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This ploughing engine was originally built in 1917 but has been converted to diesel.
Ploughing engines are a distinct form of traction engine, characterised by the provision of a large diameter winding drum driven by separate gearing from the steam engine. Onto the drum a long length of wire rope was wound, which was used to haul an implement, such as a plough, across a field, while the engine remained on the headland. This minimized the area of land subject to soil compaction.
The winding drum was either mounted horizontally (below the boiler as here), vertically (to one side), or even concentrically, so that it encircled the boiler. The majority were underslung (horizontal), however, and necessitated the use of an extra-long boiler to allow enough space for the drum to fit between the front and back wheels. These designs were the largest and longest traction engines to be built.
Mostly the ploughing engines worked in pairs, one on each side of the field, with the rope from each machine fastened to the implement to be hauled. The two drivers communicated by signals using the engine whistles.
John Fowler & Co Engineers of Leathley Road, Hunslet, Leeds, West Yorkshire, England produced traction engines and ploughing implements and equipment, as well as railway equipment. Fowler also produced the Track Marshall tractor which was a tracked version of the Field Marshall. British Railways Engineering Department locomotives ED1 to ED7 were built by Fowler
This was seen at Knowl Hill Steam Rally which was an internationally known event that was held every August. It was last held in 2004, after which it was discontinued due to increasing insurance premiums.
www.steamscenes.org.uk/engines/fowler/ploughing-engine/14...
en.wikipedia.org/wiki/Traction_engine#Ploughing_engine
Sooooo much cooler than my car which is still driven by stinking old gasoline! Like gazillion times cooler.
This is going to be my "Words" cliche entry for Cliche Saturday scavenger hunt. I was not driving when I took this, I swear. I had to restrain myself plenty of times from pulling out an iPhone while on the road and trying to take a shot of a fun bumper sticker on a car right in front of me. I may still do it one day, but this will be the whole new level of crazy! HCS, everyone!
Jenson Team Rocket RJN McLaren 720s GT3 driven by James Baldwin and Michael O'Brien at Donington Park 20 September 2020
I've driven by this place many times, but never bothered to stop in. Well, I finally made time, and I'm glad I did!
The large building in the back is the visitor's center, which is the only building from the original camp still standing.
Driven:Anton Darhuber,
Benjamin Fischer and Sandra Troian: Microfluidic Research and Engineering Laboratory, Department of Chemical Engineering 2nd prize
This image illustrates evolving dynamical patterns formed during the spreading of a surface-active substance (surfactant) over a thin liquid film on a silicon wafer. After spin-coating of glycerol, small droplets of oleic acid were deposited. The usually slow spreading process was highly accelerated by the surface tension imbalance that triggered a cascade of hydrodynamic instabilities. Such surface-tension driven flow phenomena are believed to be important for the self-cleaning mechanism of the lung as well as pulmonary drug delivery.
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.
crop based on suggestions by glenbourne at home
I decided to crop like glenbourne suggested, as this one is far closer to what I saw that moment. the other crop might be more interesting with regards to composition, shadows and details - but I did not really notice this part of the scene rather than the whole scene..
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Whydontukissthis, driven by Brett Beckwith, paces to victory at Saratoga Casino and Raceway earlier this month.
All rights reserved. Protected with PIXSY
And sometimes, after a lot of color, I need to do a monochrome image.
I am sure someone who is into classic cars would be able to identify this auto by that emblem on the steering wheel but I am at a loss.
Porsche LMP2000 (Type 9R3)
First public appearance as part of the 70th anniversary celebrations of Porsche.
The Porsche LMP2000 (also known as the Porsche 9R3) was a Le Mans Prototype racing car that was developed between 1998 and 2000, but never raced. One car was built, and it was designed around a modified version of Porsche's 3.5-litre V10 engine that was originally designed for Formula 1 in 1992. The project was cancelled before the car was built, leading to various rumours about the reason for its demise.
