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Standard 5 4-6-0 'Fake Arthur' 73119 'Elaine' stands on Bournemouth shed in an undated photo.
This is another of the fairly rare Perutz colour slides so must have been taken at the same time as that of 34001 that I posted recently - see that photo for some interesting info about Perutz slides.
73119 was one of the Southern's standard 5s that received names originally carried by Urie King Arthur's after they were withdrawn, although for some reason they apparently did not carry the original name plates. It was withdrawn in mid-March 1967, 34001 in July 1967 and with the number of strangers wandering around the shed I am guessing this is very late in the days of Southern steam.
Slide acquired with copyright; please do not copy for commercial purposes.
An iconic town centre building and former home of Standard Fireworks will be turned into student flats.
Standard House – originally Marshalls Mill – on Half Moon Street, Huddersfield, will be revamped by the same firm that converted the former Thatcher’s furniture premises on Dundas Street.
And a plan to add two floors onto the historic Victorian building have been given the green light.
It is expected 55 flats will be created.
Drawings submitted to Kirklees Council show a plan to remove the roof and add two modern glass fronted floors to the top of the 19th century building.
The applicant says it will retain the large glass facade at the front of the building and hopes to create a cafe or an “edgy” coffee shop in the unit vacated by International Fashion.
The rest of the premises would be stripped out and replaced with a mix of one, two and three-bed flats and studios.
The iconic circular-fronted building was originally a warehouse for Thomas Hirst, a Huddersfield wool merchant.
In 1930 it was bought by Crosland Hill based Standard Fireworks, who renamed it Standard House. It was used for the fireworks company offices.
It has hosted clothing shops for many decades, including fashion shops Ben Pearson’s and Marie’s and latterly International Fashion – which was forced to close by landlords in January this year.
Owner, Brenda Bedford, pulled down the shutters after 36 years after being given notice to quit.
Brenda, and all the other tenants of the building, were asked to vacate the premises late last year.
The tenants were assisted with relocation.
It is thought the scheme will see about £4m invested in refurbishment.
www.examiner.co.uk/news/west-yorkshire-news/huddersfield-...
Factory workers at Standard Commercial Tobcco Co. work in the picking line while wearing Santa hats in this December 1998 Times file photo. The Wilson Times is publishing historical photos of Wilson County life and landmarks in this space each day. To share your snapshots, email the picture and caption to Lori Parrish at lori@wilsontimes.com with the subject line Remember When or bring it to the Times office at 126 Nash St. W during regular business hours.
NS westbound train 375 comes around the connection and onto ALS property at Alorton, IL. 375 has run along the former Southern mainline from Louisville and will be terminating at the large Alton & Southern "Gateway Yard" in East St. Louis. Rough paint but a neat catch of a standard cab Dash 8.
02-23-2014
Financial District, Downtown Manhattan, New York City, United States of America
The Standard Oil Building, largely erected between 1921 and 1926 and finally completed in 1928, incorporates the company's original building (built in 1884-85 and enlarged in 1895). Designed by Thomas Hastings of the architectural firm of Carrere & Hastings, with Shreve, Lamb & Blake as associated architects, the building is notable for its distinctive tower, one of the southernmost spires in the Manhattan skyline, and the sweeping curve of the Broadway facade, which is punctuated by the arched openings of the main entrance portal and flanking large windows that dominate the street wall as it fronts Bowling Green. The irregular pentagonal site, one of the largest parcels assembled in lower Manhattan to that time, dictated both the building's distinctive shape and complicated construction history. The powerful sculptural massing and arresting silhouette of the Standard Oil Building represent the new set-back skyscraper forms that emerged during the early 1920s. Limestone curtain walls facing Broadway, Beaver Street, and New Street are enriched with large-scale neo- Renaissance ornamentation that enhance the building's picturesque quality. The building, erected as Standard Oil approached its fiftieth year of operation, reinforced the presence of the oil industry giant in the heart of New York City's financial and shipping center. From the headquarters building at No. 26 Broadway, John D. Rockefeller's associates directed the Standard Oil Company that monopolized the American oil industry, endured a sensational anti-trust decision, and retained a dominant role in the international oil business. Although Standard Oil's successor firm sold the structure in 1956, the building at No. 26 Broadway has remained a prominent address in lower Manhattan.
The Architects
The Standard Oil Building was designed in 1920 by Thomas Hastings (1860-1929) of the architectural firm of Carre re & Hastings, with that firm's members, Shreve, Lamb & Blake, serving as associated architects. These architects — a group of the most respected tall building designers in New York City during the 1920s — brought various types of expertise to the project which are evident in the completed building. The firm of Carrere & Hastings had gained wide acclaim with its winning design for the New York Public Library in 1897 (constructed 1902-11) and subsequently enjoyed a wide-ranging practice; many of the firm's buildings in New York City, including the New York Public Library, are designated New York City Landmarks. By 1920, Thomas Hastings, the surviving partner of the firm of Carrere & Hastings, had developed a personal, Beaux-Arts-inspired approach to the design of the masonry envelope of steel-framed structures, and was exploring innovative solutions to the massing of tall buildings in response to the setback requirements of the New York City Building Zone Resolution adopted in 1916. Hastings considered the skeleton frame and the exterior sheathing as separate entities with different functions; the first supported the structure while the second enclosed it. His designs for the curtain walls of the Blair Building (24 Broad Street, 1902, no longer standing) and the United States Rubber Building (Broadway and West 58th Street, 1912-13) were for thin, veneer-like masonry facing, designed for architectural impact rather than to convey a sense of structure; that design approach was at odds with the more structural, expressive style advocated by other tall building designers working in New York City, including Pierre LeBrun, George B. Post, and Bruce Price. Hastings was a consulting architect in the design of the Cunard Building (25 Broadway, 1917-21), and his hand is evident in the massing and facade of the building, either through Hastings' influence on Benjamin Wistar Morris, a former member of the firm of Carrere & Hastings, or an active role in the project. Carrere & Hastings designed two other tall buildings of note, the Liggett Building (at the northeast corner Madison Avenue and East 42nd Street, no longer standing, 1919-20) and the Fisk Building (250 West 57th Street, 192021); both buildings have distinctive massing with pavilions of uniform setback rising above large bases, and are clad with thin masonry walls detailed to unite the two main portions of the building and add to their pictorial qualities. The Standard Oil Building is a culminating example of the firm's tall building commissions, incorporating even more complex massing, a varied limestone curtain wall, and bold sculptural elements at the upper stories meant to enhance distant views of the building.
At the time of the Standard Oil Building commission, Richmond H. Shreve (1877-1946), William F. Lamb (1883-1952), and Theodore Blake (1870-1949) were partners at Carrere & Hastings. Shreve and Lamb (with various associates before Arthur L. Harmon joined the firm in 1929) established a partnership during the early 1920s, which is perhaps best known for the design of the Empire State Building (1929-30), though the firm was involved with a number of major tall building projects in New York City. Shreve, who became widely recognized for his expertise in solving complex operational and administrative problems of building, supervised the complicated and innovative construction process of the Standard Oil Building; the roles of Lamb, a talented designer, and Blake in the Standard Oil project are less clear. Theodore Blake worked on several of Carrere & Hastings' other major projects, including the New York Public Library, the Senate and House Office Buildings in Washington, DC., and the Manhattan Bridge.
The Design of the Building:
"Standard Oil's Skyscraper to be
Landmark in City Sky Line"
Because few buildings were constructed in New York City during World War I and the recession that followed, the tall buildings erected during the first years of the 1920s, such as the Standard Oil Building, were among the first to reflect the provisions of the Building Zone Resolution. The provision, adopted in 1916, mandated set-backs at the upper stories of tall buildings in order to control density, air, and light. The Standard Oil Building was admired primarily for its complex massing which suggested a greater design emphasis on form and silhouette, rather than facade articulation. The fifteen-story height of the older Standard Oil Building, which was to be incorporated into the larger structure, gave rise to a composite massing with a tower above a large block. A revision of the original form of the building, made in 1921, furthered the building's irregular form. The Beaver Street facade was cut by a deep light court (above what by then had become a holdout lot) and the tower, in a more forceful form, was exposed as it seemingly rises from ground level at the rear of the court. Across Bowling Green to the southwest (Fig. 5), the best vantage point to view the building, the structure appears to be a group of towers — two lower ones projecting in front of the crowning pinnacle.
The tower seems inexplicably rotated above the huge base of the building, but its form and orientation helped incorporate the older Standard Oil Building into the expanded structure. The tower is aligned with the northern edge of the addition and, hence, rises at slight angles to both the Broadway and Beaver Street facades; its canted corners add to its dynamic orientation. Loosely based on the Mausoleum of Halicarnassus, with a crowning finial consisting of a metal brazier surrounded by torches that are prominent elements in the iconographic program of the building, the upper tower is a dramatic symbol of corporate power. (Fig. 10) The southernmost spire of the Manhattan skyline, it was meant to be a visible to travelers entering New York Harbor, as a sculptural tower by day and a floodlit beacon by night.
The facades of the Standard Oil Building are curtain walls of Indiana limestone, varied with areas of rusticated ashlar at the street wall, large expanses of a smooth skin-like midsection, and soaring vertical bays on the exposed facade of the upper tower. (Figs. 6, 7, 11) The ornament of the exterior features boldly carved elements, as at the tenth-story frieze, and fully-modeled engaged columns at the monumental colonnades at the top of the base and upper tier of the tower. It also incorporates a fully-integrated corporate iconographic program with lamps and torches denoting the oil business and symbols of commerce. The broad sweeping curve of the Broadway facade is punctuated by the deep-set arched openings of the main entrance portal and flanking large windows which dominate the street wall and minimize the effect of the slope of Broadway and the varying height of the story at grade.
Contemporary critics praised the Standard Oil Building, which was predicted in 1922 to become a "landmark in the city skyline." As rendered by Hugh Ferriss, and labeled "The New Architecture,"" the Standard Oil Building conveyed a vigor and ruggedness in form. Architect C.H. Blackall stated that all the difficulties of the site had been cleverly overcome, that the massing of the building was its forte, and that details, like the windows, appeared as mere incidents in the wall. C.H. Reilly, an English architect, also praised the form of the building and noted that "the combination possible of stepped building and tower, as in the Standard Oil structure, is proving that an outline more interesting even than that of the Woolworth Building can be obtained on any city site that is large enough."
Description
The Standard Oil Building occupies the southern portion of the block bounded by Broadway, Beaver Street, New Street, and Exchange Place. (Fig. 1) The sixteen-story base of the structure, and the thirteen- story tower and ziggurat which rises above the central portion, are clad entirely in buff Indiana limestone, except for the brick and granite wall of the original portion of the Standard Oil Building on New Street, although the visible southern face of the original building is carefully covered with limestone at the upper floors to form a return harmonizing with the new structure. Renaissance-inspired ornamentation incorporates an iconographic program that features the "SO" cipher, lamps, and torches in carved limestone and cast iron. The Broadway facade retains its formal base, fitting for a corporate headquarters, essentially unaltered except for the entrance at the corner of Broadway and Beaver Street; storefronts have been added to the Beaver and New Street facades. The original double-hung window sash in the upper stories and tower have been replaced with similar sash.
The Broadway Facade.
The long curved Broadway facade of the building is dominated at the street wall by the main entrance at 26 Broadway (Fig. 8), which is located near the center of the Broadway facade (and at the northern end of the addition; to the north is the original Standard Oil Building with a rebuilt facade). The deeply-recessed entry is flanked by reveals ornamented with carved panels; above the entrance with a revolving door hangs a wrought-iron light fixture incorporating the signs of the zodiac. The glazed screen/window above the entrance is framed by spandrels that feature the corporate iconography of tripled torches merging into a single flame, while the globes showing both hemispheres, held by a winged dragon and a eagle, in the spandrels flanking the arched opening suggest Standard Oil's position in world commerce. The main entrance is flanked by two-sto ry arched window openings that retain special cast-iron window frames that incorporate the "SO" cipher in the spandrel panel. The two secondary entrances in the Broadway facade are interposed on large arched window openings, both of which are in pedimented door surrounds with clocks mounted above; the entrance (Fig. 9) at 28 Broadway gives direct access to the original portion of the building while the entrance at 24 Broadway, historically an entrance to jeweler's retail space, was raised in height in 1929 to make it more prominent. Though the Broadway facade is unified, the various building campaigns are visible in minor variations in ornamentation throughout the structure; for instance, the colonnade at the crowning three stories of the facade features shallow pilasters on the northern portion and engaged Ionic columns on the earlier-constructed southern portion. The mid- section of the long facade with punched window openings is articulated by quoined end and central bays; ornament is concentrated in several horizontal elements, including a secondary cornice and balustrade at the tenth story level, where a setback occurs on the Beaver Street facade.
The Upper Tower.
All four sides of the upper tower, set back from the three street facades, are exposed, though only the south and west sides are visible from nearby streets. The wings at the base of the tower, projecting to the east and west, have corners marked by obelisks and balustrades edge the perimeters of the various roof levels. At the area of the upper colonnade, metal spandrels span the bays; a stepped pyramidal limestone cap is terminated with a finial consisting of torches at the corners and a central brazier.
The Beaver Street facade. A deep light court divides the Beaver Street facade above the last- completed portion of the building; this section is distinguished by pilasters at the second and third stories which support a cornice. Large arched windows, as on the Broadway facade, are centered in each of the flanking sections of the base. This facade has long had storefronts at the level just above grade, with the present configuration dating from around 1960; the bank entrance at the corner of Beaver Street and Broadway was created in 1971. The entrance to the building lobby corridor is in a severe rusticated and keyed enframement. Storefronts in the Beaver Street facade, which have recessed entries above grade flanked by show windows, are unified by bronze framing elements and a sign band.
The New Street facade--southern portion. The southern portion of the New Street facade, as well as the eastern portion of the Beaver Street facade, both clad in limestone, were the first portion of the expanded building to be erected; the street wall features carved bands below the third-story windows which do not appear on later sections. The street wall consists of two-story arched window openings that alternate with bays with narrow openings, as on the Broadway facade. The storefronts in the southern portion of the structure are similar to those on Beaver Street. The entrance at 81 New Street (Fig. 12) has a replacement glazed door and transom assembly, which is not a significant feature.
The New Street facade--northern portion. The northern portion of the New Street facade -the rear elevation of the original Standard Oil Building (1884-85) and a slightly recessed 1895 addition -- rises above a storefront level that originally contained service bays and loading docks. The unadorned red brick and granite elevation does not relate to the neo-Renaissance architectural character of the rest of the building, and in fact has the appearance of a separate structure. Consequently, this elevation, including its non-historic storefronts and non-historic window sash, does not possess features that contribute to the architectural significance of the building.
Subsequent History
The Standard Oil Building was occupied initially by the Standard Oil Companies of New York and New Jersey, and related firms in the oil, pipeline, and drilling fields; the building continued to be occupied by a number of such companies, later including more shipping and investment firms. The continued growth of Standard Oil of New Jersey (Esso) prompted the relocation of some of its offices in 1933 to rented floors in the RCA Building of Rockefeller Center; Esso moved into its own building, 75 Rockefeller Plaza (1946, architects Robert Carson and Earl Lundin) as Rockefeller Center was expanded after World War II. Socony-Mobil (formerly Standard Oil of New York) erected a new headquarters building in 1954 (150 E. 42nd Street, architects Harrison & Abramowitz) and sold No. 26 Broadway in 1956. No. 26 Broadway, subsequently rehabilitated with new mechanical systems, has remained a prominent address in lower Manhattan.
Construction of six additional stories and a twenty- seven-foot-wide extension on the north side; designed by Kimball & Thompson, these portions of the building were in a more elaborated Renaissance Revival style. (Fig. 3) The unadorned rear elevation of red brick and granite of the earlier building and its additions,2 now the northern portion of the Standard Oil Building, is still visible on New Street (which functions as a service street for buildings facing Broadway and Broad Street).
From No. 26 Broadway, the trustees of the Standard Oil Trust controlled every phase of the nearly forty trust-controlled operations, regulated the production of petroleum, and set prices for petroleum products in the American market. After the move to New York, Standard Oil, directed primarily by John D. Rockefeller and his close group of associates, came to epitomize a modern integrated business
- From the 1995 NYCLPC Landmark Designation Report
In a wall in Whitley Bay Standard bricks were manufactured by William Foster in Pelaw, Gateshead. Some information here
In modern Die Design software solutions certain common port hole shapes can be categorized for automatic model creation. Here is an example of a automatic multi cavity function for rectangular port holes.
4.3.13 Dublin. At the Launch of National Quality Standards for Volunteer-led Youth Groups, Frances Fitzgerald TD, Minister for Children and Youth Affairs with children from St. Andrews Youth Service, L to R; Kayleigh Hanevy, Adam Deegan, Chloe Gaynor and Lee O'Neill. Photo by Derek Speirs
It has always been on the ‘bucket list’ to visit Coventry and, in particular, the site where the Standard Triumph factory once stood. The site is now a retail park with a large Sainsburys, fast food outlets and offices however, amongst the newer builds one original feature still remains – the Standard Triumph Recreation Club – and it was this we wanted to see.
Following on from a successful MOT pass, the ‘long way home’ seemed to include Brinklow and Coombe Abbey (photos to be added later) and a general potter about, roof down of course. At one point we passed a sign stating Coventry was (only) six miles away – so perhaps this could all of a sudden be the Triumph trip?
We were, of course, the ‘wrong side’ of Coventry and so we needed to hop onto the Coventry ring road which isn’t really the best bit of planning/design – if you need to get on the ring road, it normally means a surge to the right, whilst those getting off surge to the left – with the entry/exit gaps not particularly long, so you kinda just hope for the best! Thankfully a quieter time of day and roadworks meant the dual part of the dual carriageway was down to a single lane. Happily no issues and, once the A45 was located we knew we were on the right track. We have to admit it was great driving a Coventry-built car through the centre of Coventry – there were numerous waves as we made our way through the traffic.
Standard Triumph Recreation Club, Canley
The fabled Fletchamstead Highway and the right turn into the ‘old Triumph Works’ – we were welcomed by ‘Herald Avenue’ with other famous Triumph road names being a very nice touch – we have to admit a couple of times detour around the one-way system to ensure we headed for the ST club. Amongst the new offices we certainly stumbled on the Standard Triumph Club house and were able to have a good look around externally and get some photos, just with the mobile phone which was loosing battery power by the second!
The building could be viewed three sides, with the fourth gated off with a bowling green. The facade of the building was identical to the period photos with painted (albeit a little flaky in places) blockwork and dark red brick – it was great to see! We parked up and took some photo, ever worried of the phone battery – we had come ALL THIS WAY, so unprepared!
Fifty five years ago our little Herald was built, August 1960. After spending most of its life on the Isle of Wight (whereupon apparently it never left the island) and with subsequent later owners ‘down south,’ it is highly unlikely the car had ever been back to Coventry in all that time. Welcome home!
Suddenly a head popped out the building and a voice asked sternly what I was up to, then the angry little head completely changed his expression when he saw the Triumph Herald. He had seen me on the CCTV and wondered what I was up to. I explained and we had a chat, with the normal “I used to have one” except this was slightly different…
“I used to have one, but then again we all did. I used to work at the Triumph. Started in 1954 working on the Massey Fergussons (sp) and went on National Service in 1957, missing the launch of the Herald in ’59, but returning to the engine supplies for Triumph ensuring the bits were available for the new cars. I loved them, great cars. They looked great and this one does too.”
With more recollections of his days and locations pointed out for entrances and satellite factories we chatted for a while until it was time to head home with one final stop off by the Standard Triumph monument, just a few yards away – photos and details of which we’ll post later.
Driving past the MOT station that was half a mile from our house some, 55 miles travelled – 55 years between visits. A great trip, not only ticked off the ‘bucket list’ but one that must be done again soon.
www.triumphheraldconvertible.co.uk/wordpress/standard-tri...
Sold for £ 2.500
The Jaguar Land-Rover Collection
Brightwells Auctions
Bicester Heritage
Buckingham Road
Bicester
Oxfordshire
England
March 2018
The Standard Ensign started out in 1957 as a stripped-down version of the Vanguard, lacking much of that car’s chrome trim and using cheaper materials inside. It was also fitted with a small-bore engine of just 1,670cc.
After four-cylinder Vanguard production ended in 1961, the Ensign was revitalised as the De Luxe, retaining the Ensign’s grille, but with more chrome, a larger capacity engine and all came with a floor-mounted four-speed gearbox.
This Ensign De Luxe was first registered on 8th April 1963, so it comes from the final year of production. According to the DVLA it last had an MOT on 16th June 2012 when the odometer read a mere 36.840 miles in the care of 3 owners since new. Now reading 37.295 miles it’s barely run-in, although there is in truth insufficient paperwork to substantiate this figure – although one look at the car should be enough.
Sporting the larger 2.138 cc engine, it has a remarkably intact, two tone grey and blue interior. It also appears to have a largely corrosion free body with all its trim in place, it’s a gem.. right down to its complete set of hubcaps!
Offered with a V5C, but little else in the way of other documentation, this Ensign is a rare car nowadays, which is surprising as over 18.000 were built. It should take little to put back on the road, or perhaps its new owner has ideas about historic racing – the engine certainly has plenty of potential.
The guard and the locomotive crew of Riddles British Railways Standard 2 78018 discuss the movements ahead at Rothley
In the mid-sixties Standard 4 tank 80154 waits at Waterloo station to take the empty stock of the Bournemouth Belle back to Clapham Junction carriage sidings. The last of its class to be built, 80154 was initially allocated to Brighton shed before moving onto Feltham in July 1963 and then to Nine Elms in November 1964. It was withdrawn in April 1967 after just 10 years in service.
Photographer unknown
Aaron Jacquet gardien de but Standard U12 football 2018 & teammates. U12 Standard vs U12 Oud-Heverlee Louvain. Coach U12 Standard Fabian Jacquemin.