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There are 18 Lee Child books in this stack.
Compositionally Challenged: April's Most Versatile: Books
The Flickr Lounge: happy. Reading makes me happy.
Midtown Manhattan, Manhattan, New York City, New York, United States
Rising 43 stories in height and completed in 1931, 275 Madison Avenue is an outstanding Art Deco skyscraper dating from the end of New York’s 1920s and early-1930s skyscraper boom. Designed by noted architect Kenneth Franzheim, the building features a striking polished-granite base; three stories high with tall rectangular openings, it was treated by Franzheim as a “stage setting” with a compelling black-and-silver color scheme and rich abstract ornament. Rising above the base is a dramatically massed, slab-form tower that steps back repeatedly before narrowing to a nearly square plan at its upper floors.
Like the nearby Daily News Building completed the year before, 275 Madison is best described as a transitional work, bridging the exuberant, “modernistic” Art Deco style and the spare, sculptural qualities of the International Style. Franzheim’s “exclusion of obstructive ornament” was promoted as making the building’s interiors “virtually shadowless,” but it also adds to the tower’s streamlined effect and the vertical emphasis created by its alternating white-brick stripes and dark window bands.
No. 275 Madison Avenue was developed by Houston Properties, a New York-based firm founded by Jesse H. Jones, who built nearly all of the skyscrapers constructed in Houston, Tex. during the first half of the twentieth century. A nationally known figure, Jones also served as Secretary of Commerce and Chairman of the Reconstruction Finance Corporation under President Franklin D. Roosevelt, a position in which he was “probably the most powerful financial baron in the nation.” This building is one of a handful completed in New York City by Franzheim, an accomplished, versatile, and innovative architect who was a prominent designer of theaters, department stores, apartment houses, and office buildings. Famed photographer Berenice Abbott photographed 275 Madison as part of her “Changing New York” series, and it remains, to this day, one of the finer skyscrapers of the period.
DESCRIPTION AND ANALYSIS
Murray Hill
Completed in 1931 at the southeast corner of Madison Avenue and East 40th Street, the building now known as 275 Madison Avenue stands at the northern edge of Murray Hill—one of Manhattan’s most prestigious old residential neighborhoods—where it meets the vibrant commercial district to its north formerly known as the “Grand Central Zone.” Generally extending from East 34th to East 40th Streets, and from Madison to Third Avenues, Murray Hill’s historic core lies several blocks south of 40th Street, on lands that formed the eighteenth-century country estate of Robert Murray and his wife, Mary. Roughly bounded on the south and north by present-day East 33rd and East 38th Streets, the Murray estate reached from the old Middle Road—near present-day Madison Avenue—to the Eastern Post Road, an old route to Boston located close to present-day Lexington Avenue.
Murray Hill’s development as a premier residential district was intimately connected with the construction of the New York & Harlem Railroad, which began in 1831. Prohibited from operating steam locomotives south of 14th Street, the New York & Harlem constructed a depot just south of Murray Hill, where passengers could transfer between steam trains and the horsecars that operated farther downtown. In 1851, the Harlem Railroad—together with the New York & New Haven Railroad, which ran along the same right-of-way—began converting their open railroad cut, completed through Murray Hill in the 1830s, into a tunnel. Covenants instituted in the 1830s and 1840s limited development on the former Murray estate to brick and stone dwellings, churches, and private stables, and prohibited uses that could present fire hazards, generate noxious odors, or draw crowds of strangers to the neighborhood.
Murray Hill’s residential development began in earnest in 1851-53, when three members of the Phelps family erected elegant and luxurious mansions on the east side of Madison Avenue between East 36th and East 37th Streets. By 1858, much of the area had been transformed, with most of its new houses purchased by merchants who owned businesses in Lower Manhattan and commuted to work via the Harlem Railroad or the Third Avenue horsecars. At the end of the nineteenth century, the neighborhood was home to members of New York’s most prominent families, including the Belmonts, Delanos, Rhinelanders, and Tiffanys. Today, Murray Hill retains much of its nineteenth-century character; most of the area bounded by East 35th and East 38th Streets, and by Park and Lexington Avenues, was designated a New York City Historic District in 2002, with a district extension following two years later.
The “Grand Central Zone”
By the late 1910s, strong commercial pressure was pushing down on Murray Hill from the intersection of Park Avenue and 42nd Street, where the mammoth and bustling new Grand Central Terminal had been completed in 1913. So great were the expectations for the area surrounding the terminal as a commercial district and “notable center of artistic structures” that the area was christened the “Grand Central Terminal Zone” a year before Grand Central opened. By 1917, “the blocks immediately north and south of 42nd Street in the terminal zone [composed] one of the liveliest commercial quarters of the city,” and four years later, 100 million people—equal to the entire population of the United States—were passing through the terminal each year.
The Grand Central Zone emerged in the late 1920s as one of the city’s great skyscraper districts. As developer Irwin Chanin explained in 1929—the year in which his firm completed its namesake 56-story building at 42nd Street and Lexington Avenue—the area possessed many advantages over the older Lower Manhattan business district from which it was drawing tenants. Compared with the Wall Street area, which had become “widely separated from railway terminals, hotels, clubs, theaters, and such important centers as the garment, fur, furniture, millinery, and jewelry industries,” the Grand Central area was much more convenient for “our typical big businessman [who] now lives in the Park Avenue district, in Westchester County, or on Long Island.” Skyscraper construction boomed in the Grand Central Zone in 1929; eight new skyscrapers totaling 249 stories were being readied for occupancy that year, including Warren & Wetmore’s 34-story New York Central Building , the Chanin Building, and the 44-story office building at 10 East 40th Street designed by Ludlow & Peabody and constructed by Houston Properties, the developer of 275 Madison Avenue. Five skyscrapers totaling 220 stories were being readied for 1930 occupancy.
Following the October 1929 stock market crash and the subsequent Depression, office building construction slowed to a crawl in the Grand Central Zone, as it did throughout the city; No. 275 Madison Avenue was among the few skyscrapers begun in the Grand Central district in the crash’s aftermath. For a period of about fifteen years between the early 1930s and late 1940s, no new major office buildings were completed in the Grand Central Zone.
