View allAll Photos Tagged Manufacturing_process
This former Bryant & May matchworks in Bow was once the largest factory in London, employing almost 5,000 people in the late 19th century - most of whom were women or girls. Conditions in the factory were poor, with many workers suffering poisoning and disfigurement from the white phosphorus used in matches.
This ultimately drove the workers to strike in 1888, a landmark incident which became known as the match girls' strike. As a result of the strike the company did improve workers' conditions and it eventually changed its manufacturing process to use the less toxic red phosphorus.
Sous des allures d’irish pub, le musée nous propose de découvrir les origines du whiskey irlandais , la naissance du whiskey Tullamore Dew, ses procédés de fabrication, jusqu’à sa mise en fût. Et enfin... la dégustation !
Under looks of irish pub, the museum suggests us discovering the origins of the Irish whiskey, the birth of the whiskey Tullamore Dew, its manufacturing processes, until its putting is there. And finally ... the tasting !
In connection with the Macro Monday's theme.
A long chip of titanium made during the manufacturing process of a luxury watchcase.
HMM !
Abrir todos los enlaces pulsando botón derecho del ratón y abriendo en una nueva ventana.
Adjunto un hermoso trabajo de David Arkenstone
www.youtube.com/watch?v=KYq6Pm02Ads
whytake.net/Portfolio/FranciscoDominguez/5334
www.linkingoo.com/foto/13/1304/francisco_dominguez.html
www.fluidr.com/photos/35196188@N03
www.fotonatura.org/galerias/6318/
www.youtube.com/user/25elgaucho
www.youtube.com/user/25elgaucho/videos?tag_id=&view=0...
es.wikiloc.com/wikiloc/spatialArtifacts.do
Sao Miguel es el único lugar de Europa donde se produce el té. Las primeras semillas (camelia sinensis) llegaron a finales del siglo XIX, junto con los expertos que vinieron a enseñar a las diversas fases de la producción. Las diferentes variedades de té dependen de la madurez de las hojas utilizadas y sobre el proceso de fabricación.
Ver vídeo de Azores por el mismo autor:
www.youtube.com/watch?v=H0oD6IVen4k
Sao Miguel is the only place in Europe where tea is produced. the first seeds (Camellia sinensis) arrived in the late nineteenth century, together with the experts who came to teach the various stages of production. Different varieties of tea depends on the maturity of the leaves used and the manufacturing process.
Abrir todos los enlaces pulsando botón derecho del ratón y abriendo en una nueva ventana.
Adjunto un hermoso trabajo de David Arkenstone
www.youtube.com/watch?v=KYq6Pm02Ads
whytake.net/Portfolio/FranciscoDominguez/5334
www.linkingoo.com/foto/13/1304/francisco_dominguez.html
www.fluidr.com/photos/35196188@N03
www.fotonatura.org/galerias/6318/
www.youtube.com/user/25elgaucho
www.youtube.com/user/25elgaucho/videos?tag_id=&view=0...
es.wikiloc.com/wikiloc/spatialArtifacts.do
Sao Miguel es el único lugar de Europa donde se produce el té. Las primeras semillas (camelia sinensis) llegaron a finales del siglo XIX, junto con los expertos que vinieron a enseñar a las diversas fases de la producción. Las diferentes variedades de té dependen de la madurez de las hojas utilizadas y sobre el proceso de fabricación.
Ver vídeo de Azores por el mismo autor:
www.youtube.com/watch?v=H0oD6IVen4k
Sao Miguel is the only place in Europe where tea is produced. the first seeds (Camellia sinensis) arrived in the late nineteenth century, together with the experts who came to teach the various stages of production. Different varieties of tea depends on the maturity of the leaves used and the manufacturing process.
“Gloria in excelsis Deo,” Glory to God in the Highest, often used by The Royal Order of Scotland is seen on both of the badges to the left. These two badges offer slightly differing designs. The relative position, or relationship between the Emblazoned Equal Armed Cross and the Continuos Nine Pointed Star are slightly different on the two badges. This difference is likely a result of manufacturing process. The top points and the bottom point of the Continuos Nine Pointed Star can be set around the Cross such as to create a more balanced reference between the two icons. The outer Blazing Star of each badge has seven fiery illuminating triangular points. The five points of the inner motif on the Equal Armed Cross is another slight difference as is the Star set after Deo and before Gloria in the rendering of, “Gloria in excelsis Deo.”
The Ancient and Accepted Scottish Rite are known to have the double-headed eagle as icon of duality embody in unity. The two eagles in union offer a token of the balance of Day and Night, of Good and Evil, of the embodiment of Light and of the embodiment of Dark, of the Spiritual and the Material all taken upon for the Checker Board to the highest pinnacle of Masonry. In 1758 the Council of Emperors of the East and West confirmed the double-headed eagle as the official emblem for the 33rd Degree. The double-headed eagle has been used for many centuries, it is now given as one of the motifs of 32nd Scottish Rite Freemasonry. From establishment of the Scottish Rite the double-headed eagle has been an official Emblem. Wings reaching below being 32nd Degree and Wings rising above being 33rd Degree. Active Emeritus Members of the Supreme Council are granted the accolade of wearing the all encompassing reach of the upward outstretched full embracing of the rising wings as seen on this Jewel.
These pictures range from 1/8000 of a Second, to 8 Seconds and then to 15 Seconds. There are two versions of the 15 Seconds exposure. One has been De-noised and the other has not. The titles mention the De-Noise 3 of 4 No De-Noise and 4 of 4 De-Noise.
These pictures are taken with a Full Spectrum Camera.
The wavelengths visible to other than human eyes can be explored with a Full Spectrum Camera. My friend who loaned me this camera and a set of lenses and filters describes the experience of dogs that cannot easily discern between a red ball and the green of the grass on which it sits.
A Full Spectrum Digital Camera is often a modified camera that can record light beyond the human visible spectrum. By capturing ultraviolet (UV) and infrared (IR) light the images reveal a now visible representation of the sight given in the wider wavelengths. This can be achieved by removing the built-in UV/IR cut filter found in standard cameras, this allows for a wider range of light to reach the sensor and to be recorded in a manner visible to the human eye. With the addition of either external filters to the lens, or clip in to the sensor, photographers can choose to block certain wavelengths. These additional filters can be used to isolate ultraviolet UV, infrared IR, or human visible light to achieve specific effects that include using the camera for lowlight photography.
© PHH Sykes 2025
phhsykes@gmail.com
I composed this image recently, while gazing out a stairway window of a residential home. The goal of the composition was primarily to present an image of the window itself. Capturing evidence of autumnal colour and beauty was a quite secondary goal. What an underappreciated, taken-for-granted element of our modern life. It grants us light, helps fend off the cold and wind and wet,, welcomes the beauty of the outdoors in, and may even help us remain safe.
For those interested in the history of glass and window development, read on.
In prehistoric times, glass was first discovered in nature. However, this glass isn’t the clear, transparent type of glass that we’re used to. The prehistoric people used naturally-occurring volcanic glass such as obsidian to fashion weapons like knives and arrowheads, as well as jewelry and money.
According to archaeological evidence, the first man-made glass surfaced at 3500 BC in the regions of Eastern Mesopotamia and Egypt. The ancient glass industry had its ups and downs but eventually, this region of the world (along with some surrounding areas) would become the very first centers for glass manufacturing for 500 years.
Understandably, manufacturing glass used to be a slow and difficult process due to small glass melting furnaces and their insufficient heat. But this changed when Syrian craftsmen introduced the blowpipe. This discovery made the process faster, easier, and cheaper.
Back then, the idea of glass windows was not yet conceived and glass was used mostly for making vessels and jewelry.
The art of glass production made its way to Rome and its colonies. And by the end of the 1st century AD, manufacturing glass was refined and done at scale - to a point that glass became a commonly-available material in the Roman world.
It was also during this period that Romans were the first to make window glass panes. This early type of window glass was of uneven thickness and was not see-through like modern glass but it allowed some light to pass through.
During the 4th century, Christians started to build the early churches as Christianity began to spread throughout Europe. In building these churches, stained glass was used for the windows to create beautiful biblical images, thereby making stained glass a dominant art form of this millennium.
During the early 17th century, window glass was first manufactured in Britain. It was during this time that glass windows started to become more popular for homes across the western world.
The manufacturing process was still crude. The process involved the creation of a lengthy balloon of glass that was blown then both ends of this balloon would be removed, leaving behind a cylinder. This cylinder of glass was then split and flattened. During this time, large sheets of glass were not yet made for windows, which is why old glass windows usually had multiple panes of glass that were fastened together with bars.
Large sheets of glass were only made possible by the float process which evolved much later in the glass windows’ historical timeline. After some time, the first glass factory was opened in Jamestown, Virginia. The manufacturing process was still relatively the same, consisting of a bubble of glass that was flattened and reheated before being cut into shapes. This was, however, a cheaper and more efficient to make window glass.
Crown glass was a pivotal discovery and was introduced to Britain in 1674. The process of making crown glass involves a sphere of molten glass that is blown into a bubble and pierced by a rod. This is then spun into a circular sheet. When it was cooled down, it was cut into panes. Despite its imperfections and ripples, this type of glass it was still finer and clearer than the broad glass of before.
Then, in 1834, a cylinder method of manufacturing quality glass was developed in Germany. This allowed for even larger sheets of glass to be made.
The process of ‘drawing’ glass was introduced by Emile Fourcault in 1904. As the name suggests, the process involves placing a slot in a tank of molten glass and then ‘drawing’ sheets of glass through it, over water-cooled rollers, and straight into a cooling chamber.
Around the same time, Irving Colburn introduced the Colburn machine which made glass in a relatively similar fashion but with the paper-making process as its inspiration. In this machine, the sheet of glass was drawn vertically from the surface of molten glass then gently bent over a roller until it lay horizontally. For both of these processes, the glass had to be ground and polished afterwards.
In the year 1903, a French chemist named Edouard Benedictus made the accidental discovery of laminated glass when his glass flask that was coated with plastic cellulose nitrate dropped to the floor and shattered - but did not break. Since this discovery, the process of inserting a thin plastic film between two sheets of glass allowed for more safety with larger windows.
In 1959, Alastair Pilkington introduced the process of making float glass. This remains to be the industry standard of making glass today. In this process, the molten glass is poured onto a bed of molten tin. As the molten glass floats on the molten tin, the molten glass spreads out to form a level surface. This process allows for very large panes of distortion-free glass to be made.
Float glass has come a long way. Now, homeowners have various glass options for their windows. Laminated glass, obscured glass, tempered glass, and Low-E glass are among the options.
Happy Window Wednesday, everyone.
Abrir todos los enlaces pulsando botón derecho del ratón y abriendo en una nueva ventana.
Adjunto un hermoso trabajo de David Arkenstone
www.youtube.com/watch?v=KYq6Pm02Ads
whytake.net/Portfolio/FranciscoDominguez/5334
www.linkingoo.com/foto/13/1304/francisco_dominguez.html
www.fluidr.com/photos/35196188@N03
www.fotonatura.org/galerias/6318/
www.youtube.com/user/25elgaucho
www.youtube.com/user/25elgaucho/videos?tag_id=&view=0...
es.wikiloc.com/wikiloc/spatialArtifacts.do
Sao Miguel es el único lugar de Europa donde se produce el té. Las primeras semillas (camelia sinensis) llegaron a finales del siglo XIX, junto con los expertos que vinieron a enseñar a las diversas fases de la producción. Las diferentes variedades de té dependen de la madurez de las hojas utilizadas y sobre el proceso de fabricación.
Ver vídeo de Azores por el mismo autor:
www.youtube.com/watch?v=H0oD6IVen4k
Sao Miguel is the only place in Europe where tea is produced. the first seeds (Camellia sinensis) arrived in the late nineteenth century, together with the experts who came to teach the various stages of production. Different varieties of tea depends on the maturity of the leaves used and the manufacturing process.
View of an 1895 antique product advertising material in the form of a small token-chip labeled as "VULCABESTON" by the H.W. Johns Manufacturing Co. (prior to the 1901 merge with Manville Covering Co., aka- Johns-Manville).
Product name indicates another example of vintage asbestos product marketing and branding that incorporates derivations of the word, "ASBESTOS" and a manufacturing process, in this case: VULCA-BESTO -N.
View of an 1895 "Thousand Islands" antique product advertising material in the form of a small token-chip, labeled on its reverse-side as "VULCABESTON" by the former asbestos manufacturer, H.W. Johns Manufacturing Co. (prior to the 1901 merge with Manville Covering Co., aka: Johns-Manville).
Product name also indicates another example of vintage asbestos product marketing and branding that incorporates derivations of the word, "ASBESTOS" and a manufacturing process, in this case: VULCA-BESTO -N.
