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photographer Bernard Egger • collections • sets
🏁 | 2024 ENNSTAL-CLASSIC • Styria 💚 Austria
📷 | 1938 Aston Martin HMK734 :: rumoto images # 9573 wp
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Here he is. he wasn't really coopertaing but i had to make him pose for me at least once :-)
my photos are available at
NOTE: All images are Copyrighted by Asad Gilani. No rights to use are given or implied to the viewer. All rights of ownership and use remain with the copyright own.
LEGAL NOTICE © protected work • All Rights reserved! © Egger photographer retains ownership and all copyrights in this work.
No use of this image is allowed without photographer’s express prior permission and subject to compensation • no work-for-hire
► licence | please contact me before to obtain prior a license and to buy the rights to use and publish this photo. A licensing usage agreed upon with Bernard Egger is the only usage granted. more..
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classic sports cars | vintage motorcycles | Oldtimer Grand Prix
event | 2023 Meet & Greet ▻ Motorradmuseum Vorchdorf, AT
📷 | FIAT 500 :: rumoto images # 6521 wp
1983 Volvo 360 GLS 5-door.
Supplied by Cecil & Larter (Volvo).
In present ownership since April 1992.
Power, ownership, intent, determination, this Leopard certainly possesses all these attributes. And whilst the brutal reality of life in the bush might not be to everyone's taste, the killing and eating of prey like this Impala, is an absolute necessity for the Leopard to survive. This Impala had been dead for at least two days, and had been hung in a tree, before the Leopard decided to move it to a safer location as the rising sun promised a very hot day ahead.
France
It is a historical monument along the tourist route, "la Route Jacques Coeur", just south of the Loire Valley. Ainay-le-Vieil is located 60 minutes south of the city of Bourges, and has remained under the ownership of the same family since 1467 when it was purchased by Charles de Chevenon de Bigny. The d'Aligny family, resides there year round, and invites you to tour Ainay-le-Vieil.
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer Bernard Egger • collections • sets
location | ▻ Motorradmuseum Vorchdorf • Austria
📷 | 1972 Ducati 350 Desmo :: rumoto images # 5017
© Dieses Foto darf ohne vorherige Lizenzvereinbarung keinesfalls publiziert oder an nicht berechtigte Nutzer weiter gegeben werden.
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If a photographer can’t feel what he is looking at, then he is never going to get others to feel anything when they look at his pictures.
The 1982 Mercedes 380SL is a desirable classic convertible for those who appreciate its build quality, comfortable ride, and timeless design. While it requires careful maintenance and can be expensive to repair, it offers a rewarding ownership experience for enthusiasts
Two ginger cats fighting over ownership of the bench - ironically they are mother and son but these days mum is not so keen on her offspring!
A couple of dogs are among the bystanders greeting the arrival of former East Yorkshire Motor Services 644 (VKH44) at the Ferensway car park. Its destination indicator is set for the East Coast Run itinerary - a route that the bus would have often taken in its EYMS service life.
The 1956-vintage AEC Regent V with Willowbrook Beverley Bar bodywork had only just been withdrawn by EYMS and was newly into private preservation ownership. Some years later, EYMS are-acquired the vehicle to form part of its heritage fleet.
Oxen Hoath manor house dates from the C16 and in 1621, when in the ownership of Thomas Choune, a survey was made which shows the house approached via a grand gateway to the west. By 1719 the property had passed into the ownership of Leonard Bartholomew and was illustrated by Badeslade who records a multi-gabled house standing in a formal setting approached via a double avenue to the south (Badeslade 1719, published 1750s). The house and grounds were again remodelled at the end of the C18 when the architect John Meadows was commissioned by the then owner Sir William Geary to update the mansion. A contemporary engraving by W Green, from a painting by J G Wood (see Hall 1993) shows the Georgian house in an informal setting of sweeping grass lawns. The property remained in the Geary family into the C19 and in c 1846 Sir William R P Geary brought in Anthony Salvin (1799-1881) to restyle the house in the French fashion, and William Andrews Nesfield (1793-1881) to lay out a formal garden. One of Nesfield's plans for a parterre and rosarium, signed and dated 1847, has survived; this shows that the southern part of the gardens survives almost unchanged today (2001). In the C20 the estate was sold into divided private ownership.
DESCRIPTION
LOCATION, AREA, BOUNDARIES, LANDFORM, SETTING Oxen Hoath occupies a rural location c 7km north-east of Tonbridge and c 15km south-west of Maidstone. The c 110ha site is bounded to the east by farmland, to the south-west by Carpenters Lane, to the west by Oxenhoath Road, and to the north by farmland and woodland where the northern tip of the site meets Gover Hill. The ground falls significantly from north to south, the house standing on the dip-slope of the greensand ridge overlooking the Weald of Kent.
ENTRANCES AND APPROACHES The house can be approached from all the main boundaries. From the north, a drive leads from Gover Hill, past a lodge, down the track of an old avenue, formerly planted with a double row of Cornish elms and terminating with a row of ancient limes, concluding with a gateway flanked by stone gate piers (listed grade II) c 100m north-west of the house. The eastern drive commences at East Lodge, on the corner of Forge Lane and Matthews Lane c 700m north-east of the house, and runs west between newly planted (late C20) walnuts, replacing a double row of limes lost in the 1987 storm. The present (2001) main approach is from the west, the drive branching off from Oxenhoath Road at the mid C19 West Lodge (listed grade II), c 400m south-west of the house, leading to C18 gate piers (listed grade II) at the commencement of the Cedar Avenue where the latter bends north to meet the north drive before crossing undulating lawn, edged by a bank planted with shrubs and specimen trees and bordered by mature planes and limes, to the west front of the house. From the bend in Cedar Avenue the track of the old south drive descends across the park and the lower flat fields towards Hadlow, ending at the junction of Carpenters Lane and Common Road. The Cedar Avenue is flanked by a series of iron gates of a variety of dates and provenance. The elaborate wrought-iron gates and overthrow (listed grade II) to the main entrance leading to the west front are said to have been bought in the late C18 by Sir William Geary from the pre-fire Palace of Westminster.
PRINCIPAL BUILDING Oxen Hoath (listed grade II*) is a large country house built of coursed rubble stone under a hipped slate roof. The three-storey building has central projecting bays on the west front with a central arched doorway and balcony above. The garden front to the south has eight bays with a bay tower on the south-east corner and a one-storey billiard room extension to the east, added by Burn and McVicar Anderson in 1878. The house contains remains of a late C16 building on a site that had been occupied earlier. It was extensively remodelled after 1757 and again in c 1846 by Anthony Salvin.
Some 100m to the south-west of Oxen Hoath stands the Dower House (listed grade II), a red-brick and tile building of C17 origin, possibly part of the outbuildings associated with the early C17 main house.
GARDENS AND PLEASURE GROUNDS The gardens at Oxen Hoath lie to the west and south of the house. The south gardens occupy the site of the early C18 walled enclosures although these had been removed some time before the mid C19 gardens were laid out. Grass terraces lead south down to a formal parterre which retains much of the planting and decoration given it by William Andrews Nesfield in the late 1840s, as well as the original basic design with scrollwork beds outlined with cast-stone kerbing originally set in white gravel and red-brick dust. There are further urns of cast stone on the parterre and adjacent principal paths, and the upper terraces to the east of the parterre support yew topiary. The southern end of the top terrace is extended southwards as a viewing bastion. While the two Yucca gloriosa flanking the main north/south axis of the parterre design have survived, as have the clipped yews, the row of standard rhododendron set in white pebbles which ran along the west and east sides of the main gardens have gone (Hall 1993). The low, stone retaining south wall dividing the gardens from the park continues to the east, separating the formal gardens from the C20 tennis courts and an extension of the pleasure ground, in the south-east corner of which stands a hexagonal thatched summerhouse.
The terrace walk below the south front of the house extends east, up a flight of steps, past a plane tree which appears to pre-date the mid C19 layout of the gardens, to a wrought-iron gate set in an C18 ornamental stone gateway (listed grade II) through the eastern wall. Immediately to the east of the house, and north of this cross-walk, was the site of Nesfield's rosarium, largely removed when the billiard room was built in 1878, leaving only Nesfield's bordering terraces and walls.
The walk along the south side of the parterre continues westwards between mature plane and lime, forming a link with the Dower House, the Cedar Avenue, and the avenue to the kitchen garden beyond. Flanking this south walk is a short formal avenue of juniper and round-headed clipped yews, surrounded by informally planted specimen trees and shrubs. The gates (listed grade II) to the south of the Dower House, leading from the south garden, are reputed to have come from Eltham Palace (qv) and are of late C17 or early C18 date.
On the west side of the Cedar Avenue the path, ornamented with round-headed clipped standard Portugal laurels and recently planted with Irish pyramid juniper, continues on a stone causeway to the cast-iron gate, the 'Auvergne Gate'. It bears the monogram of Sir William Geary, and was brought from France in the 1920s to be hung within an ornamental surround at the entrance to the kitchen garden. Through the gate is a stone-walled enclosure, laid out as a flower garden which is divided off from the main walled area. To the north of the stone causeway walk lies the Dell Garden, planted up as an informal pleasure ground in the C19. To the west of the entrance to the Dell Garden is a further wrought-iron gateway (listed grade II) of mixed origin.
In the Badeslade engraving of 1719 (Badeslade 1750s) the area below the west front, now (2001) occupied by lawns and shrubs, is shown as two walled gardens. A stone table top, dated 1724, which stands on a knoll seems to be a relic from the banqueting house illustrated by Badeslade. The table top bears a Latin inscription which, translated, reads: 'For wine sometimes, for friendship always'. A gate through a balustraded wall along the south side of the west front provides access to the main formal gardens below the south front.
PARK The park lies to the north, east, and south of the house, the major area being that to the south, stretching down as far as Carpenters Lane. Forming part of the view from the south front is the serpentine lake, located c 300m south of the house, which runs from west to east across the centre of the south park and is crossed in the centre by a stone bridge. The lake was formed from an existing oval-shaped canal shown on a plan of 1750, enlarged at some point during the later C18, and the house is designed to make full use of the views. The great gothic folly of Hadlow Tower forms an eyecatcher in the distant rural landscape.
KITCHEN GARDEN The brick-walled C18 kitchen garden lies c 300m south-west of the house. It has a central pool and whitewash on the walls indicates the position of glass ranges, only a small portion of which survive. The main orchard area is outside the wall to the south.
The St. Marks Light is the second-oldest light station in Florida. It is located on the east side of the mouth of the St. Marks River, on Apalachee Bay.
In the 1820s, the town of St. Marks, Florida was considered an important port of entry. The town served as a port for the prosperous planting region of Middle Florida and some counties of South Georgia. Growers hauled their agricultural products down to the port town in wagons by way of an early road which connected the then territorial capital of Tallahassee to the town of St. Marks. Later, this road would be widened and improved upon by the Tallahassee Railroad Company and would become the state's first railroad.
Once the agricultural products reached the new port town, they were loaded aboard boats for shipment to New Orleans and/or St. Augustine. There were, however, problems in navigating both the Apalachee Bay and the St. Marks River. In many places both bay and river were shallow, and it was not too uncommon for boats to run aground and/or get mired in the muddy shallows
After a survey was completed of the St. Marks area by Robert Mitchell, the Collector of Customs at Pensacola, and a site chosen for the lighthouse, it was discovered that the initial construction sum of $6,000 would be insufficient. The appropriation was increased to $14,000, and by mid-1829 a contract was signed with Winslow Lewis of Boston for the construction of a tower in the St. Marks area for $11,765. The finished product was not accepted by the Collector of Customs for St. Marks, Mr. Jesse H. Williams, because it had been constructed with hollow walls. Williams felt that the tower should be constructed with solid walls and, therefore, refused to accept the work.
Calvin Knowlton was brought in to rebuild the tower. He oversaw its completion, and in 1831, Williams, satisfied that the light was built according to the contract, accepted the work. That same year saw the tower's whale-oil lamps lit for the first time by Samuel Crosby, who had been appointed the first Keeper of the St. Marks Lighthouse the previous year.
