“Oh no, Lettice my dear!” He starts to back away towards the door. “Whites waits for no man, and nor does my contract bridge partner. I’ve tarried long enough. Besides,” he adds. “This is between you two ladies.” And with that, he turns on his heel and retreats out the door, closing it quietly behind him.

 

“Say hullo to Fillmore for me, and give him my love, John.” Gladys calls after his retreating footsteps.

 

The room falls into a soft silence broken only by the twitter of birds in the trees outside, the purring of a passing motorcar on the road and the gentle tick of a gilt clock on a bombe chest between the two windows.

 

“Well, I have a little bit of time before I must away to Foyles.” Lady Gladys says, pulling back the sleeve of her cardigan and glancing at her delicate gold and diamond studded wristwatch. “Oh! Which reminds me, I must, must, must, sign copies of a couple of my novels for your maid. Edith, isn’t it?”

 

“Quite so, Gladys.”

 

“Good! You can take her a copy of ‘Miranda’ today.” Lady Gladys takes a seat again as she takes up a copy of the book and inscribes it with a flourish of her pen. “To Edith, with my best wishes, Madeline St John.” she utters as she writes. Finishing the inscription, she closes the cover of the book with a thwack. “I almost need a forger on my retinue of office staff to sign all the requested copies of my books.” She hands the book to Lettice. “Please, sit.” She indicates to a tall wingback armchair by the fireplace with an open gesture. As Lettice sits, she spins in her own seat, leaning heavily against the chair’s left ornately spindled arm. “Now, what can I do for you, Lettice?”

 

Lettice takes a deep breath. “Well, Gladys, I wanted to talk to you about the flat.”

 

“Oh yes!” Gladys crows, clapping her hands, the diamonds and other precious stones of her rings winking in the light. “My spies tell me that it has been quite the hive of activity at Ridgmount Gardens!”

 

“Your spies?”

 

“Oh, don’t look so shocked, Lettice.” Lady Gladys laughs. “Bloomsbury is such an artistic area, full of writers, many of whom I know.” She smiles slyly. “Writers are notorious for being observant of their surroundings. It doesn’t take long for the jungle drums to start beating, my dear.”

 

“Oh.” Lettice remarks.

 

“Now, what is it about the flat you want to talk about?” Yet even as she asks, she then adds, “Oh, the chintz curtains I wanted did arrive, didn’t they, Lettice?”

 

Lettice shudders at the thought of them. “Yes, Gladys, and they are hanging in the drawing room, just as you’d requested.”

 

“Excellent!”

 

“But it’s your requests,” Lettice gulps awkwardly. “Or rather… your demands… that I’ve come to speak to you about.”

 

“Demands?” A defensive edge makes its way into her well enunciated words as Lady Gladys queries Lettice’s remark.

 

“Commands.” Lettice blunders.

 

“Commands!” Lady Glady’s eyes flicker slightly.

 

“There’s a problem with your requests, Gladys.” Lettice tries to venture, her voice faltering and sounding weak as the words catch in her throat.

 

“A problem with my requests, Lettice?” Lady Gladys lowers her left arm so it dangles down by her side, whilst raising her right to her chin in a ponderous pose as she considers her visitor, perching on the edge of her seat awkwardly, as if seeing her for the first time. “What could possibly be wrong with any of the requests I have made? Have I made demands that are unreasonable? Is there something wrong with the shade of green of the walls, the choice of soft furnishings,” She pauses. “The chintz curtains?”

 

“Well,” Lettice tries to momentarily make light of the moment. “Chintz isn’t something I’d choose for myself, Gladys.”

 

“I chose those for Phoebe specifically,” Lady Gladys says sharply, the volume of her voice rising slightly as she does.. “Because I thought she might appreciate the connection between the nature she so loves and her living space.”

 

“And she does, Gladys.” Lettice defends. “She even remarked on them when she was at Ridgmount Gardens today.”

 

“Oh, so that’s where she went.”

 

“She came to fetch some books she left behind at the flat that she needs for her studies.”

 

“Or so Pheobe claims.” Lady Gladys retorts.

 

“And whilst we were there, we had a conversation,” Lettice tries to steal her voice as she adds, “An honest conversation.”

 

Lady Gladys does not reply immediately, but considers Lettice’s statement before asking, “And what was it in that honest conversation that now has you at my door, Lettice?”

 

Lettice notices, as she feels sure she is meant to, that the endearments of ‘my dear’, usually attached to her name, have suddenly vanished.

 

Well, you’ll forgive me, Gladys, but when Pheobe and I were speaking, she shared with me her concerns that the flat is perhaps not being redecorated,” Lettice quickly, yet carefully considers each word as she speaks it, conscious of the precarious situation she finds herself in. She doesn’t want to invoke Lady Gladys’ ire against phoebe, nor against herself. “In the… the style which she would prefer.”

 

“The style she would prefer?” Gladys suddenly leans back in her seat and starts laughing, but the laugh is devoid of joy. “Lettice, Pheobe has no opinion when it comes to style, the little mouse.” She stares out of the window into the sunshine bathing the trees of the gated garden square across the road. “Actually, she has very little opinion about anything, quite frankly.”