I replaced the old battery in my 2014 MacBook Pro. More about the replacement here.
If Apple really, as it constantly claims, supports a clean and healthy environment for all with steps taken in their design and manufacturing processes, it shouldn't be too hard for the brilliant people at Apple to incorporate into their products user-replaceable (and user-upgradeable) batteries, SSDs, RAM, etc. Environment benefits from reducing landfills, no? I sincerely hope Apple will walk the talk.
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58025 passes Holesmouth Jun, Avonmouth with 6C80, the Westbury Blue Circle to Avonmouth BHT coal empties, a service that ran three times a week for a few years. The coal which was used in the kilns at the cement works during the manufacturing process had traditionally been railed from Midland pits but when these shut the supply was transferred to South Wales along with imports via Avonmouth.
The cement works had two kilns, the first was initially fired on 1st September 1962 and lasted until 18th September 2008. The second kiln which started operation in June 1965 was finally extinguished on 30th April 2009 bringing the end of cement production and signalled the end of the coal trains. Demolition of the site took place in 2016 although the cement silos remain in use as a storage depot.
58025 was one of the Class that was sent to Spain in May 2004 for hauling construction trains on the high speed lines being built at the time. Its believed to be currently stored at Albacete, Spain
Pentax 6 x 7 Slide Scan
Located in a deciduous forest near Meech Lake, the ruins are the last remaining traces of a fertilizer plant constructed by little-known inventor Thomas Leopold Willson. The complex originally included three buildings: an acid condensation tower, a dam and a generating station. Unfortunately, the ruins were never preserved. The tower was destroyed by fire and, today, only its foundation remains. The dam and plant, its gaping windows still visible, stand near the cascading falls as a reminder of a rich and innovative company — and a glimpse of our scientific history.
Born in 1860 in Woodstock, Ontario, Thomas Leopold “Carbide” Willson was a pioneer of the North American electrochemical industry, with over 70 patents in his name.
The inventor’s fame and his nickname “Carbide” come primarily from his discovery in 1892, while he was working in the United States, of a calcium carbide manufacturing process. As is often the case, this discovery resulted from a series of fortunate accidents.
In 1907, Willson purchased 460 acres of land at Meech Lake for his summer home. He used the site to advance his research on nitrogen. Four years later, he built a dam, a generating station and an acid condensation tower near his home, at Meech Creek, on the shore of Meech Lake. The entire complex formed a superphosphate (monocalcium phosphate) fertilizer plant. Unfortunately, in 1915, while in New York City trying to raise new venture capital, Willson collapsed in the middle of the street, struck down by a heart attack.
Gatineau Park, Gatineau PQ
East side elevation showing the false chimney and opening for a clock. The routes of the tramway tracks are clearly visible.
The impressive three-storeyed Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones of Garndolbenmaen and probably designed by James Brunlees.
It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct.
The eastern gable is surmounted by a decorative feature incorporating a false shimney stack, and the west gable windows have at some time had window frames or shutters. Otherwise the construction is bold and plain but none the less impressive.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906.
Source: Haslam, Orbach and Voelcker (2009), The Buildings of Wales: Gwynedd. Pevsner Architectural Guide, page 362.
Click here for more photographs of the Slate Industry of Wales: www.jhluxton.com/Industrial-Archaeology/Slate-Industry-of...
Fragonard Laboratory Guided Visit.
Nestled in a picturesque setting between Nice and Monaco, at the foot of rocks and poised above the sea, this modern design perfume factory is an interesting contrast to its location in the charming medieval village of Eze. The laboratory uses modern technology to supply all of Fragonard's creams, lotions, and bath gels. The entire manufacturing process is displayed for these cosmetics and beauty products.
A series of Canadian National ore Jennies loaded with fresh taconite pellets, still hot from the manufacturing process, appears to be steaming as excess heat bleeds off. the train was destined for the CN yard at Proctor, MN, and eventually, the Duluth ore docks as it passed through Burnett, MN.
Lipstick History and Facts
Since the dawn of prehistoric times, humans always had the need to distinguish themselves among others. Clothes, shoes, tools, jewelry and cosmetics were first of the ways we managed to do that, but lipsticks and facial pants were one of the most noticeable ways to change our appearance. Hunters painted their skin to better blend in with their surroundings, priests and acolytes decorated themselves to honor their gods and beliefs, and young people used every way imaginable to make them more pretty and presentable to the opposite sex.
However, in the long prehistoric periods lipsticks were made only from readily available natural sources – fruit and plant juices. As early civilizations started appearing in the Middle East, North Africa and India, advanced manufacturing processes enabled mankind to finally start producing new kinds of lipsticks. First ones to do so were Mesopotamian women, who grinded out precious gems and used their dust to decorate their lips with glimmer and riches. Women from Indus Valley Civilization used lipstick regularly, but it was Egypt where manufacture of lipstick received many advancements. There, royal members, clergy and high class used several types of lipsticks, some of them with recipes that contained poisonous ingredients that could cause serious illnesses. It was there that carmine color became popular, extracted from the bodies of cochineal insects, technique that is widely used even today (although governments in US and EU heavily regulate presence of that pigment in our food and cosmetic products).
La storia del rossetto rosso è la storia di un oggetto di culto. Rosso come il fuoco, l’amore, la passione, la guerra. Tracce di rossetto rosso sul boccaglio di una sigaretta, su camicie d’innamorati, su guance o labbra. Coco Chanel disse: “Se siete tristi, se avete un problema d’amore, truccatevi, mettevi il rossetto rosso e attaccate.”
C’era una volta il rossetto rosso
Nell’epoca dei Sumeri, 2800 a.c., nella tomba della principessa Shub-ad fu rivenuta una piccola scatola d’oro contenente una pasta fatta di polvere rossa, olio di sesamo ed essenza di rosa, con tanto di pennellino. Presso gli antichi egizi, estasiati dalla cosmesi, le regine estraevano trattando diverse specie di coleotteri. Nella Roma Imperiale il rossetto veniva messo anche nelle statue degli Dei durante le celebrazioni religiose, mentre gli individui preferivano il “purpurrissimum” ottenuto dal solfuro di mercurio. Dal IX al XIV secolo, il rossetto fu proibito dai perbenisti ecclesiasti poiché le labbra rosse erano considerate simbolo di dissoluzione. Nel XVII secolo il primo “bastoncino” era una pasta semisolida a base di terra rossa (“terra di Parigi”), sopra un legnetto e seccata al sole. Fu proprio in quel periodo che la moda lo glorificò, grazie alla sua funzione estetica, come modificatore della forma delle labbra. Il rossetto rosso attraversò secoli sempre in bilico sul filo del proibizionismo, finché nel 1910 si affermò definitivamente per opera di Roger & Gallet, che produssero il primo stick da labbra. Da quel momento iniziarono le innovazioni grazie a Elizabeth Arden, che introdusse nuance più delicate. Il rossetto rosso si presenta negli anni 20 e 30 in gradazioni più scure e con bocche a forma di cuore; negli anni 40 tonalità rosso sangue e labbra notevolmente arrotondate; negli anni 50 e 60 si sfuma di fucsia, arancione e rosso lacca creando l’effetto di labbra abbondanti. Secondo il dizionario etimologico, il termine rossétto altro non significa che rosso, o meglio “alquanto rosso”. La vera curiosità è però che come sostantivo, indica il belletto usato per tingere in vermiglio le labbra.
Europe, Netherlands, Rotterdam, Katendrecht, Rijnhaven, Latenstein meelfabriiek, Codrico, Cranes (uncut)
Shown here is Latenstein Meelfabriek. A partly modernist industrial complex (1952, J. Vegter (arch) & A. Arondsohn (eng). The design of the flour mill was very innovative: a fully air-driven transport system was used in stead of the then common system with buckets mounted on a conveyor belt. In the extensive industrial complex, all parts of the mechanized manufacturing process have been given their own building with their own construction and their own architectural expression. The factory is nowadays owned by Codrico.
(Source: here).
Latenstein together with Meneba are the only factories left in the otherwise redeveloped former industrial harbour quarter of Katerndrecht.
In the background are two yellow cranes stationed at the Fenix 2 redevelopment site here. Hence the addition of this pic to the Urban Frontiers album.
antiquities.bibalex.org/Collection/Detail.aspx?a=859&...
Description
A floor mosaic using tesserae made of minute stone cubes, ranging from one to four millimetres in the opus vermiculatum technique.
The central medallion or emblem carries the picture of a dog, the first time ever such a motif is found on a floor mosaic in Alexandria. The dog is resting on his hind legs close to an upturned Greek vessel. The naturalistic image expresses strength and vitality, which points to the fine ability of the artist in using this medium to achieve clarity of design and definition. The fell of the dog, its spots and red collar are executed very precisely. The main colours in this medallion include black, white and yellow, yet the artist was able to convey light and shade in a brilliant manner. The angle of the dog's portrait is at three quarters, and the front part reflects light, while the rest of the body is in the shade. The gradation of shading on the upturned bronze pot shows light reflected on the central part, while the sides are gradually darker. The artist has indeed been able to express great depth in a 'hard' medium and this mosaic is a testament to the sophistication of mosaic workshops and artistry in ancient Alexandria.
Perhaps the theme on this floor is a scene of a theatrical story or from a literary work of art of Alexandria during the first three centuries B.C. However, the mosaic does not provide us with a clear idea as to the place where it was housed, but we can deduct that its shape was circular and about three metres in diameter, with this medallion as its centrepiece.
Mosaic
The Greeks used mosaics to decorate their floors in public places and private dwellings by using tesserae in many ways. Tesserae are the small pieces of stone, limestone, marble, glass or clay, which are cut in a small cubic form, hence their name. The Greek floor coverings became a complete tableau depicting plants, animals, geometrical designs and Greek/ Hellenistic motifs.
The Romans adopted also this art to cover their floors in homes and temples, as well as in their tombs. The Romans applied the same techniques of the Greeks. They also introduced new innovations in the manufacturing process.
The most ancient piece of mosaic was discovered in the East, in Ancient Iraq. It is from the Uruk civilization which dates back to 4000 years BC. Mosaic art disappeared after that time and reappeared again at the beginning of the 5th Century BC.
The impressive three-storeyed Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones of Garndolbenmaen and probably designed by James Brunlees. It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct. The eastern gable is surmounted by a decorative feature incorporating a false shimney stack, and the west gable windows have at some time had window frames or shutters. Otherwise the construction is bold and plain but none the less impressive.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to poor quality of the quarried slate) and the business went into liquidation in 1871. The building provided a venue for eisteddfodau until the roof was removed around 1906.
The 1.2-m diameter main mirror of ESA’s Euclid mission to unveil the dark Universe, seen during assembly, integration and testing. Using this mirror, the spacecraft will map the 3D distribution of billions of galaxies up to 10 billion light years away – looking beyond the Milky Way galaxy to image around a third of the observable Universe. By revealing the Universe’s large-scale structure, and its pattern of expansion, the mission will cast light on the mysterious dark energy and dark matter making up 95% of the cosmos.
All six of Euclid’s ‘Korsch configuration’ mirrors, plus the telescope itself – comprising more than 30 parts as well as the mirrors – as well as the more than 10 parts making up the mission’s Near Infrared Spectrometer and Photometer and the optical bench that surrounds them are all made from the same material: not glass, but a ceramic only found naturally in space.
Silicon carbide (SiC) is one of the hardest materials known, used to make cutting tools, high-performance brakes and even bulletproof vests, while being much lighter than glass. It is similar to a metal in having high thermal conductivity but unlike metals can undergo extreme temperature shifts without deforming – making it very attractive for space-based astronomy.
SiC is relatively common in space – formed from the combination of silicon and carbon in the absence of oxygen – and small amounts of it have been found within meteorites. On Earth it was first synthesised as an artificial diamond substitute.
Realising its potential for space, ESA and Airbus (developing Euclid’s payload module) entered into a long-term technical collaboration with French company Mersen Boostec, born out of a terrestrial firm which previously manufactured SiC bearings and seals for industrial pumps. The company made the 3.5-m diameter main mirror for ESA’s Herschel spacecraft – which when the mission launched in 2009 was then the largest telescope mirror flown to space – and went on to produce mirrors and optical supports for Rosetta, Gaia, the James Webb Space Telescope and now Euclid.
“Gaia’s monolithic rectangular main mirror had a wider diameter at 1.5 m across, but Euclid’s main mirror represents our company’s largest made-in-one circular mirror,” explains engineer Florent Mallet of Mersen Boostec.
The company's SiC Product Line Director, Jérôme Lavenac, adds: “We’re proud of our contribution to Europe’s latest space astronomy mission, which will lead to major advances in fundamental physics.”
The main mirror’s manufacturing process began with SiC powder which was squeezed into a solid but soft circular block which was then precisely shaped using a computer-guided milling machine. The next step was ‘sintering’ or baking it in a 2100°C oven. The resulting hard ceramic was then coated with additional SiC using chemical deposition, to fill in any residual pores, to a thickness of a few tenths of a millimetre. The mirror was then ground slightly before being passed to the Safran-Reosc company for polishing and silver coating. The final mirror shape is accurate to nine millionths of a millimetre under Earth gravity.
Both of Euclid’s instruments will make use of this mirror plus its five smaller ones. Euclid’s VISible instrument (VIS) takes very sharp images of galaxies in visible light over a much larger fraction of sky than would be possible from the ground. VIS works alongside the Near Infrared Spectrometer and Photometer (NISP). NISP sifts infrared light coming from these galaxies to derive key data, including their speed of outward expansion – measuring their ‘redshift’, on the same principle as a police radar gun, which will in turn allow astronomers to infer the expansion history of the Universe.
Credit: Airbus
Exterior of the mill from the road. Standing on higher ground places the mill building in a commanding position.
For more photographs of this impressive building please click here: www.jhluxton.com/Industrial-Archaeology/Slate-Industry-of...
The impressive three-storeyed Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones of Garndolbenmaen and probably designed by James Brunlees.
It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct.
The eastern gable is surmounted by a decorative feature incorporating a false shimney stack, and the west gable windows have at some time had window frames or shutters. Otherwise the construction is bold and plain but none the less impressive.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906.
Source: Haslam, Orbach and Voelcker (2009), The Buildings of Wales: Gwynedd. Pevsner Architectural Guide, page 362.
A bit of Russian trivia:
Back in the Soviet times, with planned economy, for every item manufactured in the country there was a government-planned supply, a government-planned demand, and therefore - a government-established retail price. Usually that price was marked on the product during the manufacturing process.
For example, book publishers used to put the retail price on the top left #corner of the back cover.
This is a collection of works of Maxim Gorky, one of the most prominent writers of the early XX century. Published in Moscow by the Pravda Publishing House in 1979, these #books were then sold in bookstores at the state-established price of 1 rouble 40 kopecks.
On the edge of the center of Dresden you will find the Gläserne Manufaktur. This is a Volkswagen factory where you can take a tour to see the manufacturing process up close. However, it is not a traditional factory with chimneys, workers in dirty overalls and smoky diesel fumes, but a state-of-the-art car factory made entirely of glass.
The Gläserne Manufaktur is working on the production of the electric VW Golf. There is glass everywhere, so that a lot of daylight enters. It is also the first car factory in the world with a wooden parquet floor! The fabrication employees vary the operations a lot, so that the work does not become too boring.
The electric cars are assembled for 99 percent by hand. There are only three robots in the entire factory. It is primarily a factory that Volkswagen uses to research the manufacturing process. Only 72 cars roll out of this glass building every day, compared to several thousand cars in a real factory.
The production of one car takes a full 7 minutes. In every other Volkswagen factory, a car is ready in 1 minute. The electric cars in this factory are so popular that they have all been ordered.
Open House New York 2022
I visited the M & S Schmalberg studio, they custom manufacture fabric flowers for high end designers as well as sell on etsy. The owner gave us the tour which was fun and informative.
Here you see some of the forms that are used in the manufacturing process.
This family-owned toy manufacturing business has gone through many changes over the years. It began as a growing concern that only occupied the ground floor and was solely reliant on manual labour and skilled craftsmen. As demand increased, so did the business and they invested in an additional two floors to accommodate a bigger workforce and new machinery to optimise parts of the process.
The manufacturing process flows from the top floor, the product works its way down through some well-positioned chutes linking the floors and strategically placing the product onto the conveyor belt below.
Exterior of the mill from the road. Standing on higher ground places the mill building in a commanding position.
For more photographs of this impressive building please click here: www.jhluxton.com/Industrial-Archaeology/Slate-Industry-of...
The impressive three-storeyed Ynys-y-pandy slate processing works, which served the Gorseddau Quarry, was built in 1856-7 by Evan Jones of Garndolbenmaen and probably designed by James Brunlees.
It is ingeniously planned so that the natural fall of the site assisted the manufacturing process. A deep trench inside accommodated a large overshot water wheel (26 ft, 8m in diameter), and on the south side a long curving ramp brought branches of the tramway from Gorseddau Quarry into the mill at two different levels, serving the middle and upper floors. The grand, round-headed openings are closely spaced like a Roman aqueduct.
The eastern gable is surmounted by a decorative feature incorporating a false shimney stack, and the west gable windows have at some time had window frames or shutters. Otherwise the construction is bold and plain but none the less impressive.
The mill specialised in the production of slate slabs for floors, dairies, troughs, urinals, etc. In its heyday, in 1860, it was producing over 2,000 tons per annum, but seven years later production was down to 25 tons per annum (due to poor quality of the quarried slate) and the business went into liquidation in 1871.
The building provided a venue for eisteddfodau until the roof was removed around 1906.
Source: Haslam, Orbach and Voelcker (2009), The Buildings of Wales: Gwynedd. Pevsner Architectural Guide, page 362.
Industrial Loco No 5 sits on the High Level Railway, serving the two remaining working blast furnaces of Appleby Frodingham Steelworks Scunthorpe 3rd September 2022. Another loco and loading hopper can be seen in the far distance along this short piece of railway infrastructure. The huge blast furnaces are located out of shot to the right of the picture. The photo was taken from one of the brakevans which had been pushed up the incline onto this railway by a locomotive operated by the Appleby Frodingham Railway Preservation Society who have a presence on the Steel Works site. The locos on this line continually load up the operating blast furnaces with raw materials for the manufacturing processes in steel making.
Laguiole is a French village which gives it's name to these knives with curved handles and a little bee.
Workshops built along the banks of the Durolle from the 15th century onwards used the river’s hydraulic power to produce and supply massive numbers of knives to wholesaler ironmongers in France and Navarre - breaking the manufacturing process down into several separate steps, each being parcelled out to a different workshop with many employees working from home. Hundreds of grinders called Yellow Bellies sharpened blades lying on their stomachs above the millstones - often with a small dog lying on their legs to keep them warm.
This revolver is a recoil operated auto-revolver made for military, and police personnel. The cylinder holds seven cartridges and can be loaded with moon clips. These pistols have a reputation among officers in various armies, due to the high quality manufacturing processes that make these pistols.
Photo taken through a window of Museum Gouda
The observation that old windows are sometimes found to be thicker at the bottom than at the top is often offered as supporting evidence for the view that glass flows over a timescale of centuries, the assumption being that the glass has exhibited the liquid property of flowing from one shape to another.[64] This assumption is incorrect, as once solidified, glass stops flowing. Instead, glass manufacturing processes in the past produced sheets of non-uniform thickness leading to observed sagging and ripples in old windows.
Birmingham Bolt--August 12, 1990
The first tenant of the 350-acre regional industrial park at Duffield, Va. opened in 1970. Westmoreland Coal Company was expanding production to the point it made good economic sense to invest in a facility to manufacture roof bolts.
Introduced in the late 1800’s and rising to prominence in North America throughout the 1940’s and 1950’s, roof bolting sought to combat the risk of roof fall injuries and fatalities in the underground mine and has since become a standard support method in mines worldwide. The roof bolting process and the equipment that facilitates it have constantly been evolving to improve the productivity and, most importantly, the safety of the underground mine.
Long bolts installed into the roof compress the layers of strata and suspend the weaker layers from a stronger layer above. Roof bolts, typically 6 - 8 feet long, are installed by workers using large roof bolting machines. There are different types of machines used for high, medium, and low coal seams.
The manufacturing process was quite simple. The uncut rods were delivered from a mill in the Birmingham area to Duffield in gons. The plates and other attachments were installed at the plant in Duffield with the rods made to the length for conditions in particular mines. The ends of the bolts were heated and formed into a head at the Duffield plant. The finished bolts were wrapped in bundles and placed on pallets and trucked to the mine site.
The plant closed in the 90s when Westmoreland exited southwestern Virginia. The rail spur was removed later. The building itself was most recently leased to AEP (American Electric Power) for warehousing of large components but is presently vacant.
The Frisco-based local had just delivered a few gon loads of rods from the steel mill in Alabama when I got this shot. That Southern Railway maintenance limit sign was common on every industrial spur. The maintenance of track beyond this sign was the responsibility of the industry.
Toblerone was created by Emil Baumann & Theodor Tobler (1876–1941) in Bern, Switzerland, in 1908. Emil Baumann, the cousin of Theodor Tobler, created the unique recipe consisting of milk chocolate including nougat, almonds, and honey. Theodor Tobler came up with the distinctive triangular shape and packaging. The product's name is a portmanteau combining Tobler's name with the Italian word torrone (a type of nougat).
The Matterhorn in the Alps served as inspiration for the bar shape
The triangular shape of the Matterhorn in the Swiss Alps/Italian Alps is commonly believed to have given Theodor Tobler his inspiration for the shape of Toblerone. However, according to Theodor's sons, the triangular shape originates from a pyramid shape that dancers at the Folies Bergères created as the finale of a show that Theodor saw. Nevertheless, a silhouette of the Matterhorn appears on the modern Toblerone packaging, as seen in the photo above right.
Some early advertisements for Tobler chocolate appeared in the international languages Esperanto[8] and Ido.[9]
Theodor Tobler applied for a patent for the Toblerone manufacturing process in Bern in 1909. The Toblerone brand was trademarked in 1909, at the Swiss Federal Institute of Intellectual Property in Bern.[10]
The Tobler company was independent for many years. In 1970, it merged with Suchard, the makers of Milka, to become Interfood. After the Tobler & Suchard merger it was decided to create a new and single source for marketing & exporting the various products manufactured by both companies worldwide, Multifood. Max E. Baumann, the son of Emil Baumann, was made director of this new division. Tobler & Suchard companies merged with the Jacobs coffee company in 1982 to create Jacobs Tobler & Suchard. Mondelēz (Kraft Foods Inc at that time) acquired the majority of Jacobs Suchard, including Toblerone, in 1990.
for more infirmations:
en.wikipedia.org/wiki/Toblerone
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“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
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Please don't use any of my images on websites, blogs or other media without my explicit written permission.
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PADDY: “Hullo everyone! Do you know what? Saturday the 26th of September’s ‘Smile on Saturday’ theme is ‘umbrella’, so I thought I would help Daddy out. He can’t hold an umbrella and photograph it at the same time, so I am posing with it, so that he can photograph it.”
DADDY: “Thank you, Paddy.”
PADDY: “You are welcome, Daddy. It’s just as well I am holding an umbrella because it is spring time here in Melbourne. That means it could be sunny or it might rain, and this antique umbrella will protect me no matter what the weather decides to do!”
Paddy is right. The theme for “Smile on Saturday” for the 26th of September is indeed, “umbrella”. Paddy is holding one of my antique umbrellas. It is a red 1930s Art Deco Rayon umbrella made by Paragon, Fox & Sons in England.
Paragon, Fox & Sons (now known as Fox Umbrellas) first began making umbrellas in 1868 when Thomas Fox opened a shop in Fore Street, London. In 1848 that Samuel Fox, a wire drawer by trade, started to make solid steel ribs in Stocksbridge, Near Sheffield. They still exist today, and a renown for their high quality umbrellas. In the 1880's a major change in the manufacturing process took place with the introduction of the steel umbrella frame invented by Mr. Samuel Fox. Up to this time the umbrella frame was made of whalebone. Samuel Fox continued improving and developing his ribs over the next few years when his son William Henry Fox joined the company around 1913 and around this time adopted the trademark 'Paragon'. After World War I Samuel Dixon's son took over the running of the business which he again expanded and improved the production methods, whilst keeping the very high quality of the merchandise. During the early 1930's he started exporting to Japan, USA and other overseas markets. During World War II the company manufactured flare parachutes which introduced them to the new invention nylon. The Dixon family was quick to realise the advantages of nylon instead of silk and became the first to introduce the material into umbrella covers and they were first shown to the general public in the "Britain Can Make It" exhibition at the Victoria & Albert Museum in London, 1946. Suppliers of umbrellas to the British and Japanese royal families, Fox Umbrellas still exists in London today, and it is renown for its high quality products.
My Paddington Bear came to live with me in London when I was two years old (many, many years ago). He was hand made by my Great Aunt and he has a chocolate coloured felt hat, the brim of which had to be pinned up by a safety pin to stop it getting in his eyes. The collar of his mackintosh is made of the same felt. He wears wellington boots made from the same red leather used to make the toggles on his mackintosh.
He has travelled with me across the world and he and I have had many adventures together over the years. He is a very precious member of my small family.
“Gloria in excelsis Deo,” Glory to God in the Highest, often used by The Royal Order of Scotland is seen on both of the badges to the left. These two badges offer slightly differing designs. The relative position, or relationship between the Emblazoned Equal Armed Cross and the Continuos Nine Pointed Star are slightly different on the two badges. This difference is likely a result of manufacturing process. The top points and the bottom point of the Continuos Nine Pointed Star can be set around the Cross such as to create a more balanced reference between the two icons. The outer Blazing Star of each badge has seven fiery illuminating triangular points. The five points of the inner motif on the Equal Armed Cross is another slight difference as is the Star set after Deo and before Gloria in the rendering of, “Gloria in excelsis Deo.”
The Ancient and Accepted Scottish Rite are known to have the double-headed eagle as icon of duality embody in unity. The two eagles in union offer a token of the balance of Day and Night, of Good and Evil, of the embodiment of Light and of the embodiment of Dark, of the Spiritual and the Material all taken upon for the Checker Board to the highest pinnacle of Masonry. In 1758 the Council of Emperors of the East and West confirmed the double-headed eagle as the official emblem for the 33rd Degree. The double-headed eagle has been used for many centuries, it is now given as one of the motifs of 32nd Scottish Rite Freemasonry. From establishment of the Scottish Rite the double-headed eagle has been an official Emblem. Wings reaching below being 32nd Degree and Wings rising above being 33rd Degree. Active Emeritus Members of the Supreme Council are granted the accolade of wearing the all encompassing reach of the upward outstretched full embracing of the rising wings as seen on this Jewel.
These pictures range from 1/8000 of a Second, to 8 Seconds and then to 15 Seconds. There are two versions of the 15 Seconds exposure. One has been De-noised and the other has not. The titles mention the De-Noise 3 of 4 No De-Noise and 4 of 4 De-Noise.
These pictures are taken with a Full Spectrum Camera.
The wavelengths visible to other than human eyes can be explored with a Full Spectrum Camera. My friend who loaned me this camera and a set of lenses and filters describes the experience of dogs that cannot easily discern between a red ball and the green of the grass on which it sits.
A Full Spectrum Digital Camera is often a modified camera that can record light beyond the human visible spectrum. By capturing ultraviolet (UV) and infrared (IR) light the images reveal a now visible representation of the sight given in the wider wavelengths. This can be achieved by removing the built-in UV/IR cut filter found in standard cameras, this allows for a wider range of light to reach the sensor and to be recorded in a manner visible to the human eye. With the addition of either external filters to the lens, or clip in to the sensor, photographers can choose to block certain wavelengths. These additional filters can be used to isolate ultraviolet UV, infrared IR, or human visible light to achieve specific effects that include using the camera for lowlight photography.
© PHH Sykes 2025
phhsykes@gmail.com
The manufacturing process is very easy and simple, but requires a long time to get better results takes approximately 3-4 hours
Taken@Garut, West Java, Indonesia
We grabbed him one more time at Burnett before continuing our trek to the yard at Proctor. Limestone, called fluxstone, is used to absorb impurities in iron and coke during the steel manufacturing process. In this case its being added to the taconite pellets during the manufacturing process at the Minntac plant.
Fragonard Laboratory Guided Visit.
Nestled in a picturesque setting between Nice and Monaco, at the foot of rocks and poised above the sea, this modern design perfume factory is an interesting contrast to its location in the charming medieval village of Eze. The laboratory uses modern technology to supply all of Fragonard's creams, lotions, and bath gels. The entire manufacturing process is displayed for these cosmetics and beauty products.
The manufacturing process is very easy and simple, but requires a long time to get better results takes approximately 3-4 hours
Taken@Garut, West Java, Indonesia
This ship has spent the last decade or so shuttling back and forth between Godorf and Niehl, carrying gas from the Shell refineries to Ford's car factory, where it is used presumably for heating, welding, and other manufacturing processes. Given this, it's rare it left Cologne territory in all that time. This day was such an occurrence however, as it came by Grimlinghausen on its way back home to resume its everyday business.
It is also one of very few inland tankers without an IMO number. Rule of thumb is, all tankers have one, most dry cargo vessels don't - but the latter are more prone to exceptions.
TMS Boeran
Grimlinghausen
15.09.2025
NASA conducted its sixth RS-25 single-engine hot fire Aug. 5 on the A-1 Test Stand at Stennis Space Center near Bay St. Louis, Mississippi, a continuation of its seven-part test series to support development and production of engines for the agency's Space Launch System (SLS) rocket on future missions to the Moon. Operators fired the engine for more than eight minutes (500 seconds), the same amount of time RS-25 engines need to fire for launch of the SLS rocket. Four RS-25 engines, with a pair of solid rocket boosters, will help power SLS at launch. NASA already has tested engines for the rocket's first four Artemis missions to the Moon, allowing operators to turn their focus towards collecting data to demonstrate and verify various engine capabilities for future engines. Along with providing performance data to Aerojet Rocketdyne, lead contractor for the SLS engines, the Aug. 5 test enabled the team to evaluate new engine components manufactured with cutting-edge and cost-saving technologies, eliminate operating risks, and enhance engine production. In addition to operating the engine at 109% of its original power level for extended periods during the hot fire, NASA verified new manufacturing processes while evaluating the performance of the engine's low-pressure fuel turbopump. The pump significantly boosts the pressure of liquid hydrogen delivered to the high-pressure fuel turbopump to help prevent cavitating, the forming of "bubbles" or "voids", which can collapse or cause shock waves that may damage machinery. NASA is building SLS as the world's most powerful rocket to send the agency's Orion spacecraft to the Moon. With Artemis, NASA will land the first woman and the first person of color on the lunar surface and establish long-term exploration at the Moon in preparation for human missions to Mars. SLS and Orion, along with the commercial human landing system and the Gateway outpost in orbit around the Moon, are NASA's backbone for deep space exploration. SLS is the only rocket that can send Orion, astronauts, and supplies to the Moon in a single mission. An integrated team conducts RS-25 tests at Stennis Space Center, including NASA, Aerojet Rocketdyne, and Syncom Space Services, the prime contractor of Stennis facilities and operations.
Credit: NASA
#NASA #space #moon #Mars #NASAMarshall #msfc #sls #spacelaunchsystem #nasasls #rockets #exploration #engineering #explore #rocketscience #artemis #SSC #StennisSpaceCenter
Birefringence Series
I would sing this song a thousand times if it made you happy, I know it so well...
Birefringence in Airplane Windows: Due to the manufacturing process, airplane windows are anisotropic - their physical properties depend on direction. The light passing through the window is split into different beams travelling at different speeds, resulting in interference. The interference colours can be very interesting for the photographer.
Most often these patterns are rather faint, but if the incident light is already partially polarized, the colour effects can be easily detected without a polarising filter. If a polarising filter is used, these effects can be rather stunning.
I used a polarising filter, simples!
I think heat is applied at least two times in the production process. These machines may have sent hot air to a contained conveyor belt moving molds filled with slip. These orange machines remain. The vents have been removed. And if there was a heat chamber with a conveyor belt, it is gone now. These machines are at one end of the facility, presumably the starting point of the manufacturing process. A half a mile away were ovens for final firing, and then the shipping dock.
Often called a Contax copy but that isn’t accurate. It is not a copy, nor is it a clone or a replica. The Contax manufacturing process and some of the staff, together with stock of materials and original blueprints were taken as War Reparations by Russia and moved to Kyiv. Production then recommenced but the bodies were engraved with Kneb (Cyrillic Kiev) instead of Contax.
So this pre-1980 - when standards dropped drastically at the Arsenal factory - is actually a Contax under a different logo.
It is a fairly heavy, well built camera and not a cheap copy built with sub-standard materials.
I call them "pits," but it's really one pit, with I-beams going across every four feet or so. I have no idea what part of the manufacturing process happened here.
Dramatic 1928 Mercedes Benz 680 S short chassis Torpedo by Saoutchik....the last surviving of 3, and Best in Show at the 2013 Pebble Beach Concours.
In the infancy of the automobile, decades before the advent of mechanised production lines and six-figure build numbers, the private car could be as unique to its well-heeled owner as a handmade shoe or bespoke suit. During the early 1900s, the car was also an art form, a source of individual expression that made minor celebrities of the men creating them and established an enduring mythology around their rarefied craft. Perhaps the most visionary of these traditional coachbuilders, sought-after by the great and good across Europe and beyond for almost half a century, was Iakov Savtchuk, better known today as Jacques Saoutchik.
Born in western Russia in 1880, Saoutchik left his homeland at the age of 19, heading with his brother for the bright lights and untold possibilities of fin de siècle Paris. Having trained as a cabinet maker in a small town near Minsk, Saoutchik was able to join a modest furniture business in the 11th arrondissement from where he quickly became familiar with the machinations and mores of his newfound homeland. His sights as a designer and maker were soon set far higher than mere household furniture; Saoutchik had spied a niche in the newly emerging industry of the motorcar.
In 1906, having formerly adopted a more western interpretation of his name, Saoutchik set up his own coachbuilding company in the nearby district of Neuilly-sur-Seine and began building highly elaborate horseless carriage on bare chassis supplied by automotive pioneers like Hotchkiss and Panhard. In a period where the rules of car-making were loosely defined and the clientele invariably insistent on the finer things, Saoutchik spoke to his market with crystal clarity. Even his earliest creations demonstrated an ingenuity, attention to detail and sheer extravagance that was unrivalled anywhere in the world.
At the Concours d’Élegance de La Grande Cascade, an exhibition designed to introduce Parisian high-society to the wonders of the automobile, Saoutchik’s display was the star attraction, the combination of elegant design and peerless quality cementing his reputation as the definitive ‘manufacture de voitures de luxe’. Cars such as the 22 CV Berliet, completed in 1907, offered a fit and finish hitherto unseen, the lustre of its bodywork and jewel-like details captivating audiences from across the social strata.
Orders began to flood in, from aristocrats and wealthy industrialists to international royalty as far afield as Norway and Spain. In 1911, a commission arrived at the modest premises at 46 Rue Jacques Dulud to design the original Popemobile, built with such characteristic discretion that no pictures have survived.
After the end of the First World War, Saoutchik rose to new heights, developing what was known as the ‘transformable’, versatile and adaptable car bodies that could be fully open or fully closed and a variety of combinations in between. It was during this period that Saoutchik’s flamboyance and attention to detail began to be matched by his innovation. Patents were filed for a wide variety of inventions, including an adjustable windshield, a convertible roof, a window-lowering mechanism and cantilevered doors.
As the century progressed, Saoutchik’s creations evolved in step with rapid and dramatic societal change, becoming increasingly more modern and adventurous as the Art Nouveau landscape around him reshaped contemporary fashions. He supplied cars to the new royalty of Hollywood, Douglas Fairbanks and Mary Pickford famously exporting to their Los Angeles home a Saoutchik-bodied six-cylinder Delage coupé that they had alighted upon at the Paris Salon in 1921. In advertising material, ‘J. Saoutchik, Carrossier De Luxe’ became ‘Le Carrossier En Vogue’, with the promise that his cars were ‘adoptes par les femmes élegantes et sportives dans le monde entire.’ Beautiful to behold, Saoutchik’s cars were even more remarkable to experience first-hand, with sumptuous interiors using exotic hardwoods and finely hand-stitched quilted leathers to provide a level of luxury unprecedented and unrivalled in the world of private transportation.
By the mid-1920s, Saoutchik was working in close cooperation with most of the established engine and chassis builders, with Rolls Royce, Bentley Hizpano-Suiza, Isotta-Fraschini, Minerva and Mercedes all on the books. In 1927, he travelled to the US to visit his brother and engage in some urgent consultancy work for a failing Pierce-Arrow. He returned emboldened by many aspects of American automobile design, bringing the nouveau riche grandiosity of the East Coast aristocracy back to Europe and deploying it with new found vigour.
Meanwhile, developments in third party engineering and Saoutchik’s own manufacturing processes were also allowing the traditional, upright carriage of the earlier part of the century to be abandoned in favour of increasingly rakish designs with lower roof lines, sweeping pontoon fenders and vast bonnets. Stately elegance was now sharing space with a new-found dynamism and potency, and the late 1920s became a something of a Zenith for Saoutchik, his cars the perfect accompaniment to an age of excess. (Hagerty)
Exclusive in every way, It showcases some of the more exotic materials available to the coachbuilders of the day. The hides used to create the lizard skin interior were supplied by Alpina, a company that sourced products from the French colonies in Southeast Asia. The beautiful trim wood, known as Purpleheart, was also sourced out of the French colonies in South America.
Double click on the Image to Enlarge
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