New York’s Art Deco Skyscrapers
America’s involvement in World War I, followed by a recession in the early 1920s, caused a construction lull in New York City, as in other parts of the country. By the mid 1920s, the economy had bounced back, and demand for new and larger commercial buildings was booming. Fifteen new office skyscrapers were erected in New York in 1925, and 1926 saw the construction of 30 more, an annual number that still had not been equaled 50 years later. This building frenzy lasted through the 1929 stock market crash, as construction went forward in the early 1930s on buildings that had already been planned and financed; although largely finished by 1932, the boom left behind a “rich array of towers,” many of them executed in what is known today as the Art Deco style. Indeed, several of New York’s most spectacular skyscrapers from this period—including the Chanin Building, the Chrysler Building , the Empire State Building and the General Electric Building , all designated New York City Landmarks, are among the country’s most significant examples of Art Deco design.
Into the 1910s, no limits on building height or bulk existed in New York City. In 1916, New York implemented the nation’s first zoning regulations, which permitted unrestricted height on one-quarter of a building site, but required skyscrapers to taper as they rose to allow light and air to reach the street. Six years later, architect and critic Harvey Wiley Corbett and architectural delineator Hugh Ferriss first published a group of dramatic renderings that explored zoning’s impact on the shape of tall buildings. Presented as a series of illustrations progressing from the abstract, pyramidal shape of the zoning envelope to a stepped-back practicable building form, these drawings were profoundly influential, catalyzing a trend in which “buildings endeavored to take on the feeling of sculpted mountains, their shape suddenly more important than their historical detail or even their style.” So pervasive were the new stepped-back skyscrapers that by the mid-1920s, architects and critics spoke of an emerging “setback style”; these buildings “helped to popularize an aesthetic of simple, sculptural mass that became the benchmark of progressive design.”
Another important influence on 1920s skyscraper design was Eliel Saarinen’s 1922 competition entry for the Chicago Tribune’s new tower. With its straightforward shape, vertical emphasis, and limited ornament, Saarinen’s ahistorical design was “taken to be style-less and was thought in the twenties to have freed architects from what seemed the inevitable alternatives in skyscraper design, Gothic solutions on the one hand and vertically stretched Classicism on the other.”
During this period, the issue of what constituted “modern” design was expounded upon in the press and occupied the thoughts of many architects, who sought an appropriate means of expressing the societal changes brought about by new technology and manufacturing processes. A dichotomy existed, according to Ada Louise Huxtable, between the “modern” architecture of Europe and the “modernistic” new skyscrapers of New York:
‘Modern’ was radical, reductive, and reformist; ‘modernistic’ was richly decorative and attached to conservative and hedonistic values. ‘Modern’ was the austere, abstract, elite, avant-garde work of … [Walter] Gropius, Mies [van der Rohe], and Le Corbusier, united in its early days under the rubric of the International Style.
‘Modernistic’ was neither pure nor revolutionary; it fused the ornamental and the exotic for what was really the last great decorative style.
Only a handful of International Style skyscrapers were constructed in the United States before World War II. Far more popular was the “modernistic” style, which was later termed “Art Deco” based on its debt to the 1925 Paris Exposition Internationale des Arts Decoratifs et Industriels Modernes. Flamboyant, dynamic, and dazzling to the eye, Art Deco’s primary characteristic was its “sumptuous ornament, and the lush textures and colors achieved by combining several materials, such as stone, brick, terra cotta, and metal.” Gilding and shiny materials were frequently used, and favorite decorative motifs, drawn from the natural world and geometric forms, included “spirals, sunflowers, steps, zigzags, triangles, double triangles, hexagons, fragmented circles, and seashells.” Inspirations included the products of the machine age—the gargoyles of the Chrysler Building, based on automotive radiator caps, are one example—as well as ancient and pre-industrial cultures; Art Deco representations of animals, fish, and humans reflected Cubist and folk-art influences. Frequently, facades were given a woven fabric treatment, in buildings including One Wall Street and the 21 West Street Building . Wall surfaces read as thin decorative veneers, as “stage sets” to a public infatuated with movies and the theater. Some architects made literal the theatricality of the Art Deco style, including Joseph Urban, whose Ziegfeld Theater imitated a stage on its facade, complete with proscenium and raised curtain.
The Art Deco skyscraper married the style’s exuberant, showy ornament to the tall building forms inspired by the 1916 zoning law and the Chicago Tribune competition. Like the movie palaces of the time, Art Deco skyscrapers had an accessible, comprehensible grandeur and were essentially conservative works; they maintained the conventions of past commercial skyscrapers. Ornament continued to be concentrated at the base and the crown, where brightly colored terra cotta ornament, highly polished stone, lighting effects, gilding, and other features attracted attention from near and afar.
As Art Deco was conquering New York, a new skyscraper form, the slab, emerged. Into the 1920s, the city’s tallest skyscrapers were typically constructed on enormous lots. These sites were big enough, as with the Chrysler Building, to allow for “geometrically pure” square, needle-like towers that broke free of their bases and pierced the sky. But as large lots became rarer and developers sought to construct tall office buildings on narrow lots, this approach became unfeasible; the square tower, if made too small, lost too much of its internal space to elevators. As a result, new skyscrapers on narrower lots took on a slab-like form, their long and rectangular upper stories seemingly extruded from their bases. The pioneering slab skyscraper was H. Douglas Ives’ and Sloan & Robertson’s 38story Fred F. French Building at Fifth Avenue and 45th Street, which was constructed on a relatively small lot. But the master of the slab at the end of the 1920s was Raymond Hood, whose Daily News Building marked the most radical departure of any tall building from previous skyscraper form. Despite the rich Art Deco bas-relief over its main entrance, Hood’s building, with its artfully planned setbacks and flat, unornamented roofline, came closer to abstract sculpture than any skyscraper before; falling, in style, “between modern and modernistic,” it forsook the decorated crown of the Art Deco skyscraper and approached the purity of the International Style. Hood built upon his experience with the Daily News Building in designing another of the city’s great slab skyscrapers, the RCA Building at Rockefeller Center , which was completed in 1933. But with the Depression remaining entrenched and money for office buildings drying up, few Art Deco skyscrapers were completed in New York after Rockefeller Center, and the style, increasingly employed for government and institutional buildings, became considerably more restrained.
Jesse H. Jones and the Houston Properties Corporation
The builder of 275 Madison Avenue, Jesse Holman Jones was a towering figure in Houston, Tex. and Washington, D.C. during the first half of the twentieth century. Houston’s preeminent real estate developer, builder, and banker from the 1910s into the 1950s, Jones ensured the financial solvency of the Democratic Party in the 1920s, served under President Franklin D. Roosevelt as Chairman of the Reconstruction Finance Corporation and Secretary of Commerce, and amassed a fortune of a quarter billion dollars, most of which he left to charity.