In 1998 Porsche designed a Le Mans Prototype for the following season, assigning it the codename 9R3. It was initially to use a modified version of the turbocharged flat-six engine found in the Porsche 911 road car, but, although the design was completed in November 1998, Porsche opted against building the car. Due to the inherent flaws of using the heavy flat-six and the extra cooling the engine would've needed, Porsche instead redeveloped the 3.5-litre V10 engine that was originally developed in 1992 for Formula One, to replace the V12 used by Footwork Arrows; it was redesigned for both 5-litre and 5.5-litre capacities, and the pneumatic valve springs were removed, as the air restrictors mandated under LMP regulations made them redundant. The chassis was unaltered apart from suspension geometry for newer tyres and the engine mountings to accommodate the new engine. In May 1999 the project was halted, but the chassis was completed and underwent a two-day private test, driven by Allan McNish and Bob Wollek who reportedly gave positive feedback.
Despite Porsche's initial denial of the 9R3's existence rumours circulated about its cancellation including: the engineers were diverted to the Porsche Cayenne SUV project; to avoid competing with its Audi R8 stablemate which won the 2000 24 Hours of Le Mans; insufficient competition after the withdrawal of BMW, Toyota, Nissan and Mercedes-Benz. The engine from the car was used in the Porsche Carrera GT concept car and was detuned for the production version.
Goodwood Festival of Speed 2018
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As aircraft lost their necessity and fell into disrepair following the apocalypse, a common practice became to transplant a still-working aircraft engine onto a combat car chassis and creating a ‘wind wagon’. Despite being crude and dangerous, wind wagons were the fastest vehicles on the vast wasteland deserts.
I've test driven a Camaro and it's a heavy driving car.....was surprised to see one lift up like this.
Pretty cool, huh? (Zmax Dragway, Conover, NC)
Luther Taylor Homestead/Shane Cabins
As many times as we've driven the Gros Ventre Road through the eastern section of Grand Teton National Park and the Bridger-Teton National Forest, I only noticed this small group of cabins by the side of the road last June.
Like the other intact, and partly intact, historic homesteads in Jackson Hole, its history is interesting. It was originally established in 1916, and acquired by Luther Taylor whose name is still the homestead's official designation, in 1923. By 1951 it was under new ownership but no longer occupied as ranch buildings. That's the year that Paramount Pictures rented the cabins, which were still substantially intact compared to today, to use as the set for the famous movie, Shane.
Because of its regional historic, and international cultural value, efforts are underway to list the "Luther Taylor/Shane Ranch" on the National Register of Historic Places. However, unlike the White Grass Dude Ranch elsewhere in Grand Teton National Park, I don’t believe there is a project in the works to stabilize, salvage, or restore these sturdy, but slowly deteriorating, structures. Perhaps Historic Register status will make it easier to obtain funding to do so.
The Lockheed Super Constellation, or "Connie" was one of the last great propeller driven commercial Airlines of the "Golden Age of Flight." Designed in the late 1930's the Connie was ordered by TWA and it's eccentric stockholder Howard Hughes. During WW2 the Connie was labelled the C-69 and used in a military transport role. After the war the Connie became the overseas and continental workhorse of some of the most iconic airlines of the era, such as TWA, Pan Am, and Lufthansa, as well as many others. The Connie remained in service with Eastern until 1968, when jetliners became the primary aircraft in the skies.
This Connie, dubbed "The Star of the Atlantic" is an intercontinental version of the L-1049. Designed to reach places such as Rome, Cologne, and London, this connie is designed for comfort during a trip which took many more hours than it does today. It includes bunks for passengers, and a large galley, prepared to serve full meals. The rear of the plane has two bathrooms.
This moc represents probably the end of my LEGO career for at least a year. Starting August 25th, I'll be doing a gap year in Deutschland. I plan on remaining active online, but obviously I will not be bringing my LEGO along nor building.