The lighthouse was automated by the United States Coast Guard in 1960, and in 2000 the Coast Guard spent $150,000 in 2000 to stabilize the lighthouse. In 2000 or 2001 the lighthouse's fourth-order Fresnel lens was deactivated and a modern solar-powered beacon was placed outside the lantern room. The historic Fresnel lens remained in place in the tower for over a decade. In July 2005, Hurricane Dennis broke a window of the lantern, flooding the inside of the tower.
In October 2013 the Coast Guard deactivated transferred ownership of the lighthouse to the United States Fish and Wildlife Service, which operates the St. Marks National Wildlife Refuge. The lighthouse was deactivated in 2016 and the Coast Guard's solar beacon was removed. Financial grants from the Florida Department of State and Duke Energy in 2016, plus crowdfunded donations, were put towards repairs and restoration. On October 31, 2019, a replica of the original fourth-order Fresnel lens was lit in the tower. The light is now maintained as a private aid to navigation and is lit seasonally.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/St._Marks_Light
© All Rights Reserved - you may not use this image in any form without my prior permission.
Under new ownership which saw an expansion into local bus operation, Hoggans of Swansea operated this Plaxton Verde-bodied Volvo B10B originally from a batch of half a dozen new to Nottingham City Transport.
This shot from July 2008 shows her leaving Victoria Gardens in Neath when operating Service 222 to Pontardawe, which was in competition with First Cymru.
She and similar M605 UTV passed to South Wales Transport in 2009, and in 2012 she was sold to a County Galway operator who retained the green and white livery and re-registered her 96-G-16814.
Home ownership, for better or worse, is a key part of the American culture. With every foreclosure on a house the American dream passes by the masses, a little bit more...
Drive-by shot in Benton Harbor, Michigan. Vivitar Ultra Wide and Slim with Kodak EBX 100 XPRO (cropped). (Explore)
Apparently, Blondie has taken ownership of this easy chair! She's chosen this spot to just kick back and chill. Until the cat runs by, then chaos theory applies and everything's a go-go!
;-)))
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© CPMcGann. All rights reserved. If you are interested in using my images, please contact me first.
LEGAL NOTICE © protected work • All Rights reserved © B. Egger photographer retains ownership and all copyrights in this work.
No use of this image is allowed without photographer’s express prior permission and subject to compensation • no work-for-hire
► licence | please contact me before to obtain prior a license and to buy the rights to use and publish this photo. A licensing usage agreed upon with Bernard Egger is the only usage granted. more..
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classic sports cars | vintage motorcycles | Oldtimer Grand Prix
Mille Miglia | Ennstal-Classic ☆ motorsport legends & passion
event | 2005 ENNSTAL-CLASSIC, Styria 💚 AT
📷 | Alfa Romeo GTA 1300 Junior :: rumoto image # GP05153
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Alfa Romeo GTA 1300 Junior Registro Italiano, Club Italia
The power of 170 HP from a 1.3-litres normally aspirated engine is the result of top level engineering by the standards of the 70s; this also explains why the incredible "GTA 1300 Junior" won the title in the European Touring Car Championship in 1971 and 1972, being brought to the race with the Autodelta colours, the racing department of Alfa Romeo. This model is an evolution of the original "GTA" of 1965, equipped with a 1.6 litre engine, and has kept the aluminium body, with the later addition of flared wheel arches. One of the most successful drivers who have interpreted the "1300 Junior" in the best possible way was undoubtedly Toine Hezemans, "The Flying Dutchman".
Engine: 4 cylinders in line, 1290 cc, twin shaft, dual ignition, direct injection
Power: 170 HP at 8200 rpm
Top speed: 220 km/h
Bodywork: Bertone
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Neill Bruce, Colin McMaster, Ian Dawson, Берни Эггер, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, Andrew Morland, F. Naef, Peter Roberts,
This substantial, two-storeyed brick residence was erected in 1902-03 for John Lamb, co-proprietor of the successful Queen Street drapery establishment of Edwards & Lamb, and a businessman with enlightened attitudes toward his employees. Named ‘Home’, (also known as Lamb House) the house has remained in the sole ownership of the Lamb family since its construction. Designed by eminent architect Alexander B Wilson, the residence embraced the Federation Queen Anne style and is recognised as one of Wilson’s greatest domestic works.
Kangaroo Point, originally part of the land of the Jagera and Turrbul people, was one of the earliest localities used for colonial purposes following the establishment of the Moreton Bay Penal Settlement. The Kangaroo Point Cliffs were quarried for their Brisbane tuff, used in building works for the colony, and the area was farmed from 1837. Following the opening of the colony for free settlement in the 1840s, land along the peninsula was offered for sale. Industry and shipping was established along the river front, with modest working-class dwellings dotting the lower-lying areas. By the 1850s, the higher land at Kangaroo Point was attracting wealthy residents who erected substantial homes overlooking the Brisbane River.
The highest part of Kangaroo Point was River Terrace, running atop the Kangaroo Point Cliffs. By 1875 the terrace was recognised as ‘beauteous… with its unrivalled coup d’oeil of the great city’, and recommended to visitors for sightseeing. Subdivisions along the east side of the terrace were offered for sale from the 1850s, but the western side was reserved for public purposes, providing a dramatic clifftop promenade between the Kangaroo Point State School and St Mary’s church, at the Main Street intersection, and Leopard Street, a continuation of River Terrace.
By the turn of the 20th century Kangaroo Point was a highly appealing residential area, both for its quiet, leafy nature and for its proximity to the city, with ferry and bus services linking the area to the central business district. In 1901, a parcel of eight undeveloped subdivisions on Leopard and Wild streets, at the highest elevation overlooking the Gardens Point, were sold by the mortgagee. The subdivisions surrounded an older residence, ‘Rockfield’, built on the corner of Leopard and Wild streets, circa 1890, for Captain Daniel McGregor. The undeveloped sites had first been offered for sale in October 1852 and granted to John McCabe in 1855. They were transferred to land agent GT Lang in 1882, before they were purchased in August 1901 by John Lamb.
English-born John Lamb and his business partner to-be Thomas Edwards arrived in Australia on the ship Cuzco in 1881. After settling briefly in New South Wales, they established a drapery and clothier business in Brisbane’s premier shopping district, Queen Street, in 1884. Edwards and Lamb was one of a number of locally-established drapery firms opened between the 1860s and 1890s, which were the forerunners of Brisbane’s major department stores. By 1888, Edwards and Lamb had made ‘such rapid strides that… it is one of the representative mercantile house of the kind in the colony.’ The firm openly supported workers’ rights, and was actively engaged in the Early Closing Association movement, which campaigned for shorter working hours for retail workers. The movement’s first chair and secretary were both recruited from Edwards and Lamb, and in the 1890s the firm employed Frank McDonnell as a manager-cum-union organiser until McDonnell’s elevation to Queensland Parliament in 1896. This was quickly followed by the passage of the Factories and Shops Act 1896, and the introduction of early closing in its 1900 replacement. McDonnell credited Edwards and Lamb for his success.
Following the death of Thomas Edwards in 1897, John Lamb purchased Edwards’ share in the business, and continued it on his own. In 1899, Lamb married Sarah Jeane Stephens in Maryborough, and by 1901 the couple had two children, with a third due in 1902. With his family growing, and his business on firm footing, Lamb purchased the Kangaroo Point sites and moved into temporary accommodation in Leopard Street, pending the construction of a new family residence.
Lamb’s timing coincided with a period of steady residential growth in Brisbane. The city had suffered in the 1890s from the combined effects of an economic depression and extensive flooding, and commissions for substantial houses had fallen off. By 1900, the economy was recovering, and businessmen and retailers engaged Brisbane’s prominent architects to design a number of large residences in the inner-city and suburban areas, from Waterton, at Chelmer, circa 1900, for insurance agent Thomas Beevor Steele (architect unknown) (QHR 602340); Drysllwyn, in Auchenflower, c1905, by architect Claude William Chambers, for mining entrepreneur William Davies (QHR 600051); Endrim, at Toowong, 1906, by unknown architect, for tram company director JS Badger (QHR 650071); Turrawan, at Clayfield, 1906, by Hall and Dods, for doctor Arthur Halford (combined surgery/house)(QHR 602452); Cremorne, at Hamilton, circa 1906, by Eaton and Bates, for publican James O'Connor (QHR 600218); Feniton, at New Farm, 1906, by RS Dods, for the Trude family (QHR 650078); to Weemalla, at Corinda, 1909, by RS Dods, for insurance company manager RM Steele (QHR 602820).
Lamb engaged architect Alexander Brown Wilson to design his new Kangaroo Point house. Wilson was by then a well-established Brisbane architect, having commenced work with the Queensland Public Works Department in 1875 at the age of 16. From 1882 he was employed as architect FDG Stanley’s principal draftsman, before beginning his architectural training in Brisbane and Europe. He became the first Queensland-trained associate of the Royal Institute of British Architects, returning to Brisbane to open his own architectural practice in 1884. He also helped found the Queensland Institute of Architects in 1888, and served four terms as its president. Wilson’s practice quickly developed into a substantial firm, particularly renowned for its church and domestic designs. Prominent examples of Wilson’s domestic work survive in Brisbane, including Leckhampton (1890, QHR 600246), Kinauld (1888, QHR 600225) and Como (1890, QHR 601474), but his most recognised domestic work was his design for John Lamb.
In designing Lamb’s house, Wilson put his personal interpretation on the Queen Anne style. Imported from Britain and the United States, Federation ‘Queen Anne’ was the dominant style in Australian domestic architecture for substantial houses at the turn of the 20th century. Popularised by the influential British architect Richard Norman Shaw, who in the 1870s began designing country houses in an eclectic style combining elements from many periods of traditional English rural building, the style was labelled ‘Queen Anne’ after it became popular in America. In Australia, the style was characterised by: red facebrick walls, often with contrasting white painted ornamentation or timber joinery; complex roof forms with towers and multiple gables; Tudor-style half-timber panelling in gable ends; tall brick chimneys; terracotta detailing; and picturesque asymmetry. Roofs were often French Marseilles tile with a detailed ridge or apex. Verandahs featured ornamental posts, brackets, balustrades and valances. Patterns in leadlight windows, doors and fanlights tended to echo the free curves found in nature as the influence of Art Nouveau on the Queen Anne design became increasingly apparent after the 1900s. Although not as popular or extensively used as in Victoria and New South Wales, the Federation Queen Anne style spread to Queensland and was incorporated into designs from the 1890s until the 1940s. In Queensland the style was often applied to traditional timber houses, influencing their roof forms, timber verandah detailing and other ornamentation.
Notable Queen Anne features of the Lamb residence include its red brick composition, terracotta shingle tiles, chimney post, turned timber posts, gables of suggested half-timbering and Classical motifs on the three-storey tower.
Wilson drew plans for Lamb’s house, and a specification was detailed in September 1901. Wilson’s design for the residence set out a ground and first floor, with a protruding observation tower. It was of brick construction, with a tiled roof featuring half-timbered detailing to gable-ends; and a concrete-finished entrance porch aligned vertically with the observation tower. The front door, accessed by the porch, led to the central staircase via a vestibule, which had a lavatory to one side. On the river (northern) side of the residence was an eastern drawing room and connected western dining room that both featured fireplaces, architraves, large windows, skirting boards and ‘wainscoting’ (dado panelling). On the southern side of the residence was a morning (breakfast) room to the east, which opened onto the front verandah; with the kitchen, scullery and connected service wing to the west. Upstairs, there were six bedrooms, each of a different size; a small housemaid’s store and press; and a bathroom behind the central staircase. An additional stair climbed the observation tower, which had a viewing platform in response to the house’s prominent position atop the Kangaroo Point Cliffs. Externally, there were two water tanks, a service wing, including a washhouse with fuel store and earth closet, and a full-sized tennis court (56 x 17m).[14] Early photographs from the Leopard Street entrance driveway show various concrete render mouldings, including the residence’s name, Home, above the pediment to the entrance porch; and iron entrance gates set within a front fence with polychromatic brickwork and concrete capping.
The specifications also clearly distinguished between the primary and other rooms, requiring cedar and ‘fancy wood’ of a wider profile for timber joinery in the public rooms (including drawing, dining and morning rooms, staircase, vestibule and lavatory) and four principal bedrooms; with pine in the two back bedrooms and kitchen. Pressed metal ceilings and / or ceiling roses were to be located in public rooms and principal bedrooms, with leadlight glazing specified for use in a skylight, the front door, vestibule door, cloak-room (potentially describing the lavatory) window, small windows to dining room fireplace, bathroom windows, some verandah doors, and fanlights over dining room and drawing room windows. The drawing room and main bedroom featured bay windows.
Wilson called for tenders for the brick villa in March 1902. The house was constructed over a twelve month period by builder William Anthony at a contract price of £3,250. Work was underway by June 1902, when the ‘fine two-storied residence… commanding a beautiful prospect’ was described in the Brisbane Courier as the main work occupying Wilson’s ‘architectural skill’.
The eight subdivisions provided a generous 3133m2 site for the house and its features. The house was positioned near the back of the site, taking advantage of the extensive views, with a driveway from Leopard Street curving around the tennis court. The Leopard Street frontage was lined by a polychromatic brick wall and ornate driveway gates, also designed by Wilson. Fig trees were planted along the Leopard Street frontage to the property, with additional trees and gardens along the northern boundary, the tennis court fence and the circular driveway, which terminated in front of the house. A service entrance ran from Wild Street to the kitchen and service wing.
The Lamb family house was completed by April 1903, when Mrs Lamb advertised for a general servant from ‘Home, River terrace’. The youngest of the Lambs’ four children was born in 1905; by 1910, Mrs Lamb, with two servants and a children’s nursemaid, advertised for additional help.
The attraction of Kangaroo Point as a quiet but centrally located suburb for the well-to-do continued well into the 1920s. Its reputation as a leafy garden suburb was enhanced in the 1910s when River Terrace was planted with a line of fig trees and garden beds, improving the clifftop promenade. A photograph taken of the River Terrace promenade in 1919 displayed both the vegetation improvements and the view, which terminated in Home and its neighbouring house, Edgecliffe. In 1928 the suburb was recognised as one of the ‘garden suburbs of Brisbane’, with ‘handsome residences, well-kept gardens, wide-streets, and tree-lined avenues.’ From the 1930s, however, houses along the peninsula (including a number of historic homes) were removed for the construction of the Story Bridge (1940) [QHR 600240], and the suburb became increasingly busy.
Few changes appear to have been made to Home after its construction. Architect Wilson undertook minor repairs to the property in 1911, and a brick garage was added at the Wild Street boundary by 1925, with the circular driveway removed and extended to the garage. A pavilion was later added to the tennis court (extant by 1942). The trees, which had become substantial by the 1940s, were cut back in the late 1950s or early 1960s.
John Lamb senior died in 1920, passing the Edwards and Lamb business to his two sons, John and Frank, and the house to his widow, Sarah. Home was mortgaged in 1922 for the sum of £8,000. Three of the Lamb children did not marry, and continued to reside in the large family residence. Both sons worked for the retail firm, while Sarah and her daughters hosted a number of social and fundraising events at the house in the 1920s and 30s, particularly in aid of the nearby St Mary’s Anglican Church. The three unmarried children also purchased the neighbouring Rockfield in 1941. Following Sarah’s death in 1956, ownership of Home passed to her daughters, who remained resident at the house.
The Lamb family business – known both as Edwards and Lambs and simply Lamb’s – operated successfully into the mid-20th century, as one of the renowned Queensland draperies which dominated the state’s retailing market until the 1950s. From the small Queen Street store, it expanded to a large commercial operation with a mail order business for country customers, and was ‘always assured of patronage, especially from country people, who know they are dealing with a reputable establishment’. Until 1921 it relied on word-of-mouth, rather than advertising, for its business. Edwards and Lambs’ premises were extended in 1932 and 1938, doubling the floor size and improving the layout, until it developed a ‘world-wide reputation’ by 1949. A Victory Farm was established at Holland Park during WWII, changing to flowers after the war to decorate the business premises. The Lamb brothers also continued to operate Edwards and Lamb with attention to the welfare of its employees, providing a superannuation scheme and mutual benefits society; additional Christmas holidays; and an extra week’s pay on the firm’s 60th anniversary. As neither a private nor public company, the business was the responsibility of the Lamb brothers, and after both passed away, the firm was sold to Factors Ltd. The sale coincided with the demise of the Queensland-based retailers in the 1960s, when they were superseded by drive-in suburban shopping centres, and sold to large southern retailers.
Home’s prominent position and striking style have made it a Brisbane landmark. As early as 1906 the ‘fine residence’ was considered worthy of note amongst the ‘suburban beauties’ of Kangaroo Point, and the ‘stately home’ featured as one of Brisbane’s newer homes photographed for the Queenslander in 1927. Home has featured in numerous publications, including Salon, the Architectural Journal of New South Wales; Towards the Dawn; 150 years of Brisbane River Housing; architectural sketches; blog posts and tourism websites; and picture postcards of the city. Visible along two stretches of the Brisbane River, as well as from the Botanic Gardens, Kangaroo Point Cliffs and South Bank, it has attracted the attention of tourists, and the house was dramatically floodlit for the Royal Visit in 1954. In 2010, Home was recognised by the Australian Institute of Architects as a nationally significant work, as an important landmark, the best known residential work of Wilson, and arguably Brisbane’s most distinguished Queen Anne styled mansion.
**Queensland Heritage Register**
Under Drawlane ownership, repainted London Country South West buses gained this attractive livery of two-tone green with a red stripe and the fleetname London & Country. Gone is the C-line branding but I don't suppose the locals missed it. This 1978 Atlantean had a long life, being exported to Montevideo in 1999.
Conisbrough Castle is a medieval fortification in Conisbrough, South Yorkshire, England. The castle was initially built in the 11th century by William de Warenne, the Earl of Surrey, after the Norman conquest of England in 1066. Hamelin Plantagenet, the illegitimate, parvenu brother of Henry II, acquired the property by marriage in the late 12th century. Hamelin and his son William rebuilt the castle in stone, including its prominent 28-metre (92 ft)-high keep. The castle remained in the family line into the 14th century, despite being seized several times by the Crown. The fortification was then given to Edmund of Langley, passing back into royal ownership in 1461.
Conisbrough Castle fell into ruin, its outer wall badly affected by subsidence, and was given to the Carey family in the 16th century. Its derelict state prevented it from involvement in the English Civil War of the 17th century and the remains were bought by the Duke of Leeds in 1737. Sir Walter Scott used the location for his 1819 novel Ivanhoe and by the end of the 19th century the ruins had become a tourist attraction.
The state took over the management of the property in 1950, but by the 1980s the visitor facilities were felt to be unsuitable, leading to a three-way partnership being created between the local council, the state agency English Heritage and a local charitable trust to develop the castle. The keep was re-roofed and re-floored in the 1990s with the help of European Union funding. English Heritage took over control of the castle in 2008 and continues to operate the property as a tourist attraction.
The castle is made up of an inner and an outer bailey, the former surrounded by a stone curtain wall defended by six mural or fortified towers and the castle keep. The inner bailey would have included a hall, solar, chapel and other service buildings of which only the foundations survive. The design of Conisbrough's keep is unique in England, and the historians Oliver Creighton and Stephen Johnson consider it an "architectural gem" and "one of the finest examples of late Norman defensive architecture". The keep comprises a circular central tower with six massive buttresses; its four floors would have included a main chamber and a private chamber for the lord above it. Although militarily weak, the design would have been a powerful symbol of Hamelin Plantagenet's new social status as a major lord.
History
11th – 12th centuries
Conisbrough Castle was founded by William de Warenne, the first Earl of Surrey, who had taken part in the Norman conquest of England in 1066 and was rewarded by his father-in-law, William the Conqueror, with extensive estates in Yorkshire, Norfolk and Sussex.[1] As part of these, Lord de Warenne was given the manor of Conisbrough, which had previously been owned by the late Harold Godwinson.[1] The manor took its name from the Anglo-Saxon name for the settlement, Cyningesburh, meaning "the king's fortress", and formed a large estate comprising 28 townships, centred on an Anglo-Saxon fortified burh at Conisbrough itself.[2]
William built his castle on a rocky Magnesian Limestone spur surrounded by steep banks, and the fortification included a motte, an inner bailey protected by an earth bank and palisades, an outer bailey, and possibly a timber keep.[3] The castle was located around 175 feet (53 m) above the river and would have dominated this part of the Don Valley.[4] It was positioned directly opposite the village, which probably contained the old Anglo-Saxon burh.[5]
The castle was held by William's son, also called William, from 1088 to 1138, and then by his son, another William, until his death in 1147.[6] Conisbrough and the earldom then passed through Isabel, William's daughter, to her first husband, William de Blois, and then on to her second husband, Hamelin Plantagenet, whom she married in 1163.[7] Hamelin was the illegitimate half-brother of King Henry II, who had arranged the marriage, and the union brought him great wealth.[8] Hamelin extensively rebuilt the castle around 1180 to 1190, including constructing the stone keep; given his parvenu status, he probably hoped to reinforce perceptions of his new elevated rank.[9] King John visited the castle in 1201.[10]
13th – 15th centuries
The castle continued in the ownership of Hamelin Plantagenet's family, passing to his son William de Warenne in 1202.[10] William was probably responsible for the construction of new stone curtain walls around the inner bailey, destroying the former earthwork defences in the process.[11] The inner bailey was levelled and William built a hall and service buildings inside the castle, again in stone.[12] Conisbrough was inherited by William's young son John de Warenne in 1239, but he was still a minor and the castle was initially managed by his mother, Maud.[13]
Under John, Conisbrough's constables carried out a range of what the historian Stephen Johnson terms "colourful if rather unlawful dealings"; one was ultimately charged with having conducted "devilish and innumerable oppressions".[10] Further work was carried out in the castle during John's ownership, including modernising the castle hall and solar.[14]
The castle passed to John's grandson, also called John, who, in 1304, married Joan de Barr.[10] The marriage broke down but John's attempts to gain a divorce in 1316 failed in the law courts.[10] John blamed Thomas, the Earl of Lancaster, for this and in response he kidnapped Thomas' wife; Thomas then retaliated by seizing Conisbrough Castle.[10] Edward II intervened in the dispute and confirmed Thomas as the new owner of the castle.[10] In 1322, however, Thomas rebelled against the King and was executed, resulting in Edward taking control of Conisbrough himself.[10] The King visited the castle in 1322, and spent 40 marks on repairing both Conisbrough and the neighbouring castle of Pontefract.[10][a] Edward was overthrown by his wife Isabella in 1326 and the castle was returned to John.[10] John had hoped to pass the property to his mistress and two illegitimate sons, but he outlived them and on his death in 1347 it reverted to the control of the Crown.[10]
Edward III gave the castle to his own son, Edmund of Langley, the Duke of York, who controlled it until 1402.[10] Edmund's eldest son, Edward, owned it until 1415, when it passed to Maud Clifford, the widow of Edmund's younger son Richard, who lived there until 1446.[16] Richard of York then inherited the castle, and on his death in 1460 during the Wars of the Roses it passed to his son Edward, who seized the throne in 1461, bringing Conisbrough back into Crown ownership once again.[17]
16th – 19th centuries
By the 16th century Conisbrough Castle was in a poor state of repair, and a royal survey carried out in 1537 and 1538 showed that the gates, bridge and parts of the walls had collapsed in a spectacular land slippage, and that one floor of the keep had also fallen in.[18] The collapse of the walls was a consequence of the instability of the topsoil on top of the limestone spur, which was a mixture of clay and sandstone; once the clay was washed away over time, the remaining sandstone proved extremely unstable and liable to crack.[19]
Henry VIII gave the ruins to the Carey family, who retained it until it passed by marriage into first the Heviningham and then the Coke families.[20] The castle was not involved in the events of the English Civil War in the 17th century, and escaped the slighting that affected many similar properties, probably because the collapse of the outer walls had already made it indefensible and of little military value.[17] In 1737, after the death of Edward Coke, the castle and the surrounding manor were bought by Thomas Osborne, the Duke of Leeds, for £22,500.[21][b]
In 1811 the novelist Sir Walter Scott passed by the castle and later used it as the location for his novel Ivanhoe, published in 1819.[23] Scott only had a partial view of the property from the road and the events portrayed in the novel, set at the end of the 12th century, are fictitious; Scott believed the castle to have been Saxon in origin, a view shared by many 19th-century commentators.[24] Although the writer John Wainwright was still able to praise the "picturesque view" around the castle in 1826, the antiquarian Ecroyd Smith commented with concern in 1887 on the changing character of the location, in particular the factories that were growing up around the new railway line and the "murky atmosphere" the industrial works created.[25]
In 1859 Francis D'Arcy-Osborne, the Duke of Leeds, died, leaving Conisbrough to his nephew, Sackville Lane-Fox, the Baron Conyers.[21] The keep remained in good condition, but by 1884 it was apparent that repairs were needed and the antiquarian George Clark recommended urgent work to repair the stonework.[26] If finances allowed it, he also urged the reinstallation of a roof and wooden floors.[26] Limited repairs were subsequently approved by the trustees of Lord Conyers, although Clark's colleague, A. Ellis, expressed concerns that railings to protect the visitors who routinely climbed to the top of the keep had not been funded.[27] A reported £500 was spent by the trustees renovating the castle ruins, including the construction of a lodge in the outer bailey for the castle keeper, completed in 1885, and improvements to the footpaths.[28][c]
20th – 21st centuries
Conisbrough Castle was bought by the Conisbrough local council in the 1940s, who placed the castle into the guardianship of the Ministry of Public Works in 1949, but retained the freehold ownership of the land.[29] Two sets of archaeological excavations were carried out on the site between 1967 and 1969, exposing the foundations of the buildings in the inner bailey, and then from 1973 to 1977, examining options for future visitor facilities.[30] By 1984, when the government agency English Heritage took over the management of the property, the condition of the visitor services was unsatisfactory and the industrial character of the surrounding area was discouraging tourists.[29]
In response, English Heritage and Doncaster Metropolitan Borough Council formed a three-way agreement in 1988 with the Ivanhoe Trust, a local charity designed to generate new employment in the region.[29] Under this agreement the trust would manage the site, English Heritage would maintain the historic fabric of the castle, while the council would construct a new visitors' centre.[31] A new, controversial visitor's centre was built in the style of a collection of jousting tents, while the floors and roof of the keep were reinstalled between 1993 and 1995 with European Union funding, in an attempt to limit the erosion of the castle stonework.[32]
Visitor numbers following the investments fell far short of expectations, however, and by 2006 had settled at around 30,000 each year, only slightly above the level in the early 1980s.[33] The external facilities did not age well and funding shortages led to the new audio-visual effects in the keep being turned off to save money.[34] Discussions between the three partners about the future of the castle took place, but relations broke down and English Heritage resumed the direct management of the castle in 2008.[35]
The castle was closed for a £1.1 million programme of renovations in 2013, funded by the Heritage Lottery Fund, as part of which a new visitors' centre and visitor facilities were constructed.[36] The castle is protected under UK law as a Grade I listed building and as a Scheduled Ancient Monument.[37]
Architecture
Inner and outer baileys
Conisbrough Castle has an outer and an inner bailey, approximately 260 by 120 feet (79 by 37 m) and 290 by 205 feet (88 by 62 m) across respectively.[38] The castle was entered through the outer bailey, a rectangular enclosure protected by earthworks, which would have contained the castle's barns, stables, and other service facilities.[39] A drawbridge on the northern side of the outer bailey, now replaced by an earth causeway, linked it with the inner bailey.[39]
The oval inner bailey was formed by scarping and counter-scarping the natural contours of the hill, producing a bank, now largely destroyed, and a protective ditch.[39] The early 13th-century curtain wall is mostly of roughly dressed, coursed stone, up to 7 feet (2.1 m) thick and 35 feet (11 m) high, with two sections repaired with ashlar facings.[40] The wall was defended by six mural towers along its southern and western sides, of which three still survive reasonably intact, and strengthened with pilaster buttresses along the northern edge.[40] The bases of the walls and the towers were splayed, spreading their weight out more broadly, but their footings are only 0.6 metres (2 ft 0 in) deep in places.[41] A barbican protected the link from the drawbridge to the gatehouse of the inner bailey, complete with an additional corner turret.[42] The remains of the collapse of the curtain wall are still visible in the ditch.[43]
Various buildings were constructed along the inside of the inner bailey wall of similar rough stonework to the curtain wall, but only their foundations remain today.[44] In the south-west corner was the solar block, containing the solar and various chambers.[45] Along the north side was the hall, pushed into an awkward corner of the curtain wall, 70 by 30 feet (21.3 by 9.1 m) in size and originally probably built two storeys high.[44] Initially constructed with a central hearth, a fireplace was added into the outer wall in the later 13th century.[46] Alongside the hall were a kitchen and pantry, the former with a cellar.[44] On the south-east side of the inner bailey was the castle chapel, 20 by 40 feet (6.1 by 12.2 m) across.[47]
Keep
Conisbrough's keep was positioned on the north-east side of the inner bailey.[48] It is an important medieval survival: the historian Sidney Toy considered it to be "one of the finest keeps in England", the archaeologist Oliver Creighton describes it as an "architectural gem" and Stephen Johnson as "one of the finest examples of late Norman defensive architecture".[49]
The keep comprises a central circular tower, 62 feet (19 m) in diameter, with six, large solid buttresses projecting outwards to form an hexagonal design, unique in England.[48] It was made from magnesian limestone and 28 metres (92 ft) tall with walls up to 15 feet (4.6 m) thick in places.[50] It has four floors: a ground floor that serves as a basement and a vaulted stone support for the chamber above; the first floor, through which the keep was accessed; two upper floors and a roof walk, which was probably covered by a pentice and defended by battlements.[50]
The current concrete stairs to the keep are modern, and the original medieval stairway, made from timber and stone, would have incorporated a drawbridge just before the castle doors.[51] The basement contained a well, which could also be drawn from the 1st floor through a hole in the stone floor.[52]
The keep was designed as a private tower for Hamelin Plantagenet, rather than a grander residence.[53] As a result, it was not designed to accommodate several different households and its layout was simpler than that seen at the contemporary keep of Orford Castle, for example.[53] The 2nd and the 3rd floor would have served as the main chamber and the lord's private chamber, forming a vertical sequence of rooms, with a vaulted, hexagonal chapel leading off the private chamber, cut into one of the buttresses.[54]
Most of the castle would have been very dark due to the lack of natural light.[52] The main chamber, however, had a large window, 1 foot 10 inches (0.56 m) by 4 feet 8 inches (1.42 m), with deep recesses to allow for the thickness of the walls; two carved seats sat alongside the window.[55] A similar window was placed above it in the private chamber.[56] The keep had relatively advanced fireplaces and flues for this period, the fireplace in the main chamber being exceptionally large and decorated with stone columns and carved capitals.[57]
Conisbrough Castle was probably similar to two other castles owned by the Warren earls. Hamelin Plantagenet was also responsible for the development of Mortemer Castle in France, where a similar keep was built on top of a motte, and Conisbrough might also have had resemblances to Sandal Castle in the north of England, also owned by the earls.[58] The design of the keep was poor from a military perspective. The central circular tower provided defensive advantages but the buttresses introduced 12 vulnerable corners into the stonework, and the keep itself had no arrow slots to permit the defenders to fire on any attackers.[59] Rather than being designed primarily for military defence, it was constructed to symbolise and reinforce Hamelin's lordship and new social status.[60]
en.wikipedia.org/wiki/Conisbrough_Castle
www.english-heritage.org.uk/visit/places/conisbrough-castle/
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If a photographer can’t feel what he is looking at, then he is never going to get others to feel anything when they look at his pictures.
1995 Vauxhall Corsa 1.2 Merit 3-door.
Supplied by Paragon Garage of Wisbech (Vauxhall).
In present ownership since October 1998.
Do not hate the stink bug. This looks like the most hated of stink bug, the brown-marmorated one. But yet, it more certainly our native Dusky Stink Bug (Euschistus tristigmus) (hmm, what do I mean by "our", it implies ownership, yet do we really own wild things?). Anyway, another plant sucker. Check out the sharp-shoulders. Think about plants, they can't move, they appear to be completely defenseless to anything that wants to eat them up, sip their fluids, burrow in or other wise use in unfriendly ways. Just think if you were chained to a tree...how long would you last? (probably not a good analogy, but an intriguing thought exercise in any case, it is Sunday morning after all, time for introspection). Photo by Jade Louis. . ~~~~~~~~~~{{{{{{0}}}}}}~~~~~~~~~~
All photographs are public domain, feel free to download and use as you wish.
Photography Information:
Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
We Are Made One with What We Touch and See
We are resolved into the supreme air,
We are made one with what we touch and see,
With our heart's blood each crimson sun is fair,
With our young lives each spring impassioned tree
Flames into green, the wildest beasts that range
The moor our kinsmen are, all life is one, and all is change.
- Oscar Wilde
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Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Best over all technical resource for photo stacking:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World:
www.amazon.com/Bees-Up-Close-Pollinators-Around-World/dp/...
Free Field Guide to Bee Genera of Maryland:
bio2.elmira.edu/fieldbio/beesofmarylandbookversion1.pdf
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
Bees of Maryland Organized by Taxa with information on each Genus
www.flickr.com/photos/usgsbiml/collections
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
This brand new, at the time, Scania was a demonstrator for Scania UK. It is seen here outside the former East Lancashire Coachbuilders factory, Whitebirk Industrial Estate, Whitebirk Drive, Blackburn, at a rally and open-day on 02/07/2006. I seem to think there had been a road run from Whinfields, Haslingden, but whether this was on the 'run' I'm unsure. Tours of the factory were also available. This Scania would later work for Centrebus(709), Leicester, and then on the Luton - Dunstable busway. It was re-registered K6YCL. That registration was new on a Northern Counties bodied Leyland Olympian ON2R50C13Z4 to Yorkshire Coastliner(406), in 09/1992. I have a photo a little further back of sister K5YCL, by now in Stagecoach Yorkshire ownership, at this event!
East Lancashire Coachbuilders were founded in Blackburn in 1934 however the company went into administration for a short while in 08/2007, before being bought by Darwen Group and performed a complicated reverse takeover with Optare when its parent purchased the company in 2008. This site and business was later closed in 2012.
The camera being a Pentax MZ-M with the film being a Fujichrome Colourslide.
I would request, as with all my photos, that they are not copied or downloaded in any way, shape or form. © Peter Steel 2006.
Early in Stagecoach's ownership of Hampshire Bus, they transferred in two former SYPTE Leyland DAB bendybuses (I can't remember why, was it for the Winchester to Southampton route? Whatever it was, they didn't last long!). Anyway this is 291 (FHE 291V) in Fareham on a special shuttle service on the occasion of an open day at Provincial's Hoeford depot. Around 1988, I think.
This version of Stagecoach's stripey livery with thicker stripes and no white skirt was by far the best IMO!
In ownership since 2002, so the owner isn't as young as you'd expect. I hesitated before taking this photo, but the 'sidecode 4' license convinced me it's old enough.
File: 2019001-0878
This photograph had been bumped up for the anniversary of my ownership of the Land Rover Freelander.
Silverstone Circuit, near the village of Silverstone, Northamptonshire, England, United Kingdom. Sunday 14th July 2019.
About this photograph.
I had the Land Rover Freelander for just about two years and few months. On Sunday of 14th July 2019, I drove to the Silverstone Circuit, and parked my Freelander at this car parking area on a field outside of the circuit area.
I went to watch the Formula 1 British Grand Prix 2019, race in person and with my own eyes, to experience it for real, smell it, and feel it. Not like watching a live race on television at home, but actually being there.
The main point of why I went there was because I love Formula 1, I wanted to enjoy a real race just for once, and doing the photography was simply a secondary role. I did manage to get as much as about 885 shots.
You may think 885 is not much, but as I said, I wanted to enjoy watching it, rather than doing photography. I wanted my first visit to be about being there to enjoy it, and if I plan to go again, future visits could be about photography first.
You can view my photographs in my album titled Formula 1 British Grand Prix 2019, and can be viewed here: www.flickr.com/photos/132335712@N05/albums/72157715299880376
About the event.
Here’s a quick summary of the race: Valtteri Bottas started on the pole, the two Haas cars collided with each other. Magnussen had a flat tyre and retired (see my photo here: www.flickr.com/photos/132335712@N05/49955865996/in/datepo...)
Giovinazzi spun onto the gravel, which had to bring out the Safety Car. Vettel was handed a 10-seconds penalty for causing a collision with Verstappen. In the end, Lewis Hamilton won his 6th British Grand Prix, and got an extra point for fastest lap.
At the end of the day, as the crowd were leaving, I was on my way back to the car park. As I crossed the footbridge over Dadford Road to the car park on the other side, I spotted my car, and decided to take a quick photo.
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Lamb House is a Grade II listed 18th-century house situated in Rye, East Sussex, England, and in the ownership of the National Trust.
The house is run as a writer's house museum. It was the home of Henry James from 1897 to 1914, and later of E.F. Benson.
Lamb House was built in 1722 by James Lamb, a wealthy wine merchant and local politician. In the winter of 1726 King George I took refuge at the house after his ship was washed ashore at nearby Camber Sands. James Lamb gave up his bedroom for the King, while Mrs Lamb gave birth to a baby boy during the night. The child was named George and the king consented to be the boy's godfather.
A detached Garden Room, with a large bay window overlooking the street, was built at right angles to the house in 1743, and originally served as a banqueting room. Both Henry James and E. F. Benson later used the Garden Room as a base for their writing during the summer months. The Garden Room was destroyed by a German bomb in 1940.
Benson wrote lovingly of both the garden and house, which he renamed "Mallards", in his popular Mapp and Lucia novels.[6] Lamb House is the subject of Joan Aiken's supernatural book The Haunting of Lamb House (1993), comprising three novellas about residents of the house at different times, including James and Benson (both of whom also wrote ghost stories).
Other tenants have included the novelist Rumer Godden, the author and academic A. C. Benson, the author and politician H. Montgomery Hyde, the artist and publisher Sir Brian Batsford, politician William Mabane, 1st Baron Mabane, the literary agent Graham Watson, the actor Dominic Rowan and his family, and the writers John Senior and Sarah Philo.
Rye is a small town and civil parish in the Rother district, in East Sussex, England, two miles from the sea at the confluence of three rivers: the Rother, the Tillingham and the Brede. In medieval times, as an important member of the Cinque Ports confederation, it was at the head of an embayment of the English Channel, and almost entirely surrounded by the sea.
At the 2011 census, Rye had a population of 4,773. Its historical association with the sea has included providing ships for the service of the Crown in time of war, and being involved in smuggling. The notorious Hawkhurst Gang used its ancient inns The Mermaid Inn and The Olde Bell Inn, which are said to be connected to each other by a secret passageway.
Those historic roots and its charm make it a tourist destination, with hotels, guest houses, B&Bs, tea rooms, and restaurants. It has a small fishing fleet, and Rye Harbour has facilities for yachts and other vessels.
-Wikipedia
These are from a garage / collector in my town. They don't get any better this way, I wonder why you would buy cars that you don't maintain... This one is in ownership since 1998.
Trelissick Garden (Cornish: Lowarth Trelesyk) is a garden in the ownership of the National Trust at Feock, near Truro, Cornwall, England, United Kingdom.
Trelissick Garden lies within the Cornwall Area of Outstanding Natural Beauty (AONB). Almost a third of Cornwall has AONB designation, with the same status and protection as a National Park.
The garden has been in the ownership of the National Trust since 1955 when it was donated by Ida Copeland following the death of her son Geoffrey. A stained glass memorial bearing the Copeland Crest remains to this effect in Feock parish church. The house and garden had formerly been owned and developed by the Daniell family, which had made its fortune in the 18th Century Cornish copper mining industry.
Many of the species that flourish in the mild Cornish air, including the rhododendrons and azaleas which are now such a feature of the garden, were planted by the Copelands including hydrangeas, camellias and flowering cherries, and exotics such as the ginkgo and various species of palm. They also ensured that the blossoms they nurtured had a wider, if unknowing audience. Mr Ronald Copeland was chairman and later managing director of his family's business, the Spode china factory. Flowers grown at Trelissick were used as models for those painted on ware produced at the works.
The Copeland family crest, a horse's head, now decorates the weathervane on the turret of the stable block, making a pair with the Gilbert squirrels on the Victorian Gothic water tower, an echo of the family who lived here in the second half of the 19th century (their ancestor, Sir Humphrey Gilbert, was lost at sea in his tiny ship Squirrel after discovering Newfoundland).
The garden is noted for its rare shrubs. It offers a large park, woodland walks, views over the estuary of the River Fal and Falmouth.
Trelissick Garden is the home of the National Plant Collections of photinias and azaras.
(Wikipedia)
Trelissick Garden ist ein Garten in Cornwall mit subtropischem und fernöstlichem Bewuchs. Der Garten liegt in Feock, einem Ortsteil von Truro, ca. 4 Meilen nördlich der Stadt Falmouth oberhalb des Fal River und der Carrick Roads. Seine Fläche beträgt ca. 10 Hektar. Der kornische Name Trelissicks bedeutet Haus des Klanführers.
Im Gegensatz zu den einige Meilen südwestlich liegenden Gärten Trebah und Glendurgan ist Trelissick kein Schluchtgarten, sondern hat den Charakter eines Landschaftsparks. Der Garten besteht aus zwei Teilen, die von einer schmalen Straße durchschnitten werden, die zur Autofähre über den Fal führt. Verbunden werden die beiden Gartenteile durch eine kleine Holzbrücke. Dank des durch den Golfstrom milden kornischen Klimas ist es möglich, in Trelissick neben heimischen Arten eine große Anzahl subtropischer und fernöstlicher Gewächse ganzjährig im Freiland zu kultivieren. So finden sich in Trelissick u. a. Yuccas, Taschentuchbäume und Baumfarn und – für das südliche Cornwall selbstverständlich – Rhododendron. Im späten Frühjahr und Frühsommer leuchtet Trelissick in allen Farben der Rhododendrenblüten. Ein besonderes Schmuckstück ist die chinesische Zeder auf der zentralen Rasenfläche des Gartens. Der „Parsley Garden“, der alte Haus- und Kräutergarten am Eingang des Anwesens, wird ebenfalls noch bewirtschaftet und kann besichtigt werden.
Die englische Porzellanfabrikantin Ida Copeland erbte Trelissick 1937. Zwischen 1937 und 1955 ließ sie den ursprünglichen Landschaftspark umgestalten, so dass der Garten einen mehr subtropischen und fernöstlichen Charakter erhielt. Im Jahr 1955 übertrugen die Copelands Trelissick dem National Trust, der es der Öffentlichkeit zugänglich machte und in den folgenden Jahren die Bepflanzung erweiterte und veränderte. Dabei wurde auch Wert auf eine Bepflanzung mit spät blühenden Rhododendren und Hortensien gelegt, um die Blütezeit zu verlängern.
Trelissick beherbergt die nationale Britische Sammlung von Photinien und Azaras. Ebenfalls befindet sich hier die Porzellansammlung der Familie Copeland („Copeland China Collection“), die besichtigt werden kann.
(Wikipedia)
"Foreign Ownership Ban Prevents Australia Land Sale " by THE ASSOCIATED PRESS via NYT t.co/tX54HNHA7z (via Twitter twitter.com/felipemassone/status/667501524348739584)
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1934 Bugatti Type 51 R Grand Prix '51151' Ennstal-Classic (c) Bernard Egger :: rumoto images 5027 ccx oil
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📷 | Maria Teresa de Filippis R.I.P. :: rumoto images # 3751 II bw
1957 Maserati 250F/V12 - M.T. de Filippis at 2010 Ennstal-Classic
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«If a photographer can’t feel what he is looking at, then he is never going to get others to feel anything when they look at his pictures.»
Maria Teresa de Filippis (born 11 November 1926 in Naples, Italy / † 9.1.2016 Scanzorosciate) was the first of five female Formula One racing drivers in the sport's history. She participated in five World Championship Grands Prix, debuting on 18 May 1958. She scored no championship points. She also participated in several non-Championship Formula One races. The four other women who attempted to start in Formula One were Lella Lombardi, Divina Galica, Desiré Wilson and Giovanna Amati.
en.wikipedia.org/wiki/Maria_Teresa_de_Filippis (en)
de.wikipedia.org/wiki/Maria_Teresa_de_Filippis (de)
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Maria Teresa de Filippis (* 11. November 1926 in Neapel / † 9.1.2016) war eine ehemalige italienische Automobilrennfahrerin.
Sie war die erste Frau, die bei einem Formel-1-Weltmeisterschaftslauf startete, und zwar beim GP von Belgien 1958 auf Maserati. Sie beendete das Rennen als Zehnte. Zuvor hatte sie bereits, ebenfalls auf Maserati, Sportwagenrennen bestritten und erfolglos versucht, sich für den GP von Monaco 1958 zu qualifizieren. Bei zwei weiteren Rennen im gleichen Jahr schied sie jeweils aus.
In der Formel-1-Saison 1959 trat sie zum Großen Preis von Monaco auf Porsche an, für den sie sich allerdings nicht qualifizieren konnte. Nach dem Unfalltod ihres guten Freundes Jean Behra auf der AVUS 1959 beendete sie ihre Karriere.
Die gebürtige Neapolitanerin fuhr 1948 ihr erstes Rennen und gewann auf einem Fiat Topolino auf Anhieb ihre Klasse. Bei ihren ersten Rennen traf sie noch mit dem wohl größten italienischen Rennfahrer aller Zeiten zusammen: mit Tazio Tuvolari.
Zwischen 1949 und 1953 holte sie sich viele Siege in einem Fiat-Giannini Sportwagen. 1954 wurde sie Zweite im Straßenrennen Giro die Sicilia. 1955 wurden ihr von Maserati ein Werkswagen zur Verfügung gestellt. Mit einem A6GCS 2000 belegte sie Rang neun in der Targa Florio und Rang drei in den 10 Stunden von Messina. 1956 sah man Maria Teresa wieder auf Maserati bei der Mille Miglia. Beim 1000 km Rennen von Monza schied sie in ihrer Klasse führend aus, bei den 1000 km von Buenos Aires lag sie auf Rang sieben im Gesamtklassement, als sie einen Unfall hatte.
1958 sorgte sie für eine Sensation. Ehrgeizig und furchtlos wie sie nun mal war, debütierte sie in der Formel 1 auf einem Maserati 250F. Immerhin ein Auto, mit dem Fangio im Jahr davor Weltmeister wurde. Im Grand Prix von Syrakus, auf einer besonders gefährlichen Straßenrennstrecke, wurde sie Fünfte, in Monaco hatte sie Motorschaden, im Grand Prix von Europa, in Spa-Francorchamps, wurde sie Zehnte, in Monza schied sie 12 Runden vor Schluss auf Rang fünf liegend aus.
1959 konnte sie sich in Monaco mit dem Spezial-Porsche von Jean Behra nicht qualifizieren. Im 10 Stunden Rennen von Messina wurde sie auf Maserati Dritte. Als Jean Behra am 1. August 1959 beim Sportwagenrennen auf der Avus tödlich verunglückte, beendete sie ihre Karriere. Die Frau, der von Fangio abwärts ein ganzes Grand Prix-Startfeld den Hof machte, heiratete den gebürtigen Wiener Theo Huschek, mit dem sie heute in Oberitalien lebt. Sie ist nicht nur Ehrenpräsidentin des Clubs der einstigen Grand Prix-Piloten, sondern zusammen mit Theo Herz und Seele dieser elitären Vereinigung, zu deren Gründungsmitgliedern der fünffache Weltmeister Juan Manuel Fangio gehörte.
Scuderia Centro Sud,
motorsports photographers:
Neill Bruce, Colin McMaster, Ian Dawson, Берни Эггерян, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, Andrew Morland, F. Naef, Peter Roberts, Rainer Schlegelmilch,
driver legends, Champions, Fahrer, Legenden,
Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl, rosso, red, rot,
The gardens of the 13th Century Grade II Listed Upton Castle, although in private ownership, the gardens are open to the public. Located near Cosheston, Pembrokeshire in Wales.
The castle stands close to a creek of the Carew River on land held by the Earls of Pembroke. The original holders were the Norman Malefaunt family, in whose hands it remained until the 16th century when it passed to the Bowen family. In the late 18th century, the house and estate was sold to John Tasker, although Nicholas Carlisle described the building in 1811 as "now in ruins". Between 1828 and 1860 there were considerable alterations to the building, including the insertion of a new door and the construction of two large wings. In January 1883 there was a fire at the castle, attended by a fire crew from the 23rd Regiment, Royal Welsh Fusiliers. The owner at the time was Mr H. H. Vaughan. The damage was confined to timbers, walls and chimney-piece.
Management of the gardens, which had been substantially improved in the early 20th century, was taken over by the Pembrokeshire Coast National Park and opened to the public in 1976. However, the park authority later withdrew their funding and since the property changed hands in 2007, the new owners and a team of volunteers have restored and reopened the gardens.
Too small to be described as castle in the strict sense of the word, most sources refer to it as a fortified manor house although its towers are unusually strong in comparison with other examples. The medieval portion of the exterior stands to the north east of the range, which is dominated by three early towers, separated by short sections of curtain wall and surmounted by a plain parapet on corbels. Surviving internal medieval features include two fireplaces, a spiral staircase and a vaulted ceiling.
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59204 still in DB Cargo red livery but now under the ownership of Freightliner passes Hungerford Loop at Kintbury on the Berks and Hants line with the 631F Acton TC to Whately Quarry empties on 28th May 2021
French postcard by Editions F. Nugeron, no. Star 130. Photo: Air France / Distribution VU. Caption: Orson Wells (sic), Septembre 1967.
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals, but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically, and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons, and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut, and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box-office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973) , a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared on his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger.. • collections • sets • # 0377
🏁 | July 9, 2016 ENNSTAL-CLASSIC • Styria 💚 Austria
📷 | 1962 Ferrari 250 GTO 3527GT / 3809GT Laidlaw
→ Register 250 GTO ► serial number 3527GT...
(1962/may/28 - Rolling chassis 3809GT shipped to Scaglietti as allotted for Czasy's order.) 1962/july/30 - Body completed at Scaglietti. 1962/aug/23 - Ferrari renumbered to 3527GT.
Sept. 10, 1962 - Lucien Bianchi, B via Ecurie Francorchamps.
6 GTO - Irvine Laidlaw, MC
Ferrari 250 GTO # 3527GT
1962 gab es kurz zwei verschiedene 250 GTO mit # 3527GT. Dies führt häufig zu Verwechslungen.
Zu dem abgebildeten 250 GTO "6 GTO" von Lord Irvine Laidlaw wird z.B. in diversen f Gruppen und auch im Programmheft der Ennstal-Classic 2014, Seite 49 fälschlich berichtet:
falsch: ["Erstbesitzer von Laidlaws Ferrari GTO mit Chassis # 3527 war der Wiener Juwelier Gotfried Köchert..."]
richtig:
Der Köchert-Wagen -- # 3527(1) -- 22. Mai 1962 an Gotfrid Koechert, Wien, A "MO 76800" wurde bereits im Juli 1962 wieder nach Maranello zurück verkauft und bei FERRARI auf serial number 3809GT umbenannt. Er ging am 10. Juli 1962 als 3809GT an Kalman von Czazy, Zuerich, Freie Straße 159, CH - "MO 78595".
Bei Laidlaws GTO -- # 3527(2) -- handelt es sich um einen anderen 250 GTO (ehemals 3809), der erst 2 Monate später, am 10. September 1962 ausgeliefert wurde und mit dem von Köchert nichts zu tun hat.
...der in der Tour de France Siebter wurde, nachdem er in Führung liegend mit einem Lastwagen kollidierte.
Bianchi/Mairesse wurden dann Fünfte im 1000 Kilometer-Rennen von Montlhéry, und Bianchi gewann den Grand Prix von Angola. Danach wurde # 3527GT (2) an die Scuderia Filipinetti verkauft. Der Schweizer Banker Armand Boller kaufte den GTO 1963 und startete damit bei Bergrennen. 1965 wurde der Wagen bei Graber in der Schweiz mit einem Leder-Interieur versehen. Von 1966 bis 1972 war der GTO im Besitz von Sir Anthony Bamford, der an den VW-Händler Don Nelson verkaufte, der nächste Besitzer im Jahre 1984 hieß Stephen Pilkington, der das Auto 20 Jahre besaß, bevor es im Jahre 2005 an Irvine Laidlaw verkauft wurde.
Bei den besten Firmen des Restaurations-Business, die es in England gibt, wurde Laidlaws GTO in 2450 Arbeitsstunden auf das höchste Niveau restauriert.
Mit dem GTO gewann Ferrari die GT-WM in den Jahren 1962/63/64.
Heute gilt ein GTO, von dem nur 39 Exemplare gebaut wurden, als teuerstes Auto der Welt. So verkaufte etwa der Auto-Sammler Paul Pappalardo seinen GTO (# 5111) in einer Privat-Transaktion für 52 Millionen Dollar an einen geheim gehaltenen Besitzer.
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Dated Southampton, December 7, 1930.
From Wikipedia, the free encyclopedia
History
United Kingdom
NameRMS Aquitania
NamesakeAquitania (Roman province in France)[3]
Owner
1914–1934: Cunard Line[1]
1934–1949: Cunard White Star Line
1949–1950: Cunard Line
OperatorCunard Line
Port of registryUnited Kingdom Liverpool, United Kingdom
RouteSouthampton-New York (1914) (1920–1939) (1945–1948) (1945–1950) Southampton-Halifax (1948–1950)
Ordered8 December 1910[1]
BuilderJohn Brown & Company, Clydebank, Scotland[1]
Yard number409[2]
Laid downDecember 1910
Launched21 April 1913[1]
Christened21 April 1913 by the Countess of Derby
Acquired24 May 1914
Maiden voyage30 May 1914[1]
In service30 May 1914
Out of service1950
FateScrapped in 1950 at Faslane, Scotland.[1]
General characteristics
TypeOcean liner
Tonnage45,647 GRT[4]
Length901 ft (274.6 m)[4]
Beam97 ft (29.6 m)[4]
Draught36 ft (11.0 m)[1]
Decks10
Installed power
Direct drive Parsons steam turbines;[4]
59,000 shp (44,000 kW)
PropulsionFour shafts[4]
Speed
24 knots (44 km/h; 28 mph) (service)
25 knots (46 km/h; 29 mph) (max)[4]
Capacity
1914: 3,230[1]
618 1st class passengers
614 2nd class passengers
2,004 3rd class passengers
1926: 2,200[1]
610 1st class passengers
950 2nd class passengers
640 tourist class passengers
Crew972[1]
RMS Aquitania was a British ocean liner of the Cunard Line in service from 1914 to 1950. She was designed by Leonard Peskett and built by John Brown & Company in Clydebank, Scotland. She was launched on 21 April 1913[5] and sailed on her maiden voyage from Liverpool to New York on 30 May 1914. Aquitania was the third in Cunard Line's grand trio of express liners, preceded by RMS Mauretania and RMS Lusitania, and was the last surviving four-funnelled ocean liner.[6] Shortly after Aquitania entered service, World War I broke out, during which she was first converted into an auxiliary cruiser before being used as a troop transport and a hospital ship, notably as part of the Dardanelles Campaign.
Returned to transatlantic passenger service in 1920, she served alongside the Mauretania and the Berengaria. Considered during this period of time as one of the most attractive ships, Aquitania earned the nickname "the Ship Beautiful" from her passengers.[4] She continued in service after the merger of Cunard Line with White Star Line in 1934. The company planned to retire her and replace her with RMS Queen Elizabeth in 1940.
However, the outbreak of World War II allowed the ship to remain in service for ten more years. During the war and until 1947, she served as a troop transport. She was used in particular to take home Canadian soldiers from Europe. After the war, she transported migrants to Canada before the Board of Trade found her unfit for further commercial service. Aquitania was retired from service in 1949 and was sold for scrapping the following year. Having served as a passenger ship for 36 years, Aquitania ended her career as the longest-serving Cunard vessel, a record which stood for six years until overtaken by RMS Scythia's service record of 37 years. In 2004 Aquitania's service record was pushed into third place when Queen Elizabeth 2 became the longest-serving Cunard vessel.
Conception
The origins of Aquitania lay in the rivalry between the White Star Line and Cunard Line, Britain's two leading shipping companies. The White Star Line's Olympic, Titanic and the upcoming Britannic were larger than the latest Cunard ships, Mauretania and Lusitania, by 15,000 gross register tons. The Cunard duo were significantly faster than the White Star ships, while White Star's ships were seen as more luxurious. Cunard needed another liner for its weekly transatlantic express service, and elected to copy the White Star Line's Olympic-class model with a slower but larger and more luxurious ship.[4][7][8] The plan for the building of that liner began in 1910. Several draft plans were conceived in order to determine the main axes of what should be the ship for which an average speed of 23 knots was planned. In July of that year, the company launched the construction offers to several shipyards before choosing John Brown and Company, the builder of the Lusitania. The company chose Aquitania as the name for its new ship in continuity with those of its two previous duo. The three ships were named respectively after the Ancient Roman provinces Lusitania, Mauretania, and Gallia Aquitania.[9]
Aquitania was designed by Cunard naval architect Leonard Peskett.[4] Peskett drew up plans for a larger and wider vessel than Lusitania and Mauretania (about 130 feet (40 m) longer). With four large funnels the ship would resemble the famous speed duo, but Peskett also designed the superstructure with "glassed in" touches from the smaller Carmania, a ship he also designed. Another design feature from Carmania was the addition of two tall forward deck ventilator cowlings. Although the ship's outward dimensions were greater than that of Olympic, her displacement and tonnage were lower.[10] With Aquitania's keel being laid at the end of 1910, the experienced Peskett took a voyage on Olympic in 1911 so as to experience the feel of a ship reaching nearly 50,000 tonnes as well as to copy pointers for his company's new vessel.[10] Though Aquitania was built solely with Cunard funds, Peskett designed her according to strict British Admiralty specifications.[citation needed] Aquitania was built in the John Brown and Company yards in Clydebank, Scotland, where the majority of the Cunard ships were built.[5] The keel was laid in the same plot where Lusitania had been built, and would later be used to construct Queen Mary, Queen Elizabeth, and Queen Elizabeth 2.[11] Just like with Mauretania, for the launch the hull was painted in a light grey colour for photographic purposes; a common practice of the day for the first ship in a new class, as it made the lines of the ship clearer in the black-and-white photographs. Her hull was repainted to black in dry dock.[12]
In the wake of the Titanic sinking, Aquitania was one of the first new ships to carry enough lifeboats for all passengers and crew.[4] Eighty lifeboats, including two motorised launches with Marconi wireless equipment, were carried in both swan-neck and newer Welin type davits.[13] There was also a double hull and watertight compartments that were designed to allow the ship to float with five compartments flooded.[14] As required by the British Admiralty, she was designed to be converted into an armed merchant cruiser, and was reinforced to mount guns for service in that role. The ship displaced approximately 49,430 tons, of which the hull accounted for 29,150 tons, machinery 9,000 and bunkers 6,000 tons.[15]
Aquitania was launched on 21 April 1913 after being christened by Alice Stanley, the Countess of Derby, and fitted out over the next thirteen months. Notable installations were electrical wiring and decorations. The fitting out was led by Arthur Joseph Davis and his associate Charles Mewès.[10] On 10 May 1914, she was tested in her sea trials and steamed at one full knot over the expected speed. On 14 May, she reached Mersey and stayed at a port there for fifteen days, during which she underwent a final major cleaning and finishing in preparation for her maiden voyage.[16]
Technical aspects
Aquitania was the first Cunard liner to have a length in excess of 900 feet.[10] Unlike some four-funneled ships, such as White Star Line's Olympic-class ocean liners, Aquitania did not have a dummy funnel; each funnel was utilised in venting smoke from the ship's boilers.[17][18]
Steam was provided by twenty-one forced-draft, double-ended Scotch boilers, having eight furnaces each, that were 22 feet (6.7 m) long with diameter of 17 feet 8 inches (5.4 m) arranged in four boiler rooms.[19] Each boiler room had seven ash expellers with pump capacity of approximately 4,500 tons per hour that could also be used as emergency bilge pumps.[19]
Steam drove Parsons turbines in three separate engine rooms in a triple expansion system for four shafts.[19] The port engine room contained the high pressure ahead (240 tons, 40 feet 2 inches (12.2 m) long with four stage expansion) and astern turbine (120 tons, 22 feet 11 inches (7.0 m) long) for the port shaft, the centre room contained two low pressure turbines with ahead and astern capability within single casings (54 feet 3 inches (16.5 m) long, nine expansion stages in ahead turbine, four in astern turbine) for the two centre shafts and the starboard room contained the intermediate pressure ahead turbine (41 feet 6.5 inches (12.7 m) long) and a high pressure astern turbine (twin of the port high pressure turbine) for the starboard shaft.[19][20]
The electrical plant, located on G deck below the waterline, consisted of four 400 kW British Westinghouse generator sets generating 225 volt direct current, with emergency power provided by a diesel driven 30 kW generator up on the promenade deck.[21] Power was provided for about 10,000 lamps and about 180 electric motors.[21] She also had brass triple chambered 3 chime steam whistles on the 1st funnel and 2nd funnel.
In 1914, Aquitania had the capacity to carry 3,220 passengers (618 First Class, 614 Second Class, 2,004 Third Class). After a refit in 1926, the figure was reduced to 610 in first class, 950 in second class, and 640 in tourist class. Although the original specification mentioned a capacity of 972 crew members, the ship sometimes carried around 1,100.[9]
Although Aquitania lacked the lean, yacht-like appearance of running mates Mauretania and Lusitania, the greater length and wider beam allowed for grander and more spacious public rooms. Her public spaces were designed by the British architect Arthur Joseph Davis of the interior decorating firm Mewès and Davis. This firm had overseen the construction and decoration of the Ritz Hotel in London and Davis himself had designed several banks in that city. His partner in the firm, Charles Mewès, had designed the interiors of the Paris Ritz, and had been commissioned by Albert Ballin, head of Germany's Hamburg America Line (HAPAG), to decorate the interiors of the company's new liner Amerika in 1905.[10]
In the years prior to the First World War, Mewès was charged with the decoration of HAPAG's trio of giant new ships, Imperator, Vaterland, and Bismarck, while Davis was awarded the contract for Aquitania.[10] In a curious arrangement between the rival Cunard and Hamburg-Amerika Lines, Mewès and Davis worked apart—in Germany and England respectively and exclusively—with neither partner being able to disclose details of his work to the other. Although this arrangement was almost certainly violated, Aquitania's first-class interiors were largely the work of Davis. The Louis XVI dining saloon owed much to Mewès' work on the HAPAG liners, but it is likely that having worked so closely together for many years the two designers' work had become almost interchangeable. Indeed, Davis must be given credit for the Carolean smoking room and the Palladian lounge; a faithful interpretation of the style of architect John Webb.[22]
The second class had a dining room, several lounges, a smoking room, a veranda café, and a gymnasium; many being unique facilities for this class on British liners. The third class had several common areas, a promenade, and three shared bathrooms.[22] The cabins offered great comfort. The first class included eight luxury suites, named after famous painters. A large number of first-class cabins had bathrooms, although not all did. The second-class cabins were larger than average, most being capable of accommodating three people as opposed to the standard four. Her Third Class accommodations were a great expansion in facilities compared to her running mates. While most Cunard liners had their Third Class areas confined forward, aboard Aquitania such spaces spanned the full length of the ship, and included several large open areas, three large dining rooms and both open and enclosed promenades.[23]
Over her thirty-five years career, her facilities changed. Examples of this were the addition of a cinema during her refit from 1932 to 1933[24] and the reorganisation of the tourist class during the 1920s for giving greater comfort to poor passengers.[25]
Early career and World War I
Aquitania's maiden voyage was under the command of Captain William Turner on 30 May 1914 with arrival in New York on 5 June.[1][15] The voyage and arrival in New York received great attention.[26] Fifteen days later, the German liner SS Vaterland, being the largest ship in the world at the time, was put into service. In the eye of the press, this maiden voyage was a matter of national prestige.[27] However, this event was overshadowed by the sinking of RMS Empress of Ireland in Quebec the previous day with over a thousand drowned.[28] However, no passenger cancelled their voyage aboard the Aquitania, despite the strong emotion aroused by this sinking.[16] During her maiden voyage, the ship carried around 1,055 passengers, which was about a third of her total capacity. This was because a superstition pushed some people away from travelling on a ship's maiden voyage.[citation needed] The crossing fully satisfied the crew and the company. Average speed for the voyage, a distance of 3,181 nautical miles (5,891 km; 3,661 mi) measured from Liverpool to the Ambrose Channel lightship, was 23.1 knots (42.8 km/h; 26.6 mph),[15] taking into account a five-hour stop due to fog and the proximity of icebergs. The ship briefly managed to exceed 25 knots. Also, her coal consumption was significantly lower than that of Lusitania and Mauretania. Many passengers enjoyed the voyage. On the return trip, the success was renewed; she carried a total of 2,649 passengers, which was a record for a British liner leaving New York.[29]
Upon arrival at her home port, she underwent minor modifications, which took into account observations made during the two first crossings (this was typical for a liner after its first round trip).[29] Two more round trips took place in the second half of June and the whole of July of that year. Her architect Leonard Peskett was on board during those trips to note any defect and room for improvement. In total, 11,208 passengers travelled on the ship during her first six crossings. Her career was abruptly interrupted by the outbreak of World War I, which removed her from passenger service for six years.[30]
The following month Archduke Franz Ferdinand of Austria was assassinated, and the world was plunged into World War I. Aquitania was converted into an armed merchant cruiser on 5 August 1914, for which provision had been made in her design. On 8 August, having been rid of decorative elements and armed with guns, she was sent on patrol. On 22 August, she collided with a liner named Canadian. Shortly after, the Admiralty found that large liners were too expensive to operate as cruisers. On 30 September, she was repaired, disarmed, and returned to Cunard Line.[31][4]
After being idle for a time, in the spring of 1915 she was recalled by the Admiralty and converted into a troopship, and made voyages to the Dardanelles, sometimes running alongside Britannic or Mauretania. Around 30,000 men were transported on the ship to the battlefield between May and August of that year.[31] Aquitania then was converted into a hospital ship, and acted in that role during the Dardanelles campaign.[1][32] In 1916, the year that White Star's flagship, and one of Aquitania's main rivals, Britannic, was sunk, Aquitania was returned to the trooping front, and then in 1917 was laid up in the Solent.[1][33] In 1918, now under the command of James Charles, the ship was back on the high seas in troopship service, conveying North American troops to Britain. Many of these departures were from the port of Halifax, Nova Scotia where the ship's dazzle paint scheme was captured by artists and photographers, including Antonio Jacobsen. On one occasion Aquitania transported over 8,000 men. During her nine voyages, she transported approximately a total of 60,000 men. During this period, she collided with USS Shaw and tore apart its bow. The accident killed a dozen members of the American ship's crew.[34]
After the end of the war, in December 1918, Aquitania was dismissed from military service. She collided with the British cargo ship Lord Dufferin at New York in the United States on 28 February 1919. Lord Dufferin sank and Aquitania rescued her crew.[35] Lord Dufferin was later refloated and beached.[36]
Interwar career
In June 1919, Aquitania ran a Cunard "austerity service" between Southampton and New York. In December of that year Aquitania was docked at the Armstrong Whitworth yards in Newcastle to be refitted for post-war service. The ship was converted from coal burner to oil-fired, which greatly reduced the number of engine room crew required.[1][37] The original fittings and art pieces, removed when refitted for military use, were brought out of storage and re-installed. At some point during this time, a new wheelhouse was constructed above the original one as the officers had complained about the visibility over the ship's bow. The second wheelhouse can be seen in later pictures of the era and the original wheelhouse area below had the windows plated in.[38]
1920s
Aquitania resumed her commercial service on 17 July 1920, leaving from Liverpool with 2,433 passengers on board. The crossing was a success; the ship maintained good speed while showing that now being oil-fuelled was much cheaper than coal-fuelled propulsion.[39] The ship's arrival in New York Harbor was filmed as part of the pioneering 1921 documentary Manhatta, in which she is seen being pushed to her destination by tugboats. The months that followed were just as promising, despite a stewards' strike in May 1921.[40] At the beginning of the decade, Aquitania was the only large liner in the service of Cunard Line as the Mauretania was undergoing repair after a fire. The year 1921 was thus an exceptional year for her; she broke a record by transporting around 60,000 passengers that year.[41] In the following year, the Mauretania rejoined her in Cunard service. Aquitania operated in service with the Mauretania and Berengaria (formerly the German liner Imperator) in a trio known as "The Big Three."[4][42]
In 1924, a new restriction on immigration was passed in the United States, causing the number of third-class passengers to decline significantly. From about 26,000 third-class passengers transported by Aquitania in 1921, the figure fell to about 8,200 third-class passengers in 1925. The number of crew was thus reduced to around 850 people from the original 1,200.[42] The third class was no longer the key to the profitability of the liner, and so the company had to adapt. The third-class gradually became a tourist class, which offered decent service at a low price. In 1926, the ship underwent a major overhaul, which reduced the passenger capacity from around 3,300 to around 2,200.[43]
Still, the Cunard Line benefited from prohibition in the United States, which started in 1919. American liners were legally part of the territory of the United States, and thus alcoholic beverages could not be served on them. Passengers who wanted to drink therefore travelled on British liners in order to do so.[44] Aquitania enjoyed great success, making much profit for her company. In 1929, she underwent a major refit. A bathroom was added to many first-class cabins, and the tourist class was renovated. While new competitors, such as the German liner SS Bremen, entered service, Aquitania remained particularly popular after fifteen years of service.[45]
Crisis of 1929 and its consequences
Following the stock market crash of 1929, many ships were affected by the economic downturn and reduced traffic. Aquitania found herself in a tough position. Only a few could afford expensive passage on her now, so Cunard sent Aquitania on cheap cruises to the Mediterranean. These were successful, especially for Americans who went on "booze cruises," tired of their country's prohibition.[46] Another problem also arose: the two liners of the Norddeutscher Lloyd, SS Bremen and SS Europa, successfully captured the Blue Riband and many customers.[47] In 1934, the number of passengers Aquitania carried declined to around 13,000 from 30,000 in 1929.[48] The ship, however, remained popular and she was the third busiest in the early 1930s behind those two German liners.[46]
To keep the ship up to date, she underwent a refit, which added a cinema, between 1932 and 1933. At the same time, in order to modernise its fleet, the company ordered the Queen Mary. The Great Depression, however, prevented the company from being able to fully finance the construction, and the company merged with its rival, the White Star Line, in 1934 in order to do so. The Queen Mary entered service in 1936.[49] Author C. R. Bonsor writing in 1963 states, from 1936 on it became necessary to squeeze the maximum speed out of Aquitania in order to make her a suitable running mate for Queen Mary thus 24 knot passages became regular.[50] Aquitania ran aground in the Solent on 24 January 1934 but was refloated later the same day.[51] The merger of the two companies into Cunard-White Star Line resulted in a large surplus of liners being owned by a single company. Thus, very old ships, such as the Mauretania and the Olympic, were removed from service immediately and sent to the scrapyard. However, the Aquitania was not, despite her age.[52] On 10 April 1935, Aquitania went hard aground on Thorne Knoll in the Solent near Southampton, England, but with the aid of ten tugboats, on the next high tide the ship was freed.[1] When the new liner RMS Queen Elizabeth was due to enter service in 1940, newspapers speculated that Aquitania would be scrapped that year. However, during that period, her performance continued to satisfy her company. The year 1939 saw an increase in the number of wealthy passengers on board. The ship was then already 26 years old.[53]
World War II service
Aquitania, with a normal troop capacity of 7,400, was among the select group of large, fast former passenger ships capable of sailing independently without escort transporting large numbers of troops that were assigned worldwide as needed.[54] These ships, often termed "Monsters" until London requested the term be dropped, were Aquitania, Queen Mary, Queen Elizabeth, Mauretania (II), Île de France and Nieuw Amsterdam with "lesser monsters" being other large ex-liners capable of independent sailing with large troop capacity that accounted for much of the troop capacity and deployment, particularly in the early days of the war.[55][56]
Plans to replace Aquitania with the newer Queen Elizabeth in 1940 had been forestalled by outbreak of World War II in 1939.[4] On 16 September 1939 Aquitania, awaiting initial refit as a troop ship, was at pier 90 in New York along with Queen Mary while nearby, at pier 88, were the French ships Île de France and Normandie.[1][4] She returned to Southampton and was requisitioned on 18 November.[57]
Aquitania's initial troop transport operation was taking Canadian troops to Scotland, Convoy TC1 in company with Empress of Britain, Empress of Australia, Duchess of Bedford, Monarch of Bermuda, HMS Hood, HMS Warspite, HMS Barham, HMS Resolution, HMS Repulse, HMS Furious, December 1939.[1] Meanwhile, a massive transport of Australian and New Zealand troops to Suez and North Africa, with possible diversion to the United Kingdom if events required, was in planning with the numbered convoys to be designated as "US" with the large Atlantic liners assigned a role.[58] The fast convoy designated as US.3 was composed of Aquitania and the liners Queen Mary, Mauretania, Empress of Britain, Empress of Canada, Empress of Japan and Andes.[59] Aquitania, Empress of Britain and Empress of Japan, after embarking New Zealand troops at Wellington in May, sailed escorted by HMAS Canberra, HMAS Australia, and HMNZS Leander to join the Australian component off Sydney on 5 May 1940.[60] Joined off Sydney by Queen Mary and Mauretania the convoy sailed the same day to be joined the next by Empress of Canada from Melbourne for a stop at Fremantle 10–12 May before the voyage intended to be for Colombo.[60] About midway to Colombo, on 15 May, the convoy was rerouted due to the rapid German penetrations into France with the ultimate destination of Gourock, Scotland via Cape Town, South Africa and Freetown, Sierra Leone where the escort strengthened by various ships including the aircraft carriers HMS Hermes and HMS Argus and the battlecruiser HMS Hood.[61] The convoy arrived in the Clyde and anchored off Gourock on 16 June 1940.[62]
Now repainted battleship grey, in November 1941 Aquitania was in the British colony of Singapore, from which she sailed to take part indirectly in the loss of the Australian cruiser HMAS Sydney. Sydney had engaged in battle with the German auxiliary cruiser Kormoran. There has been much unsubstantiated speculation that Kormoran was expecting Aquitania, after spies in Singapore had notified Kormoran's crew of the liner's sailing, and planned to ambush her in the Indian Ocean west of Perth but instead encountered Sydney on 19 November. Both ships were lost after a fierce battle. On the morning of 24 November Aquitania en route to Sydney from Singapore spotted and picked up twenty-six survivors of the German ship but maintained radio silence and did not pass word until in visual range of Wilson's Promontory on 27 November.[63] The captain had gone against orders not to stop for survivors of sinkings.[1] There were no survivors from Sydney.
December saw the outbreak of war in the Pacific, then Japanese advances throughout Southeast Asia and toward Australia, necessitating the redeployment of defensive forces.[64] On 28 December Aquitania and two smaller transports departed Sydney with 4,150 Australian troops and 10,000 tons of equipment for Port Moresby, New Guinea. (On the same date, USS Houston and other U.S. ships evacuating from the north reached Darwin, with USS Pensacola, and elements of her diverted Philippine convoy some 300 miles (480 km) ahead.) Aquitania was back in Sydney on 8 January 1942.[65] The next effort was reinforcement of Singapore and the Netherlands East Indies with Aquitania transporting Australian troops (whose equipment was in Convoy MS.1) as the single ship MS.2 convoy, under escort of HMAS Canberra.[66] The ship had been the only suitable transport for such a large movement. Originally, transport directly to Singapore was considered, but the danger from aircraft to such a valuable asset and so many troops caused a change of plans. Instead, Aquitania departed Sydney on 10 January, reaching Ratai Bay at the Sunda Strait on 20 January, where 3,456 personnel (including some Navy, Air Force and civilians) were transhipped[66] under a covering naval force to seven smaller vessels (six of them Dutch KPM ships) that would continue to Singapore as convoy MS.2A.[66] Aquitania was returned to Sydney on 31 January.[66]
With the United States in the war, Aquitania (then with a troop capacity of 4,500) had been scheduled for transport duties from the United States to Australia in February, but necessary repairs delayed that. Because her deep draft was hazardous in Australian and intermediate ports in the Pacific Islands,[67] she spent March and April 1942 transporting troops from the west coast of the U.S. to Hawaii.[55][68] Then Aquitania was temporarily transferred from Pacific duties to support the movement of troops from the United States to Britain, sailing 30 April from New York in a large convoy that transported some 19,000 troops.[69] On 12 May 1942 Aquitania loaded troops at Gourock destined for the war in the Middle East, departing in convoy WS19P on 1 June with destroyers and heavy weather, she broke off independently on 7 June due to her greater speed with designation WS19Q.[70] The first port of call was 48 hours at Freetown (West Africa) on 11 June, then 3 days at Simonstown, South Africa 20 June 48 hours at Diego Suarez, Madagascar from 30 June 24 hours at Steamer Point, Aden on 3 July, and then disembarkation at Port Tewfik, Egypt from 8 July 1942.[71] The return journey was via Diego Suarez, Capetown, Freetown and then to Boston. By September Aquitania was engaged in a triangular troop deployment of United States-United Kingdom-Indian Ocean voyages.[72]
Pamphlet
As part of the major redeployment of Australian troops from North Africa to the defence of Australia and start of offensive operations in the Southwest Pacific Aquitania, Queen Mary, Île de France, Nieuw Amsterdam, and the armed merchant cruiser HMS Queen of Bermuda transported the Australian 9th Division to Sydney in Operation Pamphlet during January and February 1943.[73]
By the buildup for the invasion of Europe in 1944 troop deployments to Britain depended heavily on Aquitania and the other "Monsters" and no allowance could be made for interruption of their service for other transport requirements.[74]
Wartime embarkation at New York is described in some detail in the description of the departure of the Special Navy Advance Group 56 (SNAG 56) that was to become Navy Base Hospital Number 12 at the Royal Victoria Hospital, Netley, England, to receive casualties from Normandy. The unit was sent by "devious routes" by train to Jersey City where under cover of darkness they boarded a ferry crossing to the covered pier 86 in New York where a band played and the Red Cross served their last coffee and doughnuts as they boarded "N.Y. 40", the New York Port of Embarkation code designation for Aquitania, which got underway the morning of 29 January 1944 with some 1,000 Navy and 7,000 Army personnel for arrival at Gourock, Scotland 5 February.[75]
In eight years of military work, Aquitania sailed more than 500,000 miles, and carried nearly 400,000 soldiers,[1][76] to and from places as far afield as New Zealand, Australia, the South Pacific, Greece and the Indian Ocean.[77]
Postwar service and retirement
After completing troopship service, the vessel was handed back to Cunard-White Star in 1948. She underwent a refit for passenger service. She was then used to transport war brides and their children to Canada under charter from the Canadian government. This final service created a special fondness for Aquitania in Halifax, Nova Scotia, the port of disembarkation for these immigration voyages.[78][4]
On completion of that task in December 1949, Aquitania was taken out of service when the ship's Board of Trade certificate was not renewed as the condition of the ship had deteriorated, and it would have been cost-prohibitive to be brought up to new safety standards, namely fire code regulations. The decks leaked in foul weather, the bulkheads and funnels were corroded to a point that one could stick their finger through them. A piano had fallen through the roof of one of the dining rooms from the deck above during a corporate luncheon held on the ship. This signalled the end of Aquitania's operational life.[4][79]
The vessel was retired and sold to British Iron and Steel Corporation for scrap for £125,000 in 1950 at Faslane in Scotland.[1] Dismantling took almost a year to complete.[79] This ended a career which included steaming 3 million miles over 450 round voyages. Aquitania carried 1.2 million passengers through an active sea career that spanned nearly 36 years, making her the longest-serving Express Liner of the 20th century. Aquitania was the only major liner, and the largest commercial vessel, to serve in both World Wars. She was also the last four-funnelled passenger ship to be scrapped.[76] The ship's wheel and a detailed scale model of Aquitania may be seen in the Cunard exhibit at the Maritime Museum of the Atlantic in Halifax.
Maritime author N. R. P. Bonsor wrote of Aquitania in 1963: "Cunard had recovered possession of their veteran in 1948 but she was not worth reconditioning. In 35 years of service Aquitania had sailed more than 3 million miles and apart from one or two early Allan Line steamers no other ship served for as long in a single ownership."[80][81][82]
Once free from the ownership of Duple, Willowbrook began its move into the coach market in 1972 with the 002 Expressway semi coach. At the 1974 Commercial Motor Show held at Earls Court, Willowbrook shook the British coach industry and tore the rule book up, when it launched the radical and futuristic 008 Spacecar coach. Gone was all the bright metal-work, that Duple and Plaxton coaches carried, the Spacecar was bland, but futuristic. The name Spacecar was thought up by the Director of Willowbrook, who loved cars and the TV series Star Trek. To drum up interest at the launch, Willowbrook showed two Spacecar coaches, both on the Bedford YRT chassis, one was built to full executive specification, with Bunny Girls on hand to create more interest. Both coaches were never registered as a PSV and had plastic side windows. The State owned National Bus Company placed an order for 20 Spacecar bodied Bedford YRTs to be delivered to the National Travel subsidiaries. The coaches were leased, rather than purchased, indeed, the NBC did lease a large number of vehicles over the years. Only 13 out of the 20 Spacecars did actually get delivered. The NBC placed a second order for Spacecars to be delivered during 1976, most on the Bedford YMT chassis, although National Travel South East took 10 Spacecar bodied AEC Reliance coaches. The final batch of Spacecars for the NBC was the largest order, with 40 all on the Leyland Leopard chassis and delivered during 1977. Out of the final batch were two Spacecar bodied Leopards PSU3E/4R for National Travel West/Midlands. These two coaches were built to full executive specification, featuring 28 diplomat reclining seats, toilet, galley, as well as TV, radio and stereo cassette system. Both of these Spacecars were operated by Midland Red for use by West Bromwich Albion amd Wolverhamton Wanderers football teams. Both of these coaches were later fitted out as standard coaches for normal coaching duties. I caught up with VDH 244S at the 1978 Blackpool National Coach Rally. Just look at the clean, but futuristic styling of the Spacecar, it would still look modern today. The achilles heel of the Spacecar, was the use of light gauge metal and the dependency of fibreglass, hence the nick-name of a plastic Leopard, the drivers called the Spacecars the Tonka, which was a popular make of toy at the time. Notice that this Spacecar is fitted with square headlights, there must have been an option to have round, rectangular or square headights fitted to the Spacecar. Another point is the two piece windcreen with the destination display mounted behind the top of the screen. The first batch of Spacecar coaches for the NBC had one piece front windscreens, with the destination display below the windscreen. Notice how the front bumper come spolier looks part of the body, rather than an after thought. The rear of the Spacecar was also very stylish, with a one piece rear window and the tail lights mounted horizontal in the rear bumper. The final part of the Spacecar design worth mentioning is the rear most side window on each side, which is shallower than the rest, due to it being the emergency exit. In all, the Spacecar was very modern and stylish, it was a shame, that Willowbrook had to cut corners in the construction of the Spacecar. After the saga of the Spacecar, the next coach Willowbrook built was the 003. Now much could be written about the 003 bodies that the NBC was forced to order in a politically motivated instruction from the James Callaghan's Labour Government in the winter of 1978. I shall save this for my next photo which will indeed be of a Willowbrook 003.
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photographer Bernard Egger • collections • sets
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