Kenneth Franzheim
The versatile architect of 275 Madison Avenue, Kenneth Franzheim was a prominent designer of theaters, department stores, auditoriums, and office buildings.
History of 275 Madison Avenue
Before its acquisition for the construction of the 275 Madison Avenue Building, the site at the southeast corner of Madison Avenue and East 40th Street was of the same exclusive residential character as the rest of Murray Hill. Although it was vacant in the early 1850s, three attached rowhouses—273, 275, and 277 Madison Avenue—each slightly less than 25 feet in width, were built there by 1862; they went on to serve, for decades, as “the homes of many distinguished citizens of New York.”
With the area just to the north developing into one of the city’s great commercial centers, business had infiltrated the row by 1920. In the 1920s, the area below Grand Central was evolving “into the city’s second most important financial center,” and in 1922, the New York Trust Company purchased, and opened an office in, the corner rowhouse at 277 Madison Avenue. In 1929, New York Trust purchased the lot at 275 Madison, giving it the adjacent parcel to its “uptown branch”; in April of 1930, Jesse Jones was negotiating with the bank and the owner of 273 Madison with the goal of “assembling … a site for a tall office building at the southeast corner of Madison Avenue and 40th Street.” Within a month, Jones had acquired the entire 74’-by-150’ corner parcel—which included two stable buildings at 24 and 26 East 40th Street constructed before 1910—and created the 277 Madison Avenue Corporation to undertake the building’s financing and construction. This move followed Jones’ standard practice, as he once explained, of creating new corporations to construct each of his buildings “so that if one building got into trouble, it would not involve any other.”
Plans were soon in place to construct the skyscraper originally marketed as 22 East 40th Street, but called, by the end of the 1930s by its current name, 275 Madison Avenue. In May of 1930, New York Trust received approval from state banking authorities to move its branch across Madison Avenue until the new building was completed, and in June, Kenneth Franzheim filed plans for the building, which had a projected construction cost of $1.25 million. In July of 1930, Houston Properties announced its plans for the new 505-foot structure. The building’s construction proceeded quickly, with excavation taking about a month, and structural steel completed in about three months, between early September and the middle of December. Leasing was also underway, with the American Bankers’ Association taking two floors in the new building. New York Trust would occupy almost all of the ground floor and mezzanine—its banking hall designed by Walker & Gillette—and the top three floors were leased by Kenneth Franzheim, along with two engineering firms. Franzheim maintained his office in the building while living at 1158 Fifth Avenue.
Perhaps because of the city’s gloomy economic climate, the Times repeatedly reported on 275 Madison as its construction progressed. At the end of July, the newspaper published Franzheim’s rendering of the building, and at the end of December, it ran a detailed article on this new “mammoth structure” in the Grand Central district. The Times ran additional short pieces when the American Bankers’ Association and New York Trust Company moved into the completed building in April and June of 1931, but Cross & Brown, the building’s agent, clearly faced a tough market, promoting not only the building’s location in the “Uptown Wall Street district” but also its value. In one advertisement, Cross & Brown explained how the skyscraper’s “superior floor arrangements” permitted one tenant to save money by renting a smaller space than it otherwise would have needed, and another advertisement promoted “the finest offices in the district at the price.”
Design of 275 Madison Avenue
Franzheim’s completed building is a distinguished example of Art Deco design. Considered one of the city’s notable skyscrapers of its time, it was described in one contemporary account as being “of novel aspect” and would be photographed in 1936 by Berenice Abbott as part of her famous “Changing New York” series, which chronicled the evolution of the city’s streetscape during the 1930s. Like many Art Deco skyscrapers, 275 Madison Avenue has a strikingly ornamented base; three stories high with tall rectangular openings, it was treated by Franzheim “as a sort of stage setting … related to the street.” With a compelling black-and-silver color scheme similar to those of the Fuller Building and Bloomingdale’s Lexington Avenue building , the base’s taut, polished granite skin is set off by bright metal door moldings, window frames, and faceted mullions. The motifs within its ground-floor windowsills, the stepped and starburst elements within the spandrels between the ground-floor and mezzanine windows, and the zigzagging molding around the Madison Avenue entrance to the first-floor banking hall reflect Art Deco’s affinity for abstract geometric forms. Unusual abstract ornament in contrasting unpolished granite also fills the space between the third-floor windows, implying a cornice; resembling folded fabric and reminiscent of Urban’s “raised curtain” on the proscenium-like façade of the Ziegfeld Theater, this motif reads as a valence or curtain over the “stage” of the base, particularly over the main, 40th Street entrance. At that entrance, lights concealed by angular shell-like sconces dramatically illuminate the bright metal ornament over the doors.
Rising above the base is 275 Madison Avenue’s dramatically massed slab-form tower, its vertical white-brick stripes likely inspired by Hood’s streamlined Daily News Building, which bridged Art Deco and the emerging International Style when it opened in 1930. As with Daily News—where Hood sought to conceal the windows to avoid the effect of a wall “shot full of holes”—these stripes alternate with dark window bands, which emphasize the building’s vertical ascent. The spandrels of 275 Madison are composed of grids of black terra-cotta tiles, and together with the windows, they form unified, mesh-like bands that were particularly visually effective with the building’s original multipane sashes. Above its base, 275 Madison Avenue is virtually free of ornament, except for simple black geometric motifs on and near its setbacks and crown; the “exclusion of obstructive ornament” around its flush-mounted windows and of “entablatures, architraves, pediments, cornices, and other conventional ornamental devices” reflected the emerging functionalism of the early 1930s and was promoted by Franzheim as making the interiors “virtually shadowless,” although it may also have been a cost-saving measure. Berenice Abbott likely saw the building’s clean, streamlined form as representative of modern New York City, juxtaposing it, in one photograph, against the fussy iron balconies and ornate ornament of the old Murray Hill Hotel.
Above the twelfth floor, the slab begins to step back from the streetwall. With fewer setbacks on its east façade than the west, the building’s main facade is asymmetrical, although this is barely noticeable from East 40th Street. Above the setbacks, the slab narrows considerably to a nearly square plan, which is largely a product of the 1916 zoning law and the building’s small site; unlike larger buildings’ square towers with their central service cores, this building’s elevators are grouped at the tower’s south end, making the most economical use, like most slab skyscrapers, of a narrow floor plate. Reflecting the increasing influence of the International Style, 275 Madison originally terminated with a sparely ornamented, flat crown, marked by little more than austere striped ornament, corbelled piers, and notches at its four corners.
Later History
Despite difficult economic conditions, Cross & Brown succeeded in attracting tenants to the building; in 1933, the Johns-Manville Corporation, then a major producer of asbestos-based building products, leased fourteen floors. Nevertheless, the Depression rapidly caught up with 275 Madison Avenue. It was clear that the Midtown office market had crashed by November of 1931, when the Times reported that three proposed skyscrapers in the Grand Central Zone—including a 65-story office tower planned by Houston Properties on Madison Avenue between 38th and 39th Streets—had recently been canceled. By July of 1932, Houston Properties’ building at 10 East 40th Street was in default, as was 275 Madison, which also had substantial unpaid taxes. In 1933, New York Trust took title to the building, but it remained “in arrears” in the following year.
Better times followed, as in 1943, 275 Madison was purchased by an investment group. In a transaction that was seen as a sign of a reviving Midtown real estate market, American Home Products, which was among the building’s investors, took a long-term lease on most of its top 23 floors and based its headquarters there. Eight years later, AHP sold the building to Tishman Realty & Construction, but it leased back its space—comprising all of seventeen floors and parts of seven others—from Tishman. At that time, 275 Madison had several major corporate tenants, including Procter & Gamble and Babcock & Wilcox, a large boiler-making concern; New York Trust and Johns-Manville also remained in the building. In 1961, American Home Products left the building for its own office tower, and its space was leased to other firms. In 1998, RFR Holdings , a subsidiary of RFR Frankfurt of Germany, purchased the building’s 98-year lease, and today, under the continued ownership of RFR, the 275 Madison Avenue Building remains an outstanding example of Art Deco architecture dating from the end of New York’s skyscraper boom of the late 1920s and early 1930s.
Description
No. 275 Madison Avenue is a 43-story skyscraper composed of a three-story, black polished-granite base supporting a 40-story slab-form, setback tower faced in white brick and black terra-cotta tiles. The tower, which has both upper and lower portions, is topped by a non-historic penthouse. With a footprint of approximately 74’-by-150’, the building has two main facades, on Madison Avenue and East 40th Street. Although the building’s base has always had a black-and silver color scheme, the materials of the base’s silver-colored ornament—primarily, its window frames, mullions, door surrounds, and decorative spandrel panels—is difficult to determine because they are painted with silver-colored paint. Examination of one of the first-floor windowsills on the Madison Avenue façade, where paint has flaked off of the surface, indicates that the base’s metal ornament may be painted zinc.
Several changes were made to the building beginning in 2004. This work included the installation of a translucent green-glass panel and supporting metal framework over the main, 40th Street entrance, as well as minor alterations to the storefronts and storefront entrances east of the main entrance. The biggest change on the Madison Avenue façade was the removal of the historic, recessed Madison Avenue building entrance—which contained a wide transom bar crowned by two shell-like sconces that were likely identical to those at the 40th Street entrance—and the incorporation of the entrance recess into the adjacent storefront. Also at that time, the opening just to the north of this entrance was altered, with the removal of half of its decorative sill and the installation of a swinging door for a new automatic teller machine vestibule; pin-mounted stainless steel numerals reading “275” were installed at the northwest corner of the building, on both the Madison and 40th Street facades. A window-replacement campaign begun in 2008 resulted in the replacement of most of the sashes on the building’s tower with one-over-one, double-hung sashes.
All elements included below should be considered historic, unless described otherwise.
Base: East 40th Street Façade
This asymmetrical façade contains the building’s main entrance. It is eight bays in width, with the main entrance recess at the fifth bay in from Madison Avenue. The main entrance door set, consisting of metal-and-glass revolving and swinging doors, is not original to the building. Above the doors is a black metal transom bar, probably original, containing gold-colored letters, likely non-historic, reading “275 MADISON AVENUE.” This sign band is crowned by a large transom opening containing a window divided into five parts horizontally and four parts vertically. The lowest and highest quarters of the transom contain plain panels, possibly lighted from behind; the third quarter of the transom from the bottom contains five single-pane sashes. The second quarter of the transom from the bottom contains four identical decorative spandrel panels; each of these is fabricated of metal and contains abstract ornament resembling a skyscraper crowned by a starburst. The black “skyscraper” within each of these panels is executed in a contrasting ribbed material, possibly painted metal. Five abstract, angular sconces resembling seashells sit on the transom bar; the four flanking the central seashell contain partially concealed, non-historic light fixtures that project light upward. The transom also has four identical, faceted mullions that curve outward at their bases and extend from the transom’s base halfway up its length; two identical pieces flank the window, forming a partial surround. A larger, but similar faceted vertical piece at the center of the window is attached to a curving, prow-like projection and steps back twice near its peak. Metal grilles composed of rectangular geometric elements made up of thin metal members are attached to the lowest and highest quarters of the transom window. Five square, non-historic light fixtures are attached to the soffit of the main-entrance recess.
Flanking the main entrance on each side and attached to the main-entrance reveal is a recessed, rectangular light panel. Each panel is covered with a metal grille composed of rectangular geometric elements made up of thin metal members, with hinges, and a crowning star and keystone. The west reveal has a rectangular door opening containing a metal door with its historic handle. To the right of the door is a non-historic “no smoking” sign; below this sign are metal, individually mounted letters reading “22 EAST FORTIETH.” The east reveal contains a non-historic “no smoking sign,” a non-historic door buzzer panel, and a non-historic “for handicapped service” sign. Non-historic bright, reflective metal covers the corners of the main-entrance recess, where it meets the building’s front wall. A non-historic translucent panel composed of two pieces of green glass and metal attachments is installed slightly outward from the front building wall, and covers approximately the top half of the main entrance recess. It is attached to the metal-covered corners of the main-entrance recess with two non-historic metal rods and eight large non-historic metal brackets. Attached to the front of the glass are non-historic metal numerals reading “275.”
The base of 275 Madison Avenue is essentially flat, except for a slight, sill-like projection that extends the width of the façade. West of the main entrance are four tall openings. Each of these openings contains an identical metal window, each with an angled, non-projecting sill containing raised ornament in a simple geometric pattern; the raised portions of these sills are painted silver, and the recessed portions black. Each of these windows is split into three vertical parts, consisting of a ground-floor portion, a mezzanine portion, and decorative spandrels, identical to the “skyscraper” ornament of the main-entrance transom, separating the two. At the ground floor, the window is tripartite, containing a large central pane flanked by two slightly shorter panes; each of the shorter panes is headed by an almost-square, single-pane sash. The mezzanine portion of each window comprises five single rectangular panes. Projecting, faceted mullions extend from the sills to a point just above the spandrels; shorter but similar faceted projections begin above the central first-floor pane and separate the central three spandrel panels from each other. Although signage for the bank occupying the ground-floor space is visible through the windows, it is set several inches back, except for decals reading “Valley National Bank” that are affixed to the inside of the glass. Two non-historic signs reading “Valley National Bank” are also present at the ground floor west of the main entrance, as is a siamese connection. Above the westernmost window are non-original metal numerals reading “275.”
The spandrel and mezzanine portions of the three windows east of the main entrance are identical to those west of the entrance, except at the central of the three windows, where the central spandrel panel is wider than the others, and of a slightly different design. Other portions of these windows and their openings appear to have been altered, although the extent of this alteration is unclear, as no historic photographs of this portion of the base have been found. The central opening of the three windows contains, at its ground floor, a recessed entrance with polished black granite reveal, paved with non-historic beige ceramic tile and containing two non-historic metal swinging doors with sidelights and single-pane transoms. These doors are separated by a black metal pier; each is set at an angle and serves a different storefront. The soffit of this entrance recess is of black metal, with a non-historic single-tube fluorescent light fixture; the east reveal has an outlet box and lock box, both with conduit. Over the entrance is a non-historic metal box containing a security gate. Between this box and the spandrel panels is a split sash, its eastern half containing a single pane, and its western half containing a metal louver. The metal faceted surround of this window appears to be original to the building, although its sill, just above the security gate box, does not. Two non-historic metal blade signs reading “KODAK” and “food merchants” flank the central opening. An outlet box with conduit is attached to the façade just east of the entrance recess.
Within the easternmost opening, the portion of the window below the spandrel panels is split into two large single-pane sashes, with a non-historic metal bar separating them. Although the original faceted window surround remains, it may have been extended with additional metalwork to a non-historic metal sill. The opening two bays to its west appears to have undergone similar treatment, although the portion of its window just below the spandrel panels is split into two parts by a vertical bar. It is presumed that at least two of the openings east of the main entrance had decorative, angled sills identical to those west of the main entrance. A siamese connection is installed between the main-entrance recess and the third-easternmost opening; also between this opening and the main entrance are the ghosts of pin-mounted letters once identifying 275 Madison Avenue as the Johns-Manville Building.
A band of rectangular window openings—six to the east of the main entrance, and twelve to its west—exists at the third floor. Seventeen of these openings are filled exclusively with one-overone, double-hung sashes, which appear to be non-historic. The third-floor opening immediately to the east of the main entrance contains a one-over-one, double-hung window and a short metal louver, neither of which is likely historic. Contrasting, light gray abstract geometric ornament in unpolished granite, possibly painted with silver-colored paint, fills the space between these windows and forms a band over the main entrance. The East 40th Street façade of the base is crowned by two flagpoles, which extend at an angle from their attachment points on the top of the base’s parapet, and flank the main entrance.
Base: Madison Avenue Façade
The Madison Avenue façade of the base is similar to the East 40th Street façade. Asymmetrical and four bays in width, its second-northernmost bay contains a stepped-back, recessed main entrance to the building’s ground-floor banking hall. Among the features of this entrance are a metal revolving door with sidelights, probably non-original; a high, single-pane transom window; and a black transom bar with metal enframement separating the two. These are set within a historic surround comprising a thick metal molding with a zigzag pattern; a transom covered with an apparently non-historic black panel; and an enframement composed of faceted black metal panels within a silver-colored metal frame. The surround is crowned by a historic octagonal clock set within a stepped surround. Above the main-entrance surround is a four-part metal window containing four single-pane sashes.
The openings flanking the entrance are of identical width and contain spandrel panels that are identical to those on the East 40th Street façade. They are narrower, however, containing only three panels and three mezzanine-level sashes. The northernmost opening on the Madison Avenue facade appears to be in original condition, containing a large single-pane sash and retaining its original sill and faceted window surround. A decal advertising Valley National Bank is affixed to the inside of the window, near the sill. The opening immediately south of the banking-hall entrance has been altered, with half of the sill removed and an entrance to an ATM vestibule installed. Above the vestibule entrance and its adjacent single-pane sash, which has a decal advertising Valley National Bank attached to its inside, near the sill, is a large single-pane sash. Although an illuminated box sign is visible through this upper sash, it is set back from the window. The southernmost opening is similar in its upper half to the others; seven spandrel panels in width, it retains its projecting, faceted window surround and one of its faceted mullions, as well as the faceted vertical elements separating each of the spandrel panels. Metal louvers installed above the spandrel panels are likely non-historic. This opening contains additional non-historic infill, including a pair of non-historic glass doors with single-pane sidelights, crowned by a large, frameless, single-pane transom. Although this opening’s historic sill only extends across a portion of the opening, this may be the opening’s historic condition. South and north of this opening are two non-historic blade signs. Two non-historic signs reading “Valley National Bank” are attached to the façade.
As on the East 40th Street façade, a band of rectangular window openings—eight in all—exist at the third floor. The northernmost and fifth-northernmost of these openings contain paired one-overone, double-hung windows, and the other openings contain single one-over-one, double-hung windows, all of which appear non-original. Contrasting, light gray abstract geometric ornament in unpolished granite, possibly painted with silver-colored paint, fills the space between these windows. Above the northernmost window are non-original metal numerals reading “275.”
Tower
The three-story base of 275 Madison Avenue is topped by a slab-form tower that brings the building to a height of 43 stories, not including its non-original, two-story penthouse. The building’s white vertical stripes are composed of white brick; these alternate with dark window bands that have spandrels composed of grids of black terra-cotta tiles. Its window openings originally contained threeover-three, double-hung sashes; while a few of these remain, most have been replaced by single or paired, one-over-one double-hung windows. Some of the existing window openings contain non-historic metal louvers. The lower portion of the tower—approximately the fourth through 23rd floors—rises in a series of setbacks, different on each façade, to a narrow, nearly square upper tower, which comprises approximately the 24th through 43rd floors. Both the lower and upper towers are sparely ornamented, except for simple abstract geometric ornament in contrasting white brick and black brick or terra cotta within some of the spandrels and at some lintels. The entire tower has seen few alterations, except for the construction of the penthouse and the replacement of some brick with new white brick, particularly at the corners.