The only time I had ever driven to Kananaskis (the mountain area closest to Calgary) was just over two months ago, on 10 September 2016, when my daughter came with me. I wasn't too impressed with the photos I took on the first drive, especially of the little Pikas (Rock Rabbits) that we went to see, so I wanted to go and spend a bit more time with them. A drive like this also helps me get a bit more used to my newish car - before the roads are covered in snow and ice! Actually, there was a bit of snow on the ground in places close to the trees when I got to where I see these Pikas.
These little Pikas/Rock Rabbits are only 6-9 inches long and are usually seen far away, running backwards and forwards over the scree (talus) slope that they call home. Very occasionally, one happens to come close, usually for just a quick moment. This one was busy collecting plants to take back to its cave.
"The American Pika is a generalist herbivore. It eats a large variety of green plants, including different kinds of grasses, sedges, thistles and fireweed. Although pikas can meet their water demands from the vegetation they eat, they do drink water if it is available in their environment. Pikas have two different ways of foraging: they directly consume food (feeding) or they cache food in haypiles to use for a food source in the winter (haying). The pika feeds throughout the year while haying is limited to the summer months. Since they do not hibernate, pikas have greater energy demands than other montane mammals. In addition, they also make 13 trips per hour to collect vegetation when haying, up to a little over 100 trips per day." From Wikipedia.
en.wikipedia.org/wiki/American_pika
A couple of short YouTube videos in case anyone wants to hear and see these absolutely cute creatures:
I left home at 8:45 am, later than I had intended, and drove southwards via Millarville and the back way to Highway 40. When I Googled the distance via that route, it gave me 134 km, 1 hr 41 mins from home to the Highwood Pass. Needless to say, I kept stopping to take photos, so it took me quite a bit longer than that. By the time I got back home around 5:00 pm, I had driven 299 km. This day was a Monday, so not too much traffic anywhere, which makes a huge difference.
The weather cooperated very nicely. A little chilly to start with and a sky full of beautiful cloud formation early morning. This time, I only drove as far as the Pikas, just north of the Highwood Pass, especially as I wanted to make sure that I wasn't driving home in the dark. The Highwood Pass, at an elevation of 2,206 m (7,238 ft) is the highest paved pass in Canada. In past years, I have hiked the Ptarmigan Cirque, Pocaterra and Arethusa Cirque trails, but can no longer do hikes like these. The scenery is breathtaking in this whole area (indeed, for the whole drive), some mountain slopes covered in forest and other mountain faces displaying bald, breathtaking folds above the treeline.
There was only one 'scary' incident on this trip. I had stopped to take a few scenic shots when I was on the backroad to join Highway 40. I didn't close my car door completely and when I went to open it, I discovered it was locked! Pressing the fob to open all the doors did nothing. I just could not get into my vehicle. Thank goodness, I had read on the Internet that there is a key hidden away inside the fob - otherwise I would never have known and might still be standing there, lol!
Feels so good to know that I am now comfortable enough to do this drive on my own, after so many years of wishing I had the courage to do it. Thank you, little Pikas, for being so adorably cute, that I was determined to drive back to see you : )
Fleet Nos 1620 & 1671. The 400MMC was my vehicle for a shift of duplicate shuttles on the Route 9 following the UK Pride Day held in Ryde. This was the first time I'd driven a Southern Vectis variant of this bus and I really enjoyed the experience.
On November 8, the 182 meter long, 26000 dwt container vessel Cafer Dede went aground on the Island of Syros, Greece. The cause of the grounding is a mystery. At the time of the incident, the weather was calm and there was good visibility. There were no injuries to the 19 crewmen on board. Greek authorities are concerned that the Cafer Dede could cause an environmental disaster like the Rena which went aground a month ago off New Zealand. Two tugs are on site and oil booms have been placed around the vessel. Current reports state there are no signs of leaks or pollution being released. The Cafer Dede had been scheduