View allAll Photos Tagged Distributor
SHELL DISTRIBUTOR - IMO : 7341673
Built 1974, by Appledore Shipbuilders Ltd., Appledore,UK (Yard # As103) as HARTY
GRT : 589 / DWT : 693
Overall Length : 59.1 metres x Beam 10.0 metres.
Machinery : Single Screw driven by an Alpha-Diesel : 2-stroke single acting 8-cylinder oil engine
Speed : 10.0 knots
History…………………………… POR = Port of Registry
1974: HARTY : Shell Tankers (UK) Ltd : POR London
1979: SHELL DISTRIBUTOR : Shell Tankers (UK) Ltd: POR London
1991: G.D.DISTRIBUTOR : Port of Pembroke Ltd : POR London
1999: M.C.BUTOR : Tomini Shipping Co Ltd : POR La Paz
2010: M.C.BUTOR : sold to undisclosed interest : POR ??
2021: Still listed in service (Equasis)
SHELL DISTRIBUTOR seen 18 July 1981 on River Thames passing Gravesend
Ship Details : Miramar / shippingandshipbuilding.uk / Equasis
mats were hanging in the box. Needed to pull the distributor box bar and dress the end of the bar point that allows one mat at a time out onto the distributor bar. Dressed down .002", mats now march out of the box in time.
The Glasgow Film Theatre (GFT) is an independent cinema in the city centre of Glasgow. GFT is a registered charity. It occupies a purpose-built cinema building, first opened in 1939, and now protected as a category B listed building.
History and architecture
GFT's predecessor, the Cosmo, was Scotland's first arts cinema and only the second purpose-built arthouse in Britain, after the Curzon Mayfair in London. Opened on 18 May 1939, it was also the last cinema to be built in Glasgow before the outbreak of WW2.
The Cosmo arrived at the close of an important decade for British film culture. With the advent of sound in film, language became a barrier and popular films from the continent quickly disappeared from British screens. In Glasgow, audiences for world cinema were served by the Film Society of Glasgow. Founded in 1929, this was the first cultural film group in Scotland, and its growing membership demonstrated a real appetite for foreign-language film in the city.
In fact, Glaswegians in this period had a healthy appetite for film in general: in 1939, they went to the cinema an average 51 times a year, compared to 35 times for the rest of Scotland, and 21 times in England. And they were well-served for cinemas – by the close of the decade, the city could boast 114 in all, with a total seating capacity of more than 175,000. But there was, as yet, no commercial arthouse cinema.
Spotting a gap in the market, and hence avoiding the major film distributors`routine of giving preference to UK-wide circuits, up stepped George Singleton, whose cinemas included elegant art deco buildings designed for him by James McKissack. He now headed one of Glasgow's illustrious cinema chain families, and would become a co-founder of the Glasgow Citizen's Theatre[4] alongside James Bridie and Tom Honeyman. The name chosen of Cosmo was attractively brief for signage and advertising, and stemmed from cosmopolitan.
Singleton appointed his usual architects James McKissack and WJ Anderson II to work on the new cinema. Their design for the Cosmo's geometric, windowless façade was influenced by the work of Willem Marinus Dudok, a leading Dutch modernist architect. The international theme was continued outside in the choice of cladding materials – a mix of Ayrshire brick finished with faience cornices, set on a base of black Swedish granite – and inside, where a globe was installed over the stalls entrance. In its original layout, there was just a single auditorium, seating 850.
The Cosmo opened on Thursday 18 May, with an advertisement in the Glasgow Herald the following day promising future audiences a programme of ‘continental fiction films, revivals of British and American fiction films, documentary films, cartoons and news reels. There is only one qualification – they must be of first rate quality.’ The opening screening was Julien Duvivier's Un Carnet de Bal (1937).
The opening also saw the first appearance of Mr Cosmo, a dapper and bowler-hatted cartoon figure based on George Singleton, designed by Charles Oakley, Chair of the Film Society and the Scottish Film Council . Mr Cosmo figured on posters and adverts for the cinema, and popped up on-screen ahead of the main feature in a pose – comic or tragic – appropriate to each release. Over the years, he would become a familiar figure to generations of Glasgow cinema-goers and can be glimpsed around the GFT building to this day. He also lives on in the name of GFT's downstairs café.