Lower Tower
On the main, East 40th Street façade, the lower portion of the tower is fourteen bays wide at the fourth floor, the first floor above the base. Its openings contain paired one-over-one, double-hung windows. A recessed six-bay-wide central portion is flanked, on each side, by four bays, forming a light well. The central portion proceeds up to the 21st floor, after stepping back at its uppermost four stories to form a two-bay-wide peak. Simple, abstract geometric white-brick ornament decorates the black spandrels of the central portion on its stepped-back floors, and projecting white piers flanked by bands of black brick or terra cotta crown the two uppermost windows. The bays flanking the central portion of the main façade step back above the twelfth floor, and again two floors above. Two bays of windows face into the light well up to the twelfth floor, with one of these bays continuing to the fourteenth floor. The twelfth-floor spandrels and lintels of the flanking bays are decorated with simple black-and-white geometric ornament; black lintel bands are present at the setback floors above.
The Madison Avenue façade is six bays wide at the fourth through twelfth floors. Above the twelfth floor, it steps back in a series of setbacks to the upper tower. Above the first setback, the windows change from paired one-over-one, double-hung sashes to single one-over-one, double-hung sashes. Seven south-facing windows exist on the setbacks, overlooking the adjacent building at 271 Madison Avenue. Ornament on this façade is similar to that of the main façade.
The partially visible east façade is flat, faced in white brick, and virtually free of ornament. It has several window openings containing one-over-one, double-hung sashes. This façade steps back from East 40th Street above the twelfth, fourteenth, seventeenth, and twentieth floors. Above the 23rd floor, the entire façade steps back from the east plane of the building to meet the upper tower.
Upper Tower
The upper portion of the tower of 275 Madison Avenue is much narrower than the lower, slab-like portion of the tower. It is six bays wide on the East 40th Street façade, and five bays wide on the Madison Avenue and east facades. On the Madison Avenue façade, the openings of the two southernmost bays are filled with black panels. The south façade is eight bays wide, with window openings containing non-historic one-over-one, double-hung sashes within its three easternmost bays and an exposed vertical pipe set back from black, horizontal beams within the second-westernmost bay. The westernmost and third-, fourth-, and fifth-westernmost bays are composed of black vertical stripes. Some brick on the lower portion of the south façade of the upper tower is discolored, possibly by exhaust from the adjacent building to the south. All facades of the upper tower feature limited, abstract geometric ornament in white brick and contrasting black brick or terra cotta similar to that of the lower tower.
The upper tower originally rose to a symmetrical flat crown marked by notched corners and a parapet ornamented with black-and-white, chevron-like decoration and simple corbelled, projecting white brick piers. The roof has been altered with the construction of a two-story penthouse, which is primarily visible over the east and south façades. This glass-and-steel addition, featuring ribbon windows and chamfered corners, is topped by two levels of rooftop terraces with metal pipe railings. A vertical exhaust pipe is also visible over the east façade. Changes visible to the roof over the south façade include the removal of the tower’s southwest notch with the installation of a two-story-high white-brick addition, and the removal of ornament over the three window openings at the top of the south façade. Portions of the glass-and-steel addition are also visible over the easternmost portion of the south façade.
- From the 2009 NYCLPC Landmark Designation Report
It's that time of year again! Gear up for fall with this versatile boots.
Durable synthetic upper provides targeted support and a glove-like fit.
100% premium wool fleece wicks moisture away keeping feet dry and comfortable in warm or cold climates.
Foam insole covered in a genuine fleece sock liner means ultra comfort and warmth.
Taller height is cozy and comfortable against bare legs.
Wear with the shaft straight up or rolled down to add stylish flair.
Designed to be worn barefoot to maximize the benefits of wool fleece.
Rubber outsole delivers long-lasting durability on a variety of surfaces.
Excellent graining, tambour door lower cabinet, lockable drop down secretary with key? Gimme me break man! Available--- contact me via email kennyk@k2modern.com.
The big brother of the versatile M36 series, the M36A4 Sniper variant is easily the largest and most accurate incarnation of the rifle. Chambered for the heavy 7.62 x 51mm NATO cartridge, this rifle uses the integrated bipod from the DMR variant, a competition-grade 23" fluted barrel, a Tilltac Jericho recoil-reducing muzzle brake and a powerful Trijicon scope.
THE VERSATILITY OF THIS ESCAPE ARTIST, MAGICIAN, ILLUSIONIST, FORMER U.S.M.C. DRILL INSTRUCTOR 2X, RECRUITER FOR U.S.M.C., UNICYCLIST, JUGGLER, GYMNAST, MARATHON RUNNER, COMBAT INSTRUCTOR FOR NAVY SEALS, MARTIAL ARTS EXPERT IN A NUMBER OF ARTS, SURFER, DAREDEVIL, HANDGLIDER, FATHER OF FIVE CHILDREN, 6X WORLD RECORD HOLDER IN ESCAPOLOGY AND 46 MPH HANDSTAND ON SKATEBOARD TIED TO A MOTORCYCLE, TEACHER IN GYMNASTICS, MARTIAL ARTS, CIRCUS PERFORMER HIGH WIRE, PARACHUTIST, SPECIAL FORCES IN MARINES, FASTEST JAIL BREAK IN 22 SECONDS, FASTEST STRAITJACKET ESCAPE LESS THAN 7 SECONDS...IS UNMEASURABLE TO ANY OTHER ESCAPE ARTIST IN THE WORLD AND PERHAPS IN HISTORY. I HAVE SUPPLIED BUT A FEW PHOTOS THAT ARE LEFT FROM HOUDENNY'S EX-WIFE TAKING THEM AND PREVIOUS REPORTERS MISPLACING THEM DURING INTERVIEWS, WHICH IS A SHAME HAVING SO MANY YEARS LOST OF THIS MAN' TALENT.
www.ibmring362.org/WEAR2007.html
www.motiono.com/HOUDENNY/albums/177/
www.motiono.com/HOUDENNY/albums/
www.flickr.com/photos/12421016@N03/?saved=1
URL: myspace.com/houdenny
I turned up at at the University of Adelaide to shoot an amazing specimen box today. This was gong to be about a 2 hour shoot and one I had been looking forward to for some time. I love photographing old things with a bit of history.
When I arrived the client asked if I could shoot a few more items while I was there. There ended up being 10 items in total, all of varying sizes, one a 1metre wide fossil!. I certainly had not prepared for these. I had a good look around and found some paper and boxes to rig up a little seamless setup which worked great.
I had parked quite a distance from the university, but had taken a full lighting setup with me "just in case". What started out as a quick easy shoot became a pretty elaborate one that required tricky lighting and positioning. The results were fantastic, and the client will be receiving a great set of images with no hassle because I was prepared and made do with what I had at hand to pull it off.
So what are these items here? These are crampons used by Sir Douglas Mawson. What a buzz to handle and photograph these pieces. What an amazing man Mawson was, and I felt honoured to be responsible for recording some of his items today.
Peace, Denis
Fresh from helping out elsewhere during the busy Festival weeks, Lothian Trident 628 is seen back on the familiar territory of service 14. This one of the last dual-door buses (for those rear platform lovers the middle door is exit only!), and part of a diminishing fleet of buses still in the harleyquin (or hurleyquin!) livery.
Service 14's origins goes way back to Edinburgh tram days, when routes 13 and 14 served the Granton, Ferry Road, Bonnington and Leith Walk areas. However although the replacement bus route retained number 14, its southern end was altered to serve Newington, Prestonfield, Craigmillar and Niddrie and for a time Newcraighall. Nowadays the route runs between the 'council' estates of Muirhouse and Greendykes and 628 is seen at the latter's leafy terminus.
The harleyquin livery did not quite fit in with traditional 'Edinburghers' - it appeared to offer more identity with a dress design than with an historic city such as Edinburgh!
Virat Kohli, the versatile cricketer, is new test captain of Team India. He has been carrying out the role of vice-captain for some time and his mettle with captaincy has been proved recently with stipulating superb performances of Indian cricket team against SriLanka in home series one day...
The Twilght Series
Noel Cruz is one of the most versatile & distinguished repaint artists in the doll community. He is most recognized for his character & celebrity based dolls due to their uncanny resemblance to the people they portray. His dolls are derived from several models like Gene, Tyler, Sydney, etc, by various doll-makers such as Robert Tonner & Franklin Mint. His repaints as well as his portraits are done with intricate detail to the point of being naturally lifelike in essence. Highly regarded among collectors and artists alike, Noel attempts to raise the bar and bring a fresh take to the common mass produced doll with every face he paints. Noel's specialty is with one of a kind repaints. The beauty of repaints is that almost no two are exactly alike just as no two artists are alike.
Visit my web site at www.ncruz.com
The Versatile Velomobile was introduced at the Velomobile Seminar in Germersheim, Germany in April 2004.
Tried a few different lenses on the NEX3 this past weekend, its a great camera, the versatility of different lenses makes it a fun camera.
The Agora in the City of Arts and Sciences is a versatile space that will allow the holding of varied events. A multi-functional setting has been planned for the staging of congresses, conventions, concerts, and performances; it can also be converted into an exhibition area. This building hosted successfully the Valencia Open 500 Tennis Tournament, one of the most important international sports meetings.
The Agora is a metallic structure with a ground plan resembling a pointed ellipsis some 88 metres long and 66 metres wide, and a covered area of some 4,811 square metres. This large interior space has been conceived as a covered public square with an open ground plan on a level with the adjacent lakes and parades. The fixed roof, which when closed has a maximum height of some 70 metres above ground level, will be covered with glass panels, and the lower section with opaque panels lined with trencadis.
is a pair of maxipad slippers. So versatile, so chic, so absorbant! Notes from the creator:
Instructions on how to DIY:
You need four maxi pads to make a pair.
Two of them get laid out flat, for the foot part.
The other two wrap around the toe area to form the top.
Tape or glue each side of the top pieces to the bottom of the foot part.
Decorate the tops with whatever you desire, silk flowers (this is most
aesthetically appealing), etc.
These slippers are:
* Soft and Hygienic
* Non-slip grip strips on the soles
* Built in deodorant feature keeps feet smelling fresh
* No more bending over to mop up spills
* Disposable and biodegradable
* Environmentally safe
* Three convenient sizes: (1.) Regular, (2.) Light and (3.) Get out the
Sand Bags.
I added a peasant blouse by Darla's Delights to Hope's dress, made by Karen at Buttons and Butterflies. It's so versatile! So is Ms Hope!
If you are looking for a second life avatar skin that is elegant, sophisticated and versatile, then you should definitely try our new Katrine skin. Katrine is an avatar skin that we designed with care and passion, thinking about the needs and tastes of those who want to give a touch of class to their avatar. Katrine is an avatar skin that fits perfectly on the Genus head, one of the most popular and appreciated in the world of Second Life. Katrine is available in 16 Velor color shades.(one tone of which can be found as a gift in our stand) Each shade of Velor color has its own personality and style. Plus, at our booth you’ll find an exclusive shade of Katrine as a gift, which you won’t find anywhere else. The Skin Fair is the most important event of the year for second life lovers, where you can find the latest news and the best offers on avatar skins. The Skin Fair will be held from 8 to 25 March 2024, and we will be present with our virtual stand, where you can try and purchase our Katrine leather at a special and limited price. Don’t miss this unique opportunity to make your avatar more beautiful and charming with our Katrine skin. We are waiting for you at the Skin Fair!
Shape compatible with Genus head
brow options (browless included)
HallNails Skin Faire 2024
A striking overhead photograph of the Sandberg California TT Bass, a premium German-made instrument known for blending classic aesthetics with modern performance. This model features the iconic Jazz Bass (J-Bass) body shape finished in a vibrant metallic green. The stunning color is beautifully contrasted by a large black pickguard and bright chrome hardware, including a high-mass bridge and control plate. The dark fretboard, accented with white rectangular block inlays, adds a strong vintage flair while ensuring excellent playability. The California TT is highly respected by bassists for its versatile tone, meticulous build quality, and exceptional boutique craftsmanship.
Beautiful Ballerina Dancer in Pointe Shoes & Leotard! Golden Ratio Composition Ballet, Ballerina, & Dancer Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Support my Epic Physics Theory: Light, Time, Dimension Theory!