 

“Well, there I would beg to disagree with you, Gladys.” Lettice retorts, suddenly filled with a necessity to defend Phoebe.

 

“Do you indeed?”

 

“I do.” Lettice affirms, her voice growing stronger. “You see, you have a very… a very strong personality.”

 

“Forthright is what John would call my personality.”

 

“Strong, forthright: either description amounts to much the same. I’ve observed that on the rare occasions Phoebe disagrees with your opinion, you quickly snuff out any objection.”

 

“Such as?” Lady Gladys asks warily.

 

“Such as when I first visited Ridgmount Gardens with you, after we had been to your book launch at Selfridges, when Phoebe protested that she wanted to keep her father’s bureau desk, you wouldn’t let her.”

 

“Lettice,” Lady Gladys sighs heavily. “As I mentioned to you both then, and have repeated several times when the subject of my brother’s desk has been raised by Phoebe subsequently with me, Reginald wanted me to have it. He simply died before he had a chance to put his affairs in order.”

 

“And her mother’s china?”

 

“Good god, Lettice!” Lady Gladys exclaims. “Why on earth should Phoebe want those old hat Style Liberty********** cups, saucers and plates, when she can have something of far superior quality and are more up-to-date in style.”

 

“You seem to be a proponent of Style Liberty, Gladys.” Lettice indicates with waving gestures about the room.

 

“And as I said to you at Gossington, the style may have been fashionable when I was younger, but it died when all our young men did, during the war. It’s past: dead! Anyway,” she sulks. “They are cheap, nasty pieces of pottery, and many of them are chipped, even if Marjorie kept them for best. She never did have good taste.”

 

“Whether they are cheap or chipped, Gladys, Phoebe feels that her flat is missing her parent’s essence.” When Lady Gladys scoffs scornfully, Lettice continues, “She specifically mentioned the chips in her mother’s plates and teacups and the grooves and ink stains in her father’s bureau.”

 

“Phoebe always was an odd child,” Lady Gladys ruminates. “Going on about the essence of a person. She has photos to look at if she wants to get an essence of her long dead parents. Lettice, John and I have been far more of parents to her than Reginald and Marjorie.”

 

“I’m not disputing that, Gladys. All I am stating is what Phoebe told me. You have your own desk,” Lettice points to the delicate desk before which Lady Gladys sits. “Why not give Phoebe what she wants? Is it so hard?”

 

“I’ve been giving that child all that she needs and wants for years: ever since I brought her back from India as a five year old. I’ve given her everything a real mother would.”

 

“Then why not give her the bureau. Please, Gladys.”

 

“I repeat!” Lady Gladys snaps. “Reginald wanted me to have his bureau! It’s mine!”

 

Lady Gladys suddenly sits upright in her seat and slams her palms into its arm rests, huffing heavily with frustration. “Well Lettice, I have enjoyed our impromptu little tête-à-tête, but I’m afraid I really must go. I don’t wish to keep the Messrs Foyle waiting. They have been very good to me, arranging this reading at their bookshop.”

 

“But…” Lettice begins.

 

Lady Gladys picks up a silver bell from the surface of her desk and rings it, the metal bell emitting a high pitched ring. “Whom, may I ask is paying the bills for all the tradespeople you have engaged on your little project of redecorating Ridgmount Gardens?”

 

“Sir John.”

 

“Then let me remind you that Sir John is acting on my behalf, paying those bills. When you agreed to accept my commission, we entered into a contract: a contract that you and I both signed before our lawyers.”

 

“Yes, at your insistence.”

 

“Exactly, because I suspected a situation somewhat sticky like this might arise. I didn’t have to choose you to redecorate Phoebe’s flat. I could have chosen any number of my friends who dabble in interior design. Indeed Syrie Maugham*********** felt quite slighted that I chose you over her, with all her successes. I wanted to give you the opportunity to increase your profile as a society interior designer , because my word goes a long way.” “Lettice, I might be many things, but I’m not a woman without tact, but as our time today is up, you must force me to be blunt.” She begins to shuffle the remaining copies of her novels on her desk irritably. “You agree that you signed a contract with me, so as your client I request… no I demand,” She uses Lettice’s choice of words back at her. “That you do everything I want: everything, down to the last little detail, or I shall consider the contract null and void, and therefore I shall be under no obligation to arrange for John to pay any outstanding bills, and further to that, if you do anything forcing me to terminate our contract, I shall make sure that every drawing room is talking about your untrustworthiness, Lettice. Do I make myself clear?”

 

Just at that moment, Miss Goodwin bustles into the room. “You rang, Gladys?”

 

“Yes Goody.” Gladys says with a painted smile. “My delightful impromptu meeting with Miss Chetwynd is over. Would you kindly show her out. I must get ready for my reading at Foyles.”

 

“Yes Gladys.” She smiles at Lettice. “Right this way, Miss Chetwynd.”

 

As Miss Goodwin ushers Lettice towards the door, Gladys adds from her seat at her desk, “Thank you so much for visiting me today, my dear Lettice. I think it has helped us both better understand our positions. I’m sure you agree.”

 

“This way, Miss Chetwynd.” Miss Goodwin says again as she guides the shocked and silent Lettice out of the door, closing it quietly behind her.

 

*Eaton Square is a rectangular residential garden square in London's Belgravia district. It is the largest square in London. It is one of the three squares built by the landowning Grosvenor family when they developed the main part of Belgravia in the Nineteenth Century that are named after places in Cheshire — in this case Eaton Hall, the Grosvenor country house. It is larger but less grand than the central feature of the district, Belgrave Square, and both larger and grander than Chester Square. The first block was laid out by Thomas Cubitt from 1827. In 2016 it was named as the "Most Expensive Place to Buy Property in Britain", with a full terraced house costing on average seventeen million pounds — many of such town houses have been converted, within the same, protected structures, into upmarket apartments.

 

**A pied-à-terre is a small flat, house, or room kept for occasional use.

 

***Charing Cross is a junction in Westminster, London, England, where six routes meet. Since the early 19th century, Charing Cross has been the notional "centre of London" and became the point from which distances from London are measured. It was also famous in the late Nineteenth and early Twentieth Centuries as being the centre for bookselling in London.

 

****Pince-nez is a style of glasses, popular in the late Nineteenth and early Twentieth Centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, "to pinch", and nez, "nose".

 

*****White's is a gentlemen's club in St James's, London. Founded in 1693 as a hot chocolate shop in Mayfair, it is the oldest gentleman's club in London. Notable current members include Charles III and the Prince of Wales and former British prime minister David Cameron, whose father Ian Cameron was the club's chairman, was a member for fifteen years but resigned in 2008, over the club's declining to admit women. The club continues to maintain its tradition as a club for gentlemen only, although one of its best known chefs from the early 1900s was Rosa Lewis, a model for the central character in the BBC television series “The Duchess of Duke Street”.

 

******W & G Foyle Ltd. (usually called simply Foyles) is a bookseller with a chain of seven stores in England. It is best known for its flagship store in Charing Cross Road, London. Foyles was once listed in the Guinness Book of Records as the world's largest bookshop in terms of shelf length, at 30 miles (48 km), and of number of titles on display. Brothers William and Gilbert Foyle founded the business in 1903. After failing entrance exams for the civil service, the brothers offered their redundant textbooks for sale and were inundated by offers. This inspired them to launch a second-hand book business from home. Flushed with success, they opened a small shop on Station Parade in Queen's Road, Peckham, where they painted "With all Faith" in gilt letters above the door. The brothers opened their first West End shop in 1904, at 16 Cecil Court. A year later they hired their first member of staff, who promptly disappeared with the weekly takings. By 1906, their shop was at 135 Charing Cross Road and they were described as London's largest educational booksellers. By 1910, Foyles had added four suburban branches: at Harringay, Shepherd's Bush, Kilburn and Brixton. Not long afterwards, the brothers moved their central London store to 119 Charing Cross Road, the Foyles Building, where it remained until 2014. Foyles was famed in the past for its anachronistic, eccentric and sometimes infuriating business practices (ones I have been personally involved in), so much so that it became a tourist attraction. It has since modernised, and has opened several branches and an online store.

 

*******A stair rod, also commonly referred to as a carpet rod, is an ornamental decorative hardware item used to hold carpeting in place on steps.

 

********Titles into the British Peerage weren't for sale as such, but a social climbing gentleman could certainly buy his way into the nobility if he were wealthy and well connected enough, and used the social and political power of wealth wisely. In the pre-war (Great War) years, when money went a great deal further than it did before the introduction of heavy income taxes and death duties, if you had money, it was not hugely difficult to effectively buy yourself a seat in parliament or a commission in the military (both of which were functionally up for sale), which could often result in a peerage being granted if you stayed around long enough in the right circles, or were favoured by the right people. The Tories of the late Eighteenth Century were infamous for packing the House of Lords with supporters in order to retain a majority (most aristocratic families had favoured the Whigs earlier in the Georgian era). If a man were shrewd enough to curry favour with a Tory like Lord North or Pitt the Younger, then he could probably get a title quite easily, since the Tory base of support was within the untitled gentry, and they needed to maintain control of the Lords. Currying favour with the monarch worked equally well, and King Edward VII was famous for minting fresh peers regularly, filling his levees with wealthy industrialists, manufacturers and men of business whom he found more engaging than the idle peers of long standing aristocratic titles.

 

********A periwig a highly styled wig worn formerly as a fashionable headdress by both women and men in the Eighteenth Century and retained by judges and barristers as part of their professional dress to this day.

 

*********William Morris (24th of March 1834 – 3rd of October 1896) was a British textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co.

 

**********The artistic movement we know of today internationally as Art Nouveau, was more commonly known as the “Arts and Crafts Movement” or “Style Liberty” in the United Kingdom during the years before and after the Great War, driven by the Glasgow School of Arts, where a great many proponents of the style came from, and by the luxury London shop Liberty on Regent Street which sold a great deal of William Morris’ designs to the general public.

 

***********Gwendoline Maud Syrie Maugham was a leading British interior decorator of the 1920s and 1930s who popularised rooms decorated entirely in white. In the 1910s, Maugham began her interior design career as an apprentice under Ernest Thornton-Smith for a London decorating firm, learning there about the intricacies of furniture restoration, trompe-l'œil, curtain design, and the mechanics of traditional upholstery. In 1922, two years before this story is set, at the age of 42, Maugham borrowed £400.00 and opened her own interior decorating business at 85 Baker Street, London. As the shop flourished, Maugham began decorating, taking on projects in Palm Beach and California. By 1930, she had shops in London, Chicago, and New York. Maugham is best-remembered for the all-white music room at her house at 213 King's Road in London. For the grand unveiling of her all-white room, Maugham went to the extreme of dipping her white canvas draperies in cement. The room was filled with massive white floral arrangements and the overall effect was stunning. Maugham charged high prices and could be very dictatorial with her clients and employees. She once told a hesitant client, "If you don't have ten thousand dollars to spend, I don't want to waste my time."

 

This English Arts and Crafts upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures.

 

Fun things to look for in this tableau include:

 

Lady Glady’s pretty black japanned desk has been made by the high-end miniature furniture manufacturer Bespaq, and it has been hand painted with chinoiserie designs. Her Louis XIV white Regency stripe upholstered chair and its pair which can just be seen behind the desk to the left of the fireplace have been made by the high-end miniature furniture manufacturer, J.B.M. They too have been hand painted and decorated, even along the tops of the arms. On the desk are some 1:12 artisan miniature ink bottles, a silver pen and a blotter all made by the Little Green Workshop in England who specialise in high end, high quality miniatures. The ink bottles are made from tiny faceted crystal beads and have sterling silver bottoms and lids. The pen is a twist of silver with a tiny seed pearl inserted into the end of it The ink blotter is sterling silver too and has a blotter made of real black felt, cut meticulously to size to fit snugly inside the frame. The silver double frame on the top of the desk comes from Mick and Marie’s Miniature Collectables. The silver tray holding letters on the top left of the desk is sterling silver as well and was acquired from Kathleen Knight’s Dolls’ House Shop in the United Kingdom.

 

Also on the desk are some copies of Lady Gladys’ books. They are all examples of 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 romance novels are not designed to be opened. What might amaze you in spite of this fact 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. The books in the Art Nouveau fretwork cabinet in the background are all made by Ken Blythe as well. 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 correspondence on the fireplace mantle and on the silver tray on Lady Gladys’ desk were made meticulously by Little Things Dollhouse Miniatures in Lancashire. They are 1:12 miniature versions of real documents.

 

At either end of mantle stand a pair of Staffordshire sheep which have been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys. If you look closely, you will see that the sheep actually have smiles on their faces!

 

The two Art Nouveau style vases at either end of the mantlepiece and the squat one in the middle half hidden by correspondence came from Beautifully Handmade Miniatures in Kettering. The irises in the vase on the left-hand side of the mantle are all made of polymer clay that is moulded on wires to allow them to be shaped at will and put into individually formed floral arrangements. Very realistic looking, they are made by a 1:12 miniature specialist in Germany.

 

The two gilt edged paintings hanging to either side of the fireplace were made by Marie Makes Miniatures in the United Kingdom. The painting in the white painted wooden frame hanging above the mantlepiece comes from Kathleen Knight’s Dolls’ House Shop as does the finely moulded plaster fireplace itself and its metal grate.

 

The enclosed bookcase full of Ken Blythe’s miniature books in the background to the left of the photo with its glass doors and Art Nouveau fretwork was made by Bespaq Miniatures, as were the white Regency stripe upholstered wingback armchair in front of the fireplace and sofa just visible to the left of the photograph. The hand embroidered footstool in front of the armchair comes from Kathleen Knight’s Dolls’ House Shop.

 

The wallpaper used to decorate Lady Gladys’ walls is William Morris’ ‘Willow Bough’ pattern.

 

The Persian rug on the floor has been woven by Pike, Pike and Company in the United Kingdom.

via Instagram ift.tt/2y53OZ3

Sharpes of Nottingham have commenced in Jan 2013 their next Restoration Project

CLZ 208 (D51 LWW).

New to Eddie Browns

Vo B10M-61 13480

Body No. VH12910 C50Ft

Registered Apr-87

Commencing this morning, the 100 now has a duplicate working funded by Nottingham Trent University leaving Nottingham at 0755 to cater for the growing number of students who use the bus to get to the NTU Brackenhurst site near Southwell.

 

It runs the full 100 route to Norwood Gardens, then round to Southwell Minster where it terminates and runs back empty.

 

976 is today's rather mundane allocation on the 100 extra with 945 in hot pursuit as the actual service car, both bound for Southwell.

A few of the nearly 200 photographers participating in the nightshoot event at the Nationaal Militair Museum (Dutch National Military Museum) on August 30, 2024

Commencing the return journey back east. Heading away from Charleville at dusk.

 

iPhone 13

 

23-06-2023

Par une belle écharpe framboise et cassis sur fond gris mauve et rosé

In desperate need of spiked tyres...

Route 62 is due to be converted to double-deck under a new contract commencing on Satutday 30th April. In practice the conversion is being phased in and the first of the new ADL Enviro400 MMCs are already in service, such as 10315 seen in Linton Road, Barking Town Centre on Friday 22nd April.

 

The buses carry the new standard destination blinds, on which the qualifying point, where one is used, is carried beneath the main destination in upper-case lettering. Gascoigne Estate lies just to the south of Barking Town Centre and route 62 buses operate in a one-way loop around the estate.

 

A small number of these buses are also destined for partial conversion of route 145, where they will operate alongside existing Enviro400s. In practice the batch will be mixed in operation, and it is very likely they will be seen on other Barking-operated routes as well, such as the 5, 101 and 169.

Neustadt (old postcodes commencing with N) on the north side of the Elbe. An adertisement on the station commemorates the 1839 Leipzig - Dresden railway which was having its 150th anniversary. Special locomotive parades had been organised and I think, special stamps were issued. (the first long distance German railway) Taxis by Lada.

The farm bike project is commencing!

The rear shock started losing its fluid, and off it went to a bike suspension guy in the Glass House Mountains. It rode good for a short time but the next weakest bit on the shock is now letting fluid out, so That will go back, along with the front suspension/forks, whatever they are called! Thats how new we are to the world of bikes. The parts for my old bike aren't made anymore, and not being sure of the history of this particular bit, they may have to have a few visits to the shop... or we learn how to do it ourselves.. anything could happen!

Knightrider of Shotts commenced a service from Edinburgh to London King's Cross via Livingston, Bathgate and Hamilton and a second from Cumbernauld to King's Cross via Airdrie, Coatbridge, Glasgow and Hamilton in November 1991. It initially ran four Volvo B10M's on the Ganal licence before its own was granted. Scottish Citylink retaliated by re-activating Bruce's Londonliner service on identical routes and timings, but at lower fares. The new services didn't last long.

The four coaches used were :-

A1KRT (F691ONR) V B10M/VH C51Ft ex MCT

A3KRT (E748JAY) V B10M/D 340 C53Ft ex Crawfords

A4KRT (E749JAY) V B10M/D 340 C53Ft ex Crawfords

A6KRT (E299UHE) V B10M / P 3500 C53Ft ex Ganal

Copper was discovered at Kuridala in 1884 and the Hampden Mine commenced during the 1890s. A Melbourne syndicate took over operations in 1897 and with increasing development of the mine in 1905 - 1906 the Hampden Cloncurry Limited company was formed. The township was surveyed as Hampden in 1910 (later called Friezland, and finally Kuridala in 1916). The Hampden Smelter operated from 1911 to 1920 with World War I being a particularly prosperous time for the company. After the war, the operations and the township declined and the Hampden Cloncurry Limited company ceased to exist in 1928. Tribute mining and further exploration and testing of the ore body has continued from 1932 through to the present day.

 

The Kuridala Township and Hampden Smelter are located approximately 65km south of Cloncurry and 345m above sea level, on an open plain against a background of rugged but picturesque hills.

 

The Cloncurry copper fields were discovered by Ernest Henry in 1867 but lack of capital and transport combined with low base metal prices precluded any major development. However, rising prices, new discoveries in the region and the promise of a railway combined with an inflow of British capital stimulated development. Additionally, Melbourne based promoters eager to develop another base metal bonanza like Broken Hill led to a resurgence of interest, especially in the Hampden mines.

 

The copper deposits at Kuridala (initially named Hampden) were discovered by William McPhail and Robert Johnson on their pastoral lease, Eureka, in January 1884. The Hampden mine was held by Fred Gibson in the 1890s and acquired in 1897 by a Melbourne syndicate comprising the 'Broken Hillionaires' - William Orr, William Knox, and Herman Schlapp. They floated the Hampden Copper Mines N. L. with a capital of £100,000 in £100 shares of which 200 were fully paid up. With this capital, they commenced a prospecting and stockpiling program sending specimens to Dapto and Wallaroo for testing. Government Geologist, W.E. Cameron's report on the district in 1900 discouraged investors as he reported that few of the lodes, other than the Hampden Company's main lode at Kuridala, were worth working.

 

A world price rise in copper in 1905, combined with a government decision in 1906 to extend the Townsville railway from Richmond to Cloncurry, stimulated further development. The Hampden Cloncurry Copper Mines Limited was registered in Victoria in March 1906 to acquire the old company's mines. However, the company only had a working capital of £35,000 after distributing vendor's shares and buying the Duchess mines. During this period there were over 20 companies investing similarly on the Cloncurry field.

 

The township was surveyed by the Mines Department around 1910 and was first known as Hampden after the mines discovered in the 1880s. By 1912 it was called Friezland, however was officially renamed Kuridala in October 1916 to minimise confusion with another settlement in Queensland. The reason for this change was considered to be linked to German names being unpopular at the outbreak of World War I.

 

Hampden Cloncurry Copper Mines Limited and its competitor, Mount Elliott, formed a special company in 1908 to finance and construct the railway extension from Cloncurry through Malbon, to Kuridala, and Mount Elliott. The company reconstructed in July 1909 by increasing its capitalisation, and concluding arrangements for a debenture issue to be secured against its proposed smelters. Its smelters were not fired until March 1911 and over the next three years 85,266 tons of ore were treated with an initial dividend of £140,000 being declared in 1913. In one month in 1915 the Hampden Smelter produced 813 tons of copper, an Australian record at that time.

 

Concern over the dwindling reserves of high grade ore led to William Corbould, the general manager of Mount Elliott mines, negotiating an amalgamation with Hampden Cloncurry to halt the fierce rivalry. But the latter was uninterested having consolidated its prospects in 1911 by acquiring many promising mines in the region, and enlarging its smelters and erecting new converters. In 1913, following a fire in the Hampden Consol's mine, Corbould convinced his London directors to reopen negotiations for a joint venture in the northern section of the field which still awaited a railway. Although Corbould and Huntley, the Hampden Cloncurry general manager, inspected many properties, the proposal lapsed.

 

The railway reached the township by 1910. A sanitary system was installed in 1911, after a four month typhoid epidemic, and a hospital erected by 1913, run by Dr. Old. It was described as the best and most modern hospital in the northwest. At its height, the town supported six hotels, five stores, four billiard saloons, three dance halls, and a cinema, two ice works, and one aerated waters factory, and Chinese gardens along the creek. There were also drapers, fruiterer, butcher, baker, timber merchant, garage, four churches, police station, court house, post office, banks, and a school with up to 280 pupils. A cyclone in December 1918 damaged the town and wrecked part of the powerhouse and smelter.

 

A comprehensive description of the plant and operations of the Kuridala Hampden mines and smelters was given by the Cloncurry mining warden in the Queensland Government Mining Journal of the 14th of September 1912. Ore from other company-owned mines (Duchess, Happy Salmon, MacGregor, and Trekelano) was railed in via a 1.2km branch line to the reduction plant bins, while the heavy pyrites ore from the Hampden mines was separated at the main shaft into coarse and fine products and conveyed to separate 1,500 ton capacity bins over a standard gauge railway to the plant.

 

A central power plant was installed with three separate Dowson pressure gas plants powered by three tandem type Kynoch gas engines of 320hp and two duplex type Hornsby gas engines of 200hp. Two Swedish General Electric Company generators of 1,250kw and 56kw running at 460 volts, supplied electricity to the machines in the works, fitting shops and mine pumps. Electric light for the mine and works was supplied by a British Thompson-Houston generator of 42kw, running at 420 volts. The fuel used in the gas producers was bituminous coal, coke or charcoal, made locally in the retorts.

 

The reduction plant consisted of two water-jacket furnaces, 2.1m by 1m and 4.2m by 1m, with dust chambers and a 52m high steel stack. There were two electrically driven converter vessels, each 3.2m by 2.3m. The molten product ran into a 3.7m diameter forehearth, while the slag was drawn off into double ton slag pots, run to the dump over 3 foot gauge, 42lb steel rail tracks. The copper was delivered from the forehearth to the converters. A 1.06m gauge track ran under the converters and carried the copper mould cars to the cleaning and shipping shed, at the end of which was the siding for railing out the cakes of blister copper.

 

The war conferred four years of prosperity on the Cloncurry district despite marketing, transport, and labour difficulties. The Hampden Cloncurry Company declared liberal dividends during 1915 - 1918: £40,000, £140,000, £52,500 and £35,000 making a total disbursement since commencing operations of £437,500. Its smelters treated over a quarter of a million tons of ore in this period, averaging over 70,000 tons annually. The company built light railways to its mines (e.g. Wee MacGregor and Trekelano) to ensure regular ore supplies and to reduce transport costs. In order to improve its ore treatment, Hampden Cloncurry installed a concentration plant in 1917. In 1918 an Edwards furnace was erected to pre-roast fine sulphide concentrates from the mill before smelting.

 

The dropping of the copper price control by the British government in 1918 forced the company into difficulties. Smelting was postponed until September 1919 and the company lost heavily during the next season and had to rely on ores from the Trekelano mine. Its smelter treated 69,598 tons of ore in 1920, but the company was forced to halt all operations after the Commonwealth Bank withdrew funds on copper awaiting export.

 

Companies and mines turned to the Theodore Labor Government for assistance but they were unsympathetic to the companies, even though they alone had the capacity to revive the Cloncurry field. More negotiations for amalgamation occurred in 1925 but failed, and in 1926 Hampden Cloncurry offered its assets for sale by tender and Mount Elliott acquired them all except for the Trekelano mine. The company was de-listed in 1928.

 

The rise and decline of the township reflected the company's fortunes. In 1913 there were 1,500 people increasing to 2,000 by 1920, but by 1924 this had declined to 800. With the rise of Mount Isa, Kaiser's bakehouse, the hospital, courthouse, one ice works, and a picture theatre, moved there in 1923 followed by Boyds' Hampden Hotel (renamed the Argent) in 1924. Other buildings including the police residence and Clerk of Petty Sessions house were moved to Cloncurry.

 

In its nine years of smelting Hampden Cloncurry had been one of Australia's largest mining companies producing 50,800 tons of copper (compared with Mount Elliott's 27,000), 21,000 ounces of gold and 381,000 ounces of silver. A more permanent achievement was its part in creating the metal fabricating company, Metal Manufacturers Limited, of which it was one of the four founders in 1916. Much of the money which built their Port Kembla works into one of the country's largest manufacturers came from the now derelict smelters in north-west Queensland.

 

In 1942 Mount Isa Mines bought the Kuridala Smelters for £800 and used parts to construct a copper furnace which commenced operating in April 1943 in response to wartime demands. The Tunny family continued to live at Kuridala as tributers on the Hampden and Consol mines from 1932 until 1969 and worked the mines down to 15.25m. A post office operated until 1975 and the last inhabitant, Lizzy Belch, moved into Cloncurry about 1982.

 

Further exploration and testing of the Kuridala ore body has occurred from 1948 up until the present with activities being undertaking by Mount Isa Mines, Broken Hill South, Enterprise Exploration, Marshall and James Boyd, Australian Selection, Kennecott Exploration, Carpentaria Exploration, Metana Minerals, A.M. Metcalfe, Dampier Mining Co Ltd, Newmont Pty Ltd, Australian Anglo American, Era South Pacific Pty Ltd, CRA Exploration Pty Ltd, BHP Minerals Ltd, Metana Minerals and Matrix Metals Ltd.

 

Source: Queensland Heritage Register.

"Fun will now commence!"

 

This shiny sequined minidress from greatglam.com has to be one of the shortest yet! It show off my legs and ...whoopsie! ...a little bit more!

 

To see more pix of me in other tight, sexy and revealing outfits click this link:

www.flickr.com/photos/kaceycdpix/sets/72157623668202157/

DSC_8480-8

USS ROSS and HMCS TORONTO cruise into their final position to begin their first scenario of Exercise JOINT WARRIOR on October 4, 2020.

 

Photo by: S1 Louis-Philippe Dubé, Canadian Armed Forces

 

L’USS ROSS et le NCSM TORONTO naviguent vers leur position finale en vue de commencer le premier scénario de l’exercice JOINT WARRIOR, le 4 octobre 2020.

 

Photo : Mat 1 Louis-Philippe Dubé, Forces armées canadiennes

 

The Land Rover 2A is a clear descendant of the Series 2 designed by The Rover Car Company as the successor to The Series 1 which commenced production in 1948.

 

One of the most distinct exterior changes is the adoption of the curved waste line to accommodate the vehicle's wider track.

 

Underneath the vehicle has a purpose built 4 Cylinder engine with a common block for both petrol and diesel variants.

 

This waste line was carried through until Land Rover ceased production in 2015 and is still present in the contemporary Defender.

 

Externally a Series 2 has a flat vallance which is different to the curved vallance used by the 2A + a myriad of other evolutionary changes.

 

When Rover ceased production of the P4 Car this left them with an unused surplus of 6 cylinder engines which were fitted to Series 2A LWB and Station Wagon models for both home and export markets.

 

Hi my name is Andy and I am a newly rebuilt and restored Series 2A 109" 6 cylinder Land Rover.

 

I was first made in a factory in Solihull, Birmingham, England in 1969.

 

I had a hard life and worked very long hours for many years and eventually fell into disrepair.

 

One day some men came and took me away to Scotland where, where I was taken completely to bits. I got a new chassis, and my engine was taken to bits and re-machined. All my body parts and galvanised components were taken away and re-galvanised.

 

I don't remember much about it, it was like I had a very long sleep, and the one day I woke up and realised I was being put back together again with lots of new nuts and bolts and hundred of shiny new rivets.

 

Now I look like I did when I first rolled off the factory line 52 year ago.

 

I belong to Mr Hugh and my Doctor when I was being operated on was Mr Graham who put me back together again with great precision and attention to detail.

 

I am running in at the moment and can only go about 50 MPH.

 

My favourite drink is petrol and I drink a lot of it particularly when I am thirsty and working hard going up hills.

 

Mr Hugh has told me that he plans to take me on lots of adventures which, I look forward to sharing with you.

 

At the moment I am holiday down at St Abbs in Berwickshire, Scotland, which is very beautiful and has lots of boats, and people and seabirds.

 

I might even get some work on films and on the telly. I imagine that happening to me after all this years.

 

I feel like I am the luckiest Land Rover in the world.

 

The first time I went out, I got very hot and I lost a lot of oil as my main crankshaft oil seal failed, however Mr Hugh took me back and got me fixed, so I am all right now and looking forward to all my adventures to come.

  

The Ripon Rally Details have arrived:

  

north norfolk

Sydney's new metro trains rest in the Tallawong stabling and service facility. Services on Sydney's new Metro system will commence in the second quarter of 2019

CDMX is set to host the 2016 Mayors Summit, commencing 30 November.

 

Photo courtesy of CDMX

E-Zec Medical Transport Services Ltd commenced operation of the WESTlink Demand Responsive Transport service on Monday 3rd April 2023 , with a licence for 29 Mercedes minibuses. At least 9 of them are new but most are second hand. They are now operating from the former HCT depot in Parson Street, Bedminster , Bristol , where eight drivers are provided by The Big Lemon.

BV66 GXH is a Mercedes Benz Sprinter Mobility 45 / Mercedes B15FL new in September 2016 which was previously operated from new by Mole Valley District Council , Dorking. It is heading through the road works in Yatton.

Shoreditch London Old Street and City Road Silicon Roundabout Major Road Works.

This was due to be completed Autumn 2022 which has been delayed until Early 2024. The project commenced way back in 2019.

This cycle lane change was initially a three-year project. Now Five Years. The road is the inner ring road for London. They have blocked one of the tube entrances which includes the underpass. Ironically, cyclist do not even use this route since they blocked off the backstreets to traffic. They are trying to sabotage London. The situation is disgusting.

Letter on reverse penned sometime in September 1916 by Flieger Paul Klöpfer from Feld-Flieger-Abteilung 67 and addressed to Fräulein Frida Kläger in Stuttgart. Einheitsstempel: Feld-Flieger-Abteilung 67. Postage cancelled 11.9.1916 (Feldpostexpedition XIX Ersatz Division.

 

Leutnant Kurt Wintgens (1 August 1894 – 25 September 1916) military service commenced when he joined the Telegraphen-Bataillon Nr. 2 in Frankfurt/Oder as a Fahnenjunker (cadet officer) in 1913.

 

Wintgens holds a unique pioneering role in the history of aerial combat, being the first fighter pilot to down an enemy aircraft using a synchronized gun. On 1 July 1915, Leutnant Wintgens was flying the last-produced example of the five Fokker M.5K/MG production prototype Eindecker aircraft, with German military serial number E.5/15, and at 18:00 that evening he engaged a Morane-Saulnier Type L "Parasol" two-seater. The French aircraft was most likely from Escadrille M.S.48, and flown by Capitaine Paul du Peuty, with Sous-Lieutenant de Boutiny as the observer.

 

The French aviators reported that they were engaged by a "Fokker Monoplane" at 1,300 meters over the Fôret de Parroy, near the village of Lunéville. The French aircraft was armed with only a carbine, while the Fokker had a forward-firing, synchronized Parabellum MG14 machine gun. After a few minutes of combat with the Fokker, de Peuty was wounded in the lower right leg. The Eindecker seemed to have been hit by de Boutiny's carbine fire. De Boutiny had exhausted all of his carbine ammunition, leaving his own aircraft defenseless, which gave the Eindecker the advantage, and shortly thereafter the Eindecker likewise wounded de Boutiny in the leg. Despite their injuries, the French aircrew landed their Morane Parasol safely, in friendly territory, although their own engine had been hit by dozens of shots from E.5/15's machine gun fire, with the combat taking place in the Lorraine sector.

 

A fortnight after his initial success, Wintgens was posted to Feld Flieger Abteilung 48, based at Mulhouse, within the much-disputed Alsace border region of northeast France, that had been annexed by the Reich in 1871. On 15 July, Wintgens scored his first "recognized" aerial victory, still flying his E.5/15 Eindecker, and once again downing a Morane Parasol for this victory – the very first "official" victory by an Eindecker pilot, and the first confirmed victory using a synchronized machine gun. Wintgens' victory was the very first for his unit, and earned him an Iron Cross First Class.

 

He followed up with two more confirmed victories in 1915, as well as an unconfirmed one on 24 January 1916. Wintgens then suffered from a lingering case of influenza that kept him from flying. He would not score again until 20 May 1916, when he shot down a two-seater Nieuport while flying for FFA 6. The following day, the twin engines of the Caudron G.IV he downed augered a meter and a half in the earth after a 4,000 meter crash. Needless to note, the crew did not survive.

 

On 24 June 1916, Wintgens (possibly flying a Halberstadt D.II) achieved his seventh confirmed victory when he confronted a Nieuport 16, flown by the then-wounded Lafayette Escadrille American pilot Victor Chapman, who had been wounded by fellow Eindecker pilot Walter Höhndorf just a week earlier. Chapman was killed in the crash, the first American fighter aviator flying in World War I to lose his life in an aerial engagement.

 

Shortly afterwards, on 1 July 1916, Wintgens became the fourth airman to receive the 'Blue Max', after he had completed the required (at the time) eight victories over enemy aircraft. Wintgens continued to score throughout the summer and into the autumn. He continued to use the Fokker E.IV even as his contemporaries upgraded; Hans-Joachim Buddecke's writings mention Wintgens blipping the Fokker's rotary engine on and off as a signal to waiting squadron members that a flight had been victorious. As he entered September, Wintgens remained the third-ranking Eindecker ace, behind Oswald Boelcke and Max Immelmann, with some 14 victories in the Fokker monoplane.

 

On 25 September, Wintgens flew his E.IV on patrol along with his friend Walter Höhndorf. It is claimed that they went to the assistance of a two-seater flown by Josef Veltjens, which was under attack by French scouts. After downing at least 19 aircraft (with probables and force-downs, as high as 22) in air combat, Wintgens was killed in action near Villers-Carbonnel, probably by French ace Alfred Heurteaux, for Heurteaux's eighth aerial victory.[1] Heurteaux was most likely flying one of the early examples of the SPAD S.VII fighter. Höhndorf rushed back to base to sorrowfully report that Wintgens' plane broke up under the impact of "explosive bullets". Josef Jacobs remarked in his diary that recovery of Wintgens' body from no man's land was difficult. Buddecke blamed the crash on a severed elevator spar, and noted that Wintgens showed no bullet wounds. Two days later, Wintgens was laid to rest in the same French graveyard that already contained the body of his fellow Fokker Eindecker pioneering pilot, Otto Parschau.

 

en.wikipedia.org/wiki/Kurt_Wintgens