Quality European cinema was central to the Cosmo's programming from the start, with pre-reading of film catalogues being undertaken by Charles Oakley to assist the selections by George Singleton. Programmes in the summer of 1939 included La Grande Illusion (1937) and La Kermesse Heroique (1935). Though supplies dried up during WW2 and the cinema fell back on more mainstream English-language fare, screenings were enthusiastically resumed shortly thereafter. In February 1946, the Cosmo became the first cinema in the UK to screen a French film made under the Occupation, and Cosmo audiences also saw wartime German features, including – in breathtaking Agfacolour – The Adventures of Baron Munchausen (1943).[6] Big hits at the cinema included Hamlet (which ran for eleven weeks in 1948), Les Enfants du Paradis (1945), Jazz on a Summer's Day (1959) and Disney's Fantasia (1941), a long-running Cosmo Christmas favourite. A ‘Cosmo Club’, offering films ‘unblessed by the Censor's certificate’, opened in 1960.
The Cosmo ran for three decades until economic circumstances dictated that it could not survive in its original form. On 21 April 1973 it was sold to the Scottish Film Council, re-opening the following year as the Glasgow Film Theatre with the former auditorium subdivided into a 404-seat cinema (now Screen 1) in the former balcony and a conference/exhibition space in the stalls. Mr Cosmo bowed out at a gala screening of Fantasia, announcing he would ‘watch with pride an affection this new development of the old tradition.’ The new cinema opened on 2 May 1974 with a screening of Fellini's Roma.
In its new guise, the cinema would continue to show films beyond the commercial mainstream. The key difference lay in GFT's broader remit. Taking London's National Film Theatre as a model, GFT continued to show the latest world cinema releases, but also advanced newer trends in film culture, collaborating with the Third Eye Centre (now the CCA Glasgow) to show experimental films, screening film seasons, retrospectives and late-night cult classics, and developing educational activities.
In 1986 GFT became a registered charity and embarked on a campaign to raise money for a second cinema to replace the old basement conference room. Screen 2 (with seats for 142), and the downstairs café-bar Café Cosmo, opened for business in 1991. Edinburgh-based architect James Doherty returned in 1998 to revamp the foyer; in a nod to the original design, the new foyer includes a mosaic globe designed by American Glasgow-based artist Todd Garner set into the floor. In the same period, new sets of curtains were commissioned from Glasgow School of Art graduate Adrienne Brennan (Screen 1) and Glasgow studio Timorous Beasties (Screen 2) both of which reference the ‘cosmos’ in their design.
In 1988 the building was B-listed by Historic Scotland.
In 2013 café cosmo was moved to the mezzanine level to make way for a 3rd cinema screen.
[Wikipedia]
I am not certain, but I think this is a multiple water faucet device. Part of the old factory works at Lowe Mill Arts & Entertainment in Huntsville, Alabama. The old linen and later shoe factory has been converted to house art studios, restaurants, and other businesses.
View from Darling Harbour. Pentax ME Super; Pentax M135mm 3.5; Yellow K2 filter; Ilford FP4 125; Epsom V550.
Utility Warehouse Distributors from Swindon and Chippenham doing a Win A Mini Free Prize Draw event at the Chippenham Street Fayre on Monday 4th June 2012.
There are still meat distributors in the Meatpacking District, 800 block of Washington Street, below the south end of the High Line.
The request for "Gary sharing the oils with one distributor." I don't believe I have such an image.
I thought this might work.
I needed a distributor to make 'spark' for my engine creations. This is the most compact arrangement I could come up with.
Nov. 2012 - The site of a future collector-distributor lane alongside I-5 at the Skookumchuck River.
Images to illustrate "Company/Mission"; idea of community, distributors sharing with each other and others.
Chassis n° 2071GT
Engine n° 2071GT
Bonhams : the Zoute Sale
Estimated : € 1.200.000 - 1.600.000
Zoute Grand Prix 2019
Knokke - Zoute
België - Belgium
October 2019
By the early 1960s, road car production had ceased to be a sideline for Ferrari and was seen as vitally important to the company's future stability. Thus the 250, Ferrari's first volume-produced model, can be seen as critically important, though production of the first of the line - the 250 Europa, built from 1953 to '54 - amounted to fewer than 20. Before the advent of the Europa, Ferrari had built road-going coupés and convertibles in small numbers, usually to special customer order using a sports-racing chassis as the basis. Ghia and Vignale of Turin and Touring of Milan were responsible for bodying many of these but there was no attempt at standardisation for series production and no two cars were alike.
The introduction of the 250 Europa heralded a significant change in Ferrari's preferred coachbuilder; whereas previously Vignale had been the most popular carrozzeria among Maranello's customers, from now on Pinin Farina (later 'Pininfarina') would be Ferrari's number one choice, bodying no fewer than 48 out of the 53 Europa/Europa GTs built. Pinin Farina's experiments eventually crystallised in a new Ferrari 250 GT road car that was first displayed publicly at the Geneva Salon in March 1956. However, the Torinese Carrozzeria was not yet in a position to cope with the increased workload, resulting in production being entrusted to Carrozzeria Boano after Pinin Farina had completed a handful of prototypes.
The 250 GT featured the lighter and more compact Colombo-designed 3.0-litre V12 in place of its predecessor's bulkier Lampredi unit. Power output of the single-overhead-camshaft all-aluminium engine was 220bhp at 7,000rpm. Shorter in the wheelbase (by 200mm) than that of the Europa, the 250 GT chassis followed Ferrari's established practice, being a multi-tubular frame tied together by oval main tubes, though the independent front suspension now employed coil springs instead of the previous transverse leaf type. A four-speed all-synchromesh gearbox transmitted power to the live rear axle, while braking was looked after by hydraulic drums all round.
True series production began with the arrival of Pininfarina's 'notch back' Coupé on the 250 GT chassis, some 353 of which were built between 1958 and 1960 within the sequence '0841' to '2081'. However, the relatively small scale of production meant that cars could still be ordered with subtle variations according to customer choice, as well as enabling a handful of show cars and 'specials' to be constructed on the 250 GT chassis.
A number of prominent European coachbuilders offered a variety of body styles on the 250 GT chassis, with Scaglietti and Pininfarina producing elegant open-top spyder and cabriolet models. Exhibited at the 1957 Geneva Salon, the latter's first 250 GT Cabriolet, which, unusually, featured a Vintage-style cut-down driver's door, was snapped up by Ferrari works driver Peter Collins, who later had the car converted to disc brakes. After a handful of alternative versions had been built, series production began in July 1957, around 40 Series I Pininfarina Cabriolets being completed before the introduction of the Series II in 1959. Effectively an open-top version of the Pininfarina-built 250 GT Coupé, whose chassis and mechanicals it shared, the Cabriolet was built alongside its closed cousin until 1962. Overall design followed that of the Coupé, with short nose and long rear overhang, while a more-vertical windscreen provided greater headroom in the generously sized cockpit. As well as the aforementioned improvements to brakes and transmission, the Series II cars benefited from the latest, 240bhp V12 with outside sparkplugs, coil valve springs, and 12-port cylinder heads. The 250 GT was the most successful Ferrari of its time, production of all types exceeding 900 units, of which 200 were Series II Cabriolets like that offered here.
A number of important developments occurred during 250 GT production: the original 128C 3.0-litre engine being superseded by the twin-distributor 128D, which in turn was supplanted in 1960 by the outside-plug 128F engine which did away with its predecessor's Siamesed inlets in favour of six separate ports. On the chassis side, four-wheel disc brakes arrived late in 1959 and a four-speeds-plus-overdrive gearbox the following year, the former at last providing the 250 GT with stopping power to match its speed. More refined and practical than any previous road-going Ferrari, yet retaining the sporting heritage of its predecessors, the 250 GT is a landmark model of immense historical significance. Despite this, original survivors are relatively few, as many have been modified and converted into replicas of more exotic Ferraris such as the 250 GTO, Testarossa, etc.
According to the accompanying Massini Report, chassis number '2071' is the 66th of the 200 units built, and as a Series II car has the added advantage of disc brakes all round. Originally finished in the handsome combination of Grigio Argento with Nero interior, the Ferrari was sold new in 1960 via Jacques Swaters' Garage Francorchamps, the official Ferrari importer for Belgium, to its first owner, Jean Blaton. A wealthy Belgian industrialist, Ferrari aficionado and gentleman racing driver, who raced under the name 'Beurlys', Jean Blaton had an excellent taste and was a personal friend of Jacques Swaters, from whom he bought numerous Ferraris over the years.
Blaton is best remembered for his daring exploits in the Le Mans 24-Hour Race in which he drove a succession of Ferraris over a 10-year period between 1958 and 1967, finishing on the podium on nearly every outing. On many occasions he drove his own Ferraris, including a 250 GT MM, 250 GT Testarossa, 250 GT LWB Tour de France, 250 GT SWB, 250 GTO, 250 LM, and 330 P3/P4. He secured his best result at Le Mans in 1963 when he finished 2nd overall with co-driver Langlois van Ophen at the wheel of a Ferrari 250 GTO, winning the GT Class for Swaters' racing team, Écurie Francorchamps.
Jean Blaton was also a friend of Enzo Ferrari, who was only too happy to accommodate his highly regarded customer's special requests. In the case of his 250 GT Cabriolet, Blaton specified that the car should have large side vents in the front wings, similar to those of the Series III 410 Superamerica, which were incorporated by Pinin Farina on Mr Ferrari's instruction. These vents not only make the car appear more sporting, they also serve to break up its lengthy flanks to good effect. Blaton's car, with its special features, was prominently displayed in Ferrari's 1960 yearbook.
In 1964, Blaton sold '2071' to Luigi Chinetti, another gentleman racing driver and sole importer of Ferraris into the USA. The car was then sold to a Mr Gilbertson from Vista, California. Following Mr Gilbertson's death, the Ferrari was acquired from his widow in 1978 by Mr Ken Gerber of San Diego, California, who kept it for the next 32 years. A member of the Ferrari Owners' Club, Mr Gerber enjoyed the car throughout the 1980s, attending various events.
During Mr Gerber's ownership (in 1992-1994) a fastidious restoration was carried out, the precision machining work on the engine and mechanical systems being entrusted to recognised specialist Bob Wallace of Phoenix, Arizona. Original parts were retained wherever possible and the few that were not saveable were either replaced with originals or perfect reproductions. The car was refinished in Rosso Rubino and completed in time for the 1994 International Ferrari Concours in Monterey.
Ken Gerber sold the Ferrari in 2010 and the following year the car moved to the UK having been bought by DK Engineering. The car was sold to Belgium in 2012, since when it has belonged to the current lady owner. Carrying the very suitable registration, '250 – GTS', the car has been enjoyed by its owner on numerous occasions and at prestigious events including the Zoute Rally. Now presented in excellent condition after recent cosmetic re-commissioning, it affords the prospect of comfortable open-top cruising in unparalleled style. Possessing links to Belgian and excellent provenance, this unique Ferrari 250 GT Cabriolet is worthy of the closest inspection.
I'm not sure what exactly Simms once distributed. They haven't been in business for many years, but their sign is still visible from the alley behind their former location.
You can find more of my photography on my web site:
Images to illustrate "Company/Mission"; idea of community, distributors sharing with each other and others.
Gary Young - Young Living Essential Oils founder, takes a moment to talk to members of the Silver Club.
Truck : Volvo VNM with beverage deliver 1-axle semi-trailer
Company : Manhattan Beer Distributors from Bronx, NYC
Date : 13/08/2016
Location : Manhattan NYC
Distributor plastik Indonesia menyediakan berbagai keperluan industri mulai dari rumah tangga , kantor , pertanian , perikanan , angkutan , bangunan dll .
Terpal , tali tambang , jaring plastik , tali nylon , plastik mika , tarpaulin , waring , shadenet , jaring anggrek , kuralon . canvas etc .
CV TCMA Distributor plastik terpal Indonesia 1975 - 2009 .
Alamat :
Jl Raya Pluit Selatan no 5
Jakarta 14450
Ph : 021 669 4524
Fax : 021 6694834
Info : 0811 887 012
E : info@terpal.com
W : www.terpal.com