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Regarding the award-winning physicist Dr. Elliot McGucken at Princeton University, the late John Archibald Wheeler stated, "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student. . . Originality, powerful motivation, and a can-do spirit make me think that McGucken is a top bet."
Dr. E would go on to heal the blind with his NSF-funded, award-winning Ph.D. dissertation which also laid down the foundations of Light Time Dimension Theory. Over the years, LTD Theory added foundational *physical* postulates, principles, and equations en route to becoming numerous books, with this one forming the simple, illustrated introduction. My fine art photography (writing with light) graces the books!
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Cadishead and Irlam Guardian 1937
'HARRY HOPEFUL'
LAST OF A POPULAR RADIO CHARACTER.
MR. FRANK A. NICHOLS, OF IRLAM.
"Guardian" Special!
Mr. Frank A. Nichols is as versatile behind the counter as an Irlam jeweller and fancy dealer as he is when broadcasting in one of his several characters.
Probably that of "Harry Hopeful," a glassblower, in search of employment, has been one of the most popular and the 11th and final broadcast in the series of sketches, which have extended over a period of two-and-a-half years, was as enjoyable as ever, no doubt, to the many thousands of listeners on Tuesday evening.
To finish with "Harry" was auctioned among the company in the broadcasting house for the "North Regional programme and fetched 6s. 6d. "Much to my astonishment," he told the "Guardian" in a humorous vein, "I thought I should fetch thousands. "He was sold as a "Tommy owt," a term applied in Yorkshire to a man who does anything he is told on a farm.
How "Harry Hopeful" Originated.
"I was called rather hurriedly into the office of the programme director one evening in 1933 and asked if I would read a few pages of script put into my hands. Everything was ready to present a new kind of programme, but there was no one to play the chief part in this new sketch. I consented without reading the script through, written, as it was by D.G. Bridson, with whom I have since travelled hundreds of miles, probably thousands, of northern countryside.
The sketch, or series of sketches, was one of Mr. Bridson's inspirations and I fell for the character of "Harry Hopeful" very readily. I liked the name. No other could have better suited the part, and I determined to put my very best into it. I realised the demands such a character would entail, and I leave it to many, thousands of listeners as to whether I have succeeded or not.
The keynote has always been to give pleasure and amusement to listeners, and I have been much encouraged and very grateful for the innumerable letters of appreciation I have received.END.
Cadishead and Irlam Guardian March 1938.
THE LATE MR. F.A. NICHOLS.
AN APPRECIATION By F.W. BAKEWELL.
Reports in the Press, messages over the radio, and the numerous letters and telegrams received at his residence during the last few days have revealed the quality and quantity of Mr. Nichols' social contacts.
As the mythical "Harry Hopeful" he travelled many thousands of miles in search of people to bring to the microphone. Many unique and interesting people sang or talked into the microphone for the first time on Harry's introduction.
Many hours have I listened as Mr. Nichols related his experiences to me. The secret of his success was a well-balanced personality, which was a true expression of his real self.
Such mental and spiritual maturity bestowed upon him a charm and friendliness which endeared him to people of high and low degree.
He had a great and detailed knowledge of human nature, which together with his particularly mature personality was the true reason of his success as a character actor.
The "Harry Hopeful" role was most certainly his most successful character study. No other reason can be given than this. It was true expression of Frank Nichols' character and his attitude towards life.
GAP.
much of his leisure to amateur dramatics and was instrumental in founding the Irlam and Cadishead Amateur Dramatic Society, which performed very satisfactorily during its short existence three of Gilbert and Sullivan's well-known operas "The Mikado," "Yeoman of the Guard," "Pirates of Penzance," also "Hobson's Choice."
ON THE AIR.
It is more than 12 years since he became associated with the B.B.C., and his numerous sketches on the wireless were very popular. He will be well remembered in the respective characters of Jack Point, Coco and Mr. Hobson, in which he excelled. Among other characters he had filled so well in the children's Hour were Gipsy Robin and Gummidge, a scarecrow come to life again. Adam, the Scottish gamekeeper, Griffith Griffiths, from Wales, and others, but the most popular of all his broadcasts was undoubtedly as Harry Hopeful.
THE MAN AND THE CHARACTER
His travels as a country lad in search of a job occupied two-and-a-half years and his last broadcast in the series was the 11th. In August last he narrated to the "Guardian" how he came to be "Harry Hopeful." It was a case of the man for the character.
The funeral took place at the Parish Church, Irlam, after a service at the Congregational Church, Cadishead. Mr Victor Smythe, outside director of the B.B.C.., Mr R. Coatman, director of the North Regional, Colonel Fortey, director of public relations, and Mr Edward Wilkinson, director of drama at the B.B.C., attended the funeral.
Graphic View I
This beautiful looking beast of a camera is a Graphic View Model 1. Introduced in the 1940's, the Graphic View is a highly versatile camera, designed for studio and field work. Its large, red bellows, tilt shift capabilities and interchangeable lens boards and film backs make it one of the most versatile cameras in the world. It can take pretty much any kind of photos, on kind of film, with any lens and shutter.
This camera has been fitted with a Graflok film holder, rather than the standard spring back the camera originally came with. The Graflok back was fitted since it is more versatile, and can be used with any 4x5 film holder or adapter. This means you can use the camera with 4x5 film, Polaroid film, 120 format film, anything you like! All you need is the right back, and you can shoot on just about anything!
This baby is VERY versatile, capable of incredible quality portrait, landscape, tilt shift and macro photography.
The camera itself is in mint condition, serviced by myself. The bellows are supple and light-tight, each nut and bolt has been tightened and the camera has been thoroughly cleaned. Each lens and shutter is in immaculate condition.
The list of parts and accessories in this kit include:
1x Graphic View Body/rails assembly, with Graflok back, ground glass viewer with fresnel screen and pop-out view box
1x Tominon 75mm f4.5 lens in Copal press shutter
1x Tominon 135mm, f4.5 lens in Copal press shutter
1x Ilex 80mm f1.3 lens in Ilex shutter
1x Graflok back
1x Shutter release cable
2x Spare Copal size 0 lensboards
1x Spare Copal size 1 lensboard
1x Tripod mount
1x Case
PictionID:46664911 - Catalog:14_022378 - Title:GD Astronautics Model Details: Versatile Upper Stage (VUS) - Filename:14_022378.tif - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum