View allAll Photos Tagged Develope
Busto Arsizio - scorcio urbano
Luglio 2023
Olympus 35 RD
F.Zuiko 40mm f1,7 + Yellow filter -1
Kodak Eastman 5222 double-x 250 asa
R09 Studio 1+31 x 7 min
Silvi Marina
Agosto 2021
Olympus OM-4 + OM Zuiko 24mm f2.8 + OM Zuiko 50mm f1.8
Ilford Delta 100 - Rollei Supergrain 1+15 x 7.5 min
Varese - Scorcio urbano
Aprile 2026
FujiFilm GA645W
Super EBC Fujinon 45mm f4 + yellow Filter -1 stop
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
Busto Arsizio - Aprile 2021
Olympus OM-2n
OM S-Zuiko 28-48mm f4
Ilford HP5+
Rollei Supergrain 1+15 x 7 min
Kota Bharu + Fujifilm Neopan 400Presto
Outing with zuhairyhashim
the soundtrack Pelican - What We All Come to Need
Ctenanthe oppennheimiana tricolor.
Weird thing is, smiles are brought about with greeting of friends and our pets. Plants bring smiles to my face and this is why. It's gorgeous!
I simply smile at the way it captures the early sunlight, the way the rays dance about the leaves and almost turns the light pinks, before they develope into red, into almost transparent stained glass windows.
Yet once again, out amongst all this, I am rewarded and neither questions, nor demands, asked.
Legnano - Scorcio Urbano
Aprile 2024
Hasselblad SWC
Zeiss Biogon 38 mm f4.5
Rollei Retro 80 S
Bellini Hydrofen 1+30 x 9 min
Scorci Urbani - Settembre 2020
Hasselblad 500 C/M + Zeiss Distagon 60mm f3,5 CT*
Fomapan 100 in Hydrofen1+39 x 8min
+Urbanscape 2010 KLPAC +Fujifilm NeopanAcros 100+
People of Urbanscape 2010
the soundtrack The Sword - Warp Riders
Busto Arsizio - Aprile 2021
Olympus OM-2n
OM S-Zuiko 28-48mm f4
Ilford HP5+
Rollei Supergrain 1+15 x 7 min
BMW M1 (1978-81) Engine 3453cc S6 DOHC
# 67 Espirito Santo
BMW SET
www.flickr.com/photos/45676495@N05/sets/72157623759864432...
The M1 was originally built by Lamborghini in an agreement with BMW to develope a racing car that could also be marketed to the public. and became the only mid-engined mass produced BMW. The body was styled by Giugiaro in Italy. The engine a twin-cam M88/1 3.5 ltr. 6 cylinder with Kugelfischler fuel injection was used in a South African version of the 1984-85 BMW 745 (209 units), the E24 M6 and M635CSi and the E28 M5.. The street version of the M1 gave 273 bhp and a top end of 160 mph while the Turbo racers got 850 bhp, Total production of 456. In racing the M1 won the Group championship in 1984 and the Procar BMW M1 series supported Formula One 1979 + 1980 driven by the current grand prix drivers. Champions 79 Nicki Lauda, 80 Nelson Piquet.Car number 57 Sean McInerny at the Silverstone 1000 km. meet ref 45-36
Busto Arsizio - Gennaio 2022
Scorcio Urbano (same places - another film and equipment)
Hasselblad SWC
Zeiss Biogon 38mm f4,5
Bergger Pancro 400
R09 one shot 1+25 x 8 min
Ortucchio
Agosto 2021
Olympus OM-4 + OM Zuiko 24mm f2.8 + OM Zuiko 50mm f1.8
Ilford Delta 100 - Rollei Supergrain 1+15 x 7.5 min
Kodak 2238 shot at ISO 80 with Nikon EM and DKL Schneider-Kreuznach Xenon 50mm F/1.9 in adapter. Developed in glycin-carbonate 1:10 for 60 minutes stand development. Glycin carbonate should develop underexposed film and add a bit of speed, but getting 2238 to ISO 80 was too much for the glycin. I have used 2238 with glycin before and I’m not encouraged that it will appreciably raise the ISO of this film. Very muddy and underexposed/developed. However artistically, there is a lot to exploit there. So while this isn’t great snapshot territory I love what it offers artistically or for a look from another time/place. I will give the glycin carb one last try with the 2238 but at something more approximating it’s base development window. Water stop, fixed with Ilford Hypam 1:4 for 6 minutes.
From- "What You Want to Know About Fiom Developers; Dr Edmund W. Lowe;1939--
Formula 14--- Glycin-Carbonate for Slow Tank Development
-Stock Solution-
Sulfite (Anhydrous)............15grm
Sodium Carbonate (Anhydrous)...60grm
Glycin.........................15grm
Water..........................2 liters
Dilute 6oz.s stock with 58oz.s water. Develope 35 to 60 minutes at 65 degrees..... favored by those who like to put their film in the developer and forget about it for an hour or so. Little or no agitation is necessary after the film is first put in the tank, because the low sulfite content prevents the streaks and uneven development which are due to diffusion of silver bromide......
Qt Widcat DKR500 (2011) Engine 4000cc Jaguar V8
BOWLER MOTORSPOTS SET
www.flickr.com/photos/45676495@N05/sets/72157631982978846...
LAND ROVER SET
www.flickr.com/photos/45676495@N05/sets/72157623671619947...
Qt have recently taken over production of the Land Rover based Bowler sports off roader which they have continued to develope.
The range comes in three different specifications, the entry level 300STR described as a cross over vehicle to beat all crossover vehicles built for rough terrain the vehicles comes equipped with such creature comforts as air conditioning and even a space to take your golf clubs.
The interim model is the 400NSR built to compete in National off road events such as the British Cross Country Championship or the French Tout Terrain series.
At the pinacle of the range is this DKR500 equipped for the toughest terrain that rally raid events like the Dakar can throw at it. The lesser two models are powered by a potent Rover V8 4000cc while the DKR500 gets the 4.0 Litre Jaguar V8 petrol engine, specially developed for Qt, which gives an impressive 275BHP with the FIA restrictor. The drive train has been strengthened to allow for the up-rated power with a number of gearboxes and ratios available to suit. The car is centred around a high strength steel space frame chassis giving an extremely rigid safety cell to protect the occupants. This is coupled to all new suspension turrets capable of carrying a wide range of spring and damper options according to the client’s preference. and clothed in a light weight composite body shell which is designed so that the panels are easily replaced and removed for servicing and repairs.
This vehicle was part of the Land Rover sponsored Race2Recovery team of injured servicemen and women which compete to raise money for those service personnel injured in active duty, principally in Afghanistan. The teams two Qt Wilcats are crewed by a mix of able bodied and injured mechanics and drivers most of whom have suffered life altering injuries and there challeges include both the Pharoes and Dakar rallies.
Shot at the Goodwood Festival of Speed 30:06:2012 Ref: 87-247
Castellanza - Scorcio Urbano
Marzo 2024
Rolleiflex 3.5E
Schneider-Kreuznach Xenotar 75mm f3.5
Rollei RPX100
R09 Studio 1+32 x 8min
Original Video of Authentication, analysis and expertise The Painting by Mykola Hlushchenko "Still life with a Glass Jar and a Bottle" by Art Expert Dmytro Omelyanovich Gorbachev
08/08/2018 20:30:44 at his apartment
Art critic Dmytro Gorbachev: "Eye is a computer"
The Exclusive of the Library of the Ukrainian Art
en.uartlib.org/exclusive/mystetstvoznavets-dmytro-gorbach...
May 4, 2018 Text by Kateryna Lebedieva
The name of Dmytro Omelyanovich Gorbachev is familiar to everyone who is at least a bit interested in the Ukrainian culture. An art critic who popularizes the term “Ukrainian avant-garde” not only in Ukraine but also in the West; author of books and scripts, researcher, charismatic lecturer and a man with a brilliant sense of humor. We talked with Dmytro Omelyanovich about the brightest episodes of his work as an expert.
Some time ago I happened to read an article about Malevich and the avant-garde. My name was mentioned in it, though, without much respect. The article dealt with the fact that on the art market of the Russian avant-garde there is more forgery than real art works. They also wrote that I introduced into the market the works that had never been exhibited, and which had been never written about. The principle of an archivist is to find traces. But in a large number of avant-garde works the provenance had never been ascertained. So should we refuse to do the work? No, I do not think so. Not an archivist, but an expert whose eyes have been estimating hundreds of works, almost immediately is able to state whether this is a real thing or not. At the energetics level. The work can be well done, but “dead”. There are such art critics who label “falshak” to everything. There are cock and bull stories about me; they say anything you bring him, Gorbachev calls “Malevich”…
What do you think about the scandal with the exhibition of Igor Toporovsky’s collection in Belgium?
There are some originals there, for example, the works by Alexander Rodchenko. The rest is rubbish. 90% of the fakes immediately fall out, but 10% must be studied carefully. In general, any work must being watched for a long time in order to understand how the eye reacts, and only after that the conclusion can be made. The eye of the expert is a computer. It captures a bunch of circumstances which even are difficult to be formulated. Long time ago I asked a tailor about a cloth if it was cheviot or drape. He ansewered sheviot. I asked why? He answered that he could see it! I thought that he was a real expert, he could see it, without revising any documents, although this is important too. Any expert must develope visual perception; intuition is gained with long practice. In fact, there are a lot of fakes, not just in avant-garde: everything you want can be forged to earn money. Nowadays even prominent artists sometimes do it, they seem to be embodied into the artist whose works are being forged. I know one alike who strikingly falsifies the manner of Bogomazov in drawing. But only in drawing, his painting turns pale and unexpressive.
What other interesting stories can you tell us about art forgery?
Fictions at the highest level in the history of art are few. But there were also such cases when the artist himself recognized his work. For example, the French artist Maurice Utrillo even sued with one of his imitators but when he was shown the picture, he said: ”It may be my work”. There was a Spanish painter who falsificated Picasso, Matisse, Cezanne and he always remained above suspicion, but when he died,a lot of half finished canvases were found in his studio. If a copy is made at the level of the artist, there is no reason to worry. This does not compromise the artist. But there are, on the contrary, such originals, to which the artist did not even touch. Tetyana Yablonska‘s picture “Bread” is now exibited in the National Art Museum. Tetyana Nilivna was asked to copy her own picture. The original of “Bread” belongs to Tretyakov Gallery. She did not want to do it so she hired an artist Ivan Yukhno, a good copyist. He made an impeccable copy. Yablonska only marked a year, 1950, while in the original is 1949, and signed the picture. In this way she authorized it. So if a brilliant copyist remakes a picture at the level of the artist, it is impossible to prove anything.
How many art expertises did you do in your life and when did you start?
I have been doing them verbally since 1965. I started with Alexandra Exter‘s “Bridge Sevr”. It was not difficult, because in the book by Tugendhold published in 1922 this work was reproduced. Then some guys brought “Pimonenko”, and it was rubbish. How did they produce fakes in the 1960s? They took any appropriate sketch, put a sign “Repin”, “Pimonenko” even hardly trying to imitate the signature. The art market looked like that. In 1990s I first went abroad and met with a collector, a friend of Marcade. She also brought the work of Exter to be examined. After that the Russian experts reproached me with not taking money for that, saying that it was their bread so I had to be paid too. First I took as much as I was offered and later I began to give a written certificate. Sometimes I was asked for more information about the object and it turned to become a kind of art recearch. One of the collectors once told me that my report on the picture was so interesting that he started exhibiting it. At that time Iwas paid 100 dollars until once in America a collector said that $100 was a tip. And he gave $200. After arriving home I began to take $200 for an examination. In the 1980s in the Tretyakov Gallery, young art historians took 5 rubles for an examination. They took 5 rubles and asked the collectors: “Whose name do you want me to write?”
Were styles and methods of falsificating art items different before the 1990s and after that period?
Before ”perestroika” painting practically had no value, there were no auctions, museums and collectors were not robbed. In the National Art Museum of Ukraine the windows were constantly open, the latches did not work, because they were still of the pre-revolutionary times of Nicholas Bilyashivsky and Fedir Ernst. But the moment came when art works started being sold and bought and the first robberies began. Chudnovsky from Leningrad, who had Chagall and Malevich, was robbed in his apartment. Dozens of people used to come to his place, and one day the people from the Caucases came, according to the recommendation. They attacked him, tied his hands and feet, put him on the floor and began to cut out the paintings from the frames according to the plan: they knew where were the pictures they wanted. But on the eve of this event he changed the order and Malevich and Chagal were in other places. The next day the collector went to the Hermitage and located those masterpieces into deposit… In Poltava Art Museum in the 1990s the still life of the 17th century disappeared. Everyone was surprised because there was no alarm. It turned out that the robbers had an agreement with the police. Two years later the still-life was found in Manchester!
Have you ever been mistaken while examinating pictures?
Yes, I have. Thieves often take psychological moments into account. Once a beautiful girl in tears came to my place. He said that her grandfather from Zhytomyr died, there was his collection in the attic. The pictures were not outstanding, but in the style of some artist (I do not remember who exactly). I thought that he had a kind of creative failure and determined the work as an original. Two months later another beauty comes in, cries and says “grandfather died, the attic is full of of pictures”. I asked her: ”in Zhytomyr?” ”No, in Vinnitsa”. I drew her away and turned back to the previous one to reconsider my decision… Once a collection of works by Malevich’s pupils appeared. I invited Igor Dychenko to have a look at it and he bought the best of those works. A year later, we began to see and realized that that was Kazimir Severinovich himself: the forms have no weight, only Malevich could paint like that. Not a masterpiece, not the best work; It is evident that a person had been experimenting. Up to now, Jean-Claude Marcade has confirmed that this is Malevich of 1916. The work is kept in the Art Arsenal in Kyiv.
What painters, by the way, are more often falsificated?
All those who are expensive: Anatol Petrytsky, Oleksandr Khvostenko-Khvostov. In the 1990s, Vasyl Yermylov “Portrait of the artist Olexiy Pochtenniy” (1924) was sold at Sotheby’s. A German collector bought it. I could see clearly that it was a fake.The collector sais: ”Do not tell me that, I bought it because it costs $50 thousand, not $500 thousand, and the expert assured me that the work was real”. At that moment I realized that not everyone wants to know the truth… But there is an inaccurate attribution too. A collector writes from America: Exter has been found, could you confirm? But even from the photo I can see that it is a work of Katria Vasilieva, the student of Exter. The owner of the picture asks: ”Could you not tell anyone about it?” Yes I can. Obviously, he wanted to sell this work as an Exter’s one, and this is not my business. Once an agent brought a picture of Olexandr Murashko, in my opinion, of 1905. At the restoration workshop, it was originally said that it was the second third of the 20th century, and six months later the same restorers decided that it was the last third of the twentieth century. They found the paints, the mass production of which was launched in 1916. But before 1916, these paints had been produced by handicraftsmen. And they were found in the pictures of Yavlensky, a friend of Kandinsky. As we know. Murashko visited Munich in 1905 and had a nice time with Yavlensky there! So the main thing is an expert eye. Devices can also make mistakes. Do you know an anecdote about Picasso? Furtseva, the Minister of Culture of the USSR, arrived in Paris for a conference. She is asked for her identity card. She forgot it at home. “Do not worry, you can prove that you are really Furtseva. Recently, we had Picasso here, he also forgot his papers, but he quickly drew a picture in his original manner. Everybody could see that it was Picasso. “And who is Picasso?”, she asks, “Oh, you are welcome, you have proved that you are the Minister of Culture of the Soviet Union.”
This situation can also be applicable to our realities?
Completely.
Copyright © Library Of Ukrainian Art
From the book “Olena Chekan: I'll rise again to say the sun is shining!”
Crown of Interviews – The Garland of Memories:
ukrainianweek.com/Columns/50/154401
ukrainianweek.com/Culture/163918
Olena was one of the best Ukrainian journalists I knew
What can I say about Olena Chekan? She impressed me a lot in many aspects. First of all, by her mere appearance. She was an actress with the artistic appearance. She could find something funny in different situations, but at the same time she very seriously treated such issue as Ukrainian issue. She impressed me when we collaborated in Tyzhden magazine by her Ukrainian patriotism, even though she was from Moscow, she was from the city. And Ukrainian cities were always Russified, for many centuries. But, all the same, she became the great sympathizer of Ukraine, particularly because she saw that Ukraine has the big cultural potential. By the way, she was among those who discovered exactly the Ukrainian culture in its highest manifestation for the readers of the magazine.
For example, she prepared an article about the artist Aleksandra Ekster, and its title was sensational and paradoxical - “Cubofuturism as Presentiment.”
We have recently discovered the word cubofuturism – and suddenly as a presentiment. So, Kyiv artist Ekster was an abstractionist, but not as Malevich or Kandinsky – she created her own kind of abstractionism. She influenced the art of theater around the world, partially through her students. So, it was really cubofuturism as presentiment, the presentiment of new architecture, new design. And when Olena started writing about Ekster, for example, she knew about her as much as the experts knew. She read everything, but not as an art critic, but as a journalist. She had to find some sensational aspects.
So, she wrote that the archivists have found that Ekster was born not when she stated (1884), but on 1882. And the archivists were hesitating if they have to reveal this woman's secret. Olena decided to publish this information and commented this situation as “the academic heartlessness”. All your articles were special. In the article about Ekster she discussed who is a Ukrainian artist. I told her once that a famous film director and artist Yudkevych was Ekster's student (he told me that he did it in Kyiv). So, I say: “Is Ekster a Ukrainian artist” - “No! She's European”.
For many European is opposite to Ukrainian, but Olena told me that it is wrong. For example, Ekster worked in rural areas, she gave the rebirth to folk crafts and supported Hanna Sobachko, the folk futurist and village artist. But, on the other hand, in Paris she had such friends as Picasso, Braque, Leger. So, she combined Ukrainian heartland which gave her a lot in understanding the tonality and the modern Parisian trends. Then, as Olena noted, there were a director Tairov (whio collaborated with Ekster) and his wife Koonen. In their memoirs they wrote that even in everyday life there was a combination of Ukrainian and French. It is told that among the painting of Braque and Picasso which were presented to her you could find Ukrainian embroidery, carpets, ceramics. Even her kitchen was predominantly Ukrainian, as Ekster took with her her maid Nastia, Ukrainian villager. So Olen wrote, and I liked it, that this Nastia taught Picasso or Leger to cook Ukrainian varenyky. She didn't know French, but she thought that people on French markets knew Ukrainian. Nastia told that she just pointed to things and asked for “se, se and se” in Ukrainian. And everyone understood her.
As you see, that is the example of the journalist text created according to academic standards. It is a rare combination of academic precision and journalist approach, because usually journalists are more shallow, and it is even normal – you cannot demand from the journalist to know everything. Factual mistakes happen often in such articles, but I don't see it as a problem. But Olena managed not to make any mistakes in any detail. So, I think that she was an outstanding journalist and art critic.
I remember one more of her articles - “The Era of Pan-Ukrainianism.”
Is was like an interview with me, but she worked on it, corrected some of my mistakes, made the subtitles. She also liked my idea very much. She realized that Ukrainian did a lot for the world culture. Now we know it, and the world recognizes it not only in art or literature (Malevich and Arkhipenko), but also in technology (Sikorsky).
She realized it all, that is why she also became the patriot of Ukraine. I understand her, because it is the great culture, and when you get to now it, you become the sympathizer of this nation which created this unique intellectual society. So, thanks to her subtitles, my text got the volume. For example, there was a fact about the Ukrainian origins of Chekhov, but not everybody can treat this fact without some bias.
For example, take one German Ukrainist that I know. So, he recognizes Ukrainian priorities in many areas. He understands that Gogol is not only Russian, but also a Ukrainian author. Maybe, even more Ukrainian. But when I told him about Chekhov, he replied that he is not ready psychologically to add Chekhov to Ukrainian areal. But Olena was ready for it. Even more, she mentioned the fact that in 1897 in some questionnaire Chekhov wrote Malorossianin as his natiionality.
There are many such facts, and his language is Ukrainianized, sometimes intentionally, sometimes not. He even jokingly signed as “Yours Karpenko-Kary” (Ukrainian playwright) from time to time. But not everyone is ready to adopt this reality. Olena knew and felt it, this Ukrainianness attracted her.
I also remember one of her articles about the artist Ackerman (Parisian artist from Uzhgorod). She titled it “Hutsul supremacist”, and it was the great title, because Ackerman was a huge fan of Malevich, and he was from Hutsul land. The great title for an article about Samuel Ackerman.
ukrainianweek.com/Culture/34075
I was always impressed by everything Olena did.
You know, we were also close during Maidan, where she was very active. I am also a former Russian who became a Ukrainian nationalist, even though many if my Russian acquaintances are very skeptical about everything Ukrainian. But Olena was always very different from those Russians.
As you see, my impressions are more connected with journalism, I cannot tell much about the everyday situations. I just don't know them as we communicated mostly in media dimension. But I may say directly that Olena was one of the best Ukrainian journalists I knew. That was a rare combination of art knowledge and taste and education and journalism skills.
I was very sorrowful when I knew that she passed away, because I was her sympathizer. I still respect her very much.
I remember her irony, it was something very attractive in her. You could see this irony in all her articles and even in talking with her. She could ridicule something or talk about something humorously, it was her very attractive feature. We had this creative connection, but I never visited her house. But she visited me to take an interview. Her appearance was very attractive and artistic. Olena told that she is an actress, and you could instantly realize it, her behaviour was artistic, and I liked it.
I remember her articles, how bitingly she ridiculed the Ukrainophobes. I remember her as a very attractive, intellectually open person who liked her job and who was absolutely free in journalism. It was a person who didn't pay attention to conjuncture. Maybe, she could write about something which could bring her more money, but I don't remember such cases.
But I remember her small texts in Tyzhden, small bright miniature stories on the last page of the magazine. That is all I remember about Olena Chekan.
en.wikipedia.org/wiki/Olena_Chekan
October 24, 2015
Prof. Dmytro Horbachov – Ukrainian art critic, historian of Ukrainian art, curator and international art expert. Specialist in Russian and Ukrainian avant-garde
Translated by © Dmytro Hubenko
Copyright © Publishing House of Dmitry Burago.
All rights reserved.
Forte di Fenestrelle
09-09-2018
Oltre alla serie digitale ( flic.kr/s/aHsmsnW9Lv ) propongo la versione analogica che, secondo me, rende meglio la sensazione di oppressione mista ad appagamento per gli splendidi paesaggi.
Olympus OM-2n
OM Zuiko 21 f3,5 - OM Zuiko 35 f2,8 - OM Zuiko 50 f1,8 - OM Zuiko 100 f2,8
Fomapan 100
Dev. STudional 1+30 x 9 min
Busto Arsizio - Scorcio Urbano
Maggio 2024
Leica CL
Leitz Summicron-c 40mm f2
Kodak Eastman 5222 double-x 250@200
R09 Studio 1+32 x 7 min
Busto Arsizio
Scorcio Urbano
Canon IIS2 LTM (1955)
Canon 50 mm F1,8 LTM + Filtro giallo -1 stop
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
Stresa - Isola dei Pescatori
Ottobre 2022
Olympus OM-4
Zuiko OM 21 f3,5 - OM 50 f1,8 - OM 100 f2,8
Rollei Retro 400@400
Bellini Hydrofen 1+30 x 17 min
daniel burnham is an american architect and urban planner who was commisioned by leonard wood, governor general of the philippines, to develope baguio city in the early 1900's. central to burnham's design was a 30 hectare recreation and nature park that contains a lagoon. unfortunately, daniel burnham died before the completion of his work. in his honour , the park was named after him in 1925
Scatti estivi 2018
Olympus OM2n
Zuiko 35mm f2.8
Zuiko 21mm f3.5
Kentmere 100
Studional 1+31 x 9 min
il resto in questo album
www.flickr.com/photos/domenicocichetti/albums/72157700787...
Scorcio Urbano - Aprile 2019
Urban vision - April 2019
Yashica Mat 66 (1971)
Fomapan 100 @ 100asa
Studional 1+31 x 10min
Scorcio Urbano - Aprile 2019
Urban vision - April 2019
Yashica Mat 66 (1971)
Fomapan 100 @ 100asa
Studional 1+31 x 10min
Busto Arsizio - Gennaio 2022
Scorcio Urbano
Leica IIIG
Leitz Elmar 50 f3.5 LTM (1947)
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 13 min
Renault Badge - History
AUTOMOTIVE BADGES SET
www.flickr.com/photos/45676495@N05/albums/72157631048301272
RENAULT SET
www.flickr.com/photos/45676495@N05/sets/72157623690632985...
The Renault corporation was founded in 1899 as Société Renault Frères by Louis Renault and his brothers Marcel and Fernand. While Louis handled design and production, Marcel and Fernand managed the business. There first car was sold on Christmas Eve 1898, from 1903 early cars were powered by De Dion-Bouton engines but in 1903 the company began production of their own engines.The first major volume sale came in 1905 when Société des Automobiles de Place bought Renault AG1 cars to establish a fleet of taxis
From their earliest days Renault participated in the marathon city to city motor races, with Louis and Marcel as drivers. Sadly Marcel was killed in 1903 in an accident during the Paris-Madrid race and Louis never raced again. But the company remained sucessful participants including Ferenc Szisz winning the first Grand Prix motor racing event in 1906. Louis took full control of the company as the only remaining brother in 1906 when Fernand retired for health reasons dying in 1909. Renault grew rapidly thanks to the quality of their cars and the publicity from the racing exploits and in 1918 introduced mass production techniques.
During World War I, it branched out into ammunition, military aircraft engines alongside vehicles that included the revolutionary Renault FT tank.
Postwar the company continued to prosper and expanded into the manufacture of agricultural machinery, though the factory was beset by industrial relations problems. The bonnet badge changed from circular to the familiar and continuing diamond shape in 1925..During this period Renault set up a London based operation, In 1931 the company introduced its first Diesel engine for commercial vehicles. In the 1930s the company took over the aircraft manufacturer Caudron, focusing its production in small airplanes nd aquired a stake in Air France, Renault Caudron airplanes set a number of world speed records during the 1930s and the company continued to develope tanks.
Renault was finally affected by the economic crisis in 1936. The company sold Caudron and spun off its foundry and aircraft engine divisions into related but autonomous operations, keeping its core automotive business, between 1936 and 1938 Renault factories were hit by by labour disputes and strikes, which were dealt with harshly.
Following Frances capitulation in World War 2, Renault produced trucks for the Nazis, and as a result the RAF launched a major bombing campaign in March 1942, dropping 460 tons of bombs on Billancourt, an attempt to rebuild was thwarted by the USAF in September 1943.
Following liberation the Billancourt plant reopened. but progress was slow in a poisonous atmosphere of capitalist collaboration and communist resistance, politically Billancourt was a communist stronghold..
Meanwhile, the provisional government accused Louis Renault of collaborating with the Germans. and as a result of the harsh treatment of workers in the 1936 disputes he was left with few freinds.he was arrested on 23 September 1944, and incarcerated at Fresnes prison where he died on 24 October 1944 in questionable circumstances while awaiting trial.
The company was nationalised by de Gaulle's Government in January 1946 and experienced a Commercial revival along withcontinued labour unrest, that was to continue until 1980, with the introduction of a sucession of new models. During the 1950s, Renault absorbed small French heavy vehicles' manufacturers (Somua and Latil) and in 1955 merged them with its own truck and bus division to form the Société Anonyme de Véhicules Industriels et d'Equipements Mécaniques (Saviem). During the mid seventies the already broad-based company diversified into more industries and continued to expand globally, including South East Asia.
By 1980 the company was successful on both road and track, but was losing around a billion francs a month totaling 12.5 billion in 1984. The government intervened and Georges Besse was installed as chairman; he set about cutting costs dramatically, selling many of Renault's non-core assets (Volvo stake, Gitane, Eurocar and Renix), withdrawing almost entirely from motorsports and laying off many employees. By 1986 deficits had halved but Besse was murdered by the communist terrorist group Action Directe in November 1986. He was replaced by Raymond Lévy, who continued Besse's initiatives, slimming the company enough that by the end of 1987, Renault was more or less financially stable, and the company with the help of ever newer models began to return to financial health,
It was eventually decided that the company's state-owned status was a detriment and in 1995 the company was privatised.his new freedom allowed the company to venture once again into markets in Eastern Europe and South America, including a new factory in Brazil and upgrades for its infrastructure in Argentina and Turkey.
Today Renault is listed as the Worlds 10th largest automaker with its headquarters in Bilancourt it sells just over half its produce outside of Europe. With subisudaries Dacia in Romania and Renault Samsung Motors from South Korea, Renault has a 43.4% controlling stake in Nissan of Japan, a 37% indirectly-owned stake in AvtoVAZ of Russia and a small interest in Daimler-Benz. Renault also owns subsidiaries RCI Banque (automotive financing), Renault Retail Group (automotive distribution) and Motrio (automotive parts). Renault has various joint ventures, including Oyak-Renault (Turkey), Renault Pars (Iran) . .
Many Thanks for a fan'dabi'dozi 26,998,800 views
Shot 07:07:2014 at on Cars in the Park, Beacon Park, Lichfield REF 102-1056
Busto Arsizio - Scorcio urbano
Giugno 2026
Leica M2
Summicron-C 40mm f2
Agfa APX 100
Bellini Hydrofen 1+30 x 8 min
Castellanza - Scorcio Urbano
(test Nikomat ELW + Nikkor NC auto 24mm f/2.8)
Marzo 2022
Nikon Nikomat ELW
Nikkor NC auto 24mm f/2.8
Kentmere 100
Bellini Hydrofen 1+31 x 8 min
Busto Arsizio - Gallarate
Gennaio 2019
Leica M5
Summicron-c 40mm f2
Kodak Eastman Double-x 5222
Studional 1+31 x 7 min
Album flic.kr/s/aHsmwTUVDV
Busto Arsizio - Scorcio Urbano
Aprile 2024
Olympus OM-4
OM Zuiko 50mm f1.2
Kentmere 100
R09 Studio 1+31 x 8 min
Busto Arsizio - Dicembre 2020
Scorcio Urbano
FujiFilm GSW690 III
EBC Fujinon-SW 65mm f5,6
Fomapan 100
Hydrofen 1+39 x 8 min
Stresa - Isola dei Pescatori
Ottobre 2022
Olympus OM-4
Zuiko OM 21 f3,5 - OM 50 f1,8 - OM 100 f2,8
Rollei Retro 400@400
Bellini Hydrofen 1+30 x 17 min
Talbot Sunbeam Lotus (1979-81) Engine 2172 cc 16 v Production 2308
Registration Number KKV 442 V
TALBOT ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623918911117...
The Chrysler Sunbeam had been aimed at the super-mini sector when launched in 1977. But it was felt that a hot hatch was needed to boost the sporty image. To this end the Chrysler Sunbeam Ti was lauched in 1979 with a 1600 cc twin Weber carbs and an output of 100 bhp
Chrysler had also commisioned Lotus to develope a rally version. The car was unveiled at the 1979 Geneva Motor show , but the road going version was not offered to the public until after the rebranding and became the Talbot Sunbeam Lotus. With a 2172 cc version of the Lotus 2.0 ltr 16v engine and ZF gearbox
The car won the World Rally Championship with Henri Toivonen in 1981 and the 1980 Lombard RAC Rally
.
Shot 19:02:2012 at Coventry Transport Museum. Ref 81a-224
Please do not forget to visitS the Flag Counter on the link below to record a visit from your country. So far 52 countries (last new country Austria and 32 US states last new State Michigan) Last new overseas visitor Italy last new US state visitor Pennsylvania
.
.
Triumph Herald 13/60 (1967-71) Engine 1296cc S4 OHV Engine 82,650 (including CKD export kits)
Registration Number EWP 84 J
TRIUMPH SET
www.flickr.com/photos/45676495@N05/sets/72157623847263736...
Yhe Triumph Herald was first introduced by Standard triumph in 1959, as a small two door 948cc, car with a body designed the Italian stylist Giovanni Michelotti, and the car was offered in saloon, convertible, coupé, estate and van models, with the latter marketed as the Triumph Courier.
Following a downturn in the fortunes of Standard triumph the company was taken over by Leyland Motors, releasing more funds to develope the Herald line up. The car was refreshed and relaunched in 1961 with a larger 1200cc unit a retitled the Triumph Herald 1200. An upmarket version, the Herald 12/50, was offered from 1963 to 1967. It featured a tuned engine with a claimed output of 51 bhp (38 kW) in place of the previous 39, along with a sliding (Webasto) vinyl-fabric sunroof and front disc brakes as standard. The 12/50, which was offered only as a 2-door saloon, was fitted with a fine-barred aluminium grille.
The power output of the 1200, which remained in production alongside the 12/50, was subsequently boosted to 48 bhp
The 13/60 was launched in October 1967 at the London motorshow The 13/60 was offered in saloon, convertible and estate-bodied versions. The sun-roof remained available for the saloon as an optional extra rather than a standard feature. The front end was restyled using a bonnet similar to the Triumph Vitesse's and the interior substantially revised though still featuring the wooden dashboard. Interior space was improved by recessing a rear armrest in each side panel. The engine was enlarged to 1296 cc, essentially the unit employed since 1965 in the Triumph 1300, fitted with a Stromberg CD150 carburettor, offering 61 bhp, the 1200 was sold alongside it until late 1970
Thanks for 15.6 million views
Shot taken 05:08:2012 at The Shugborough Classic Car Meeting. Ref: 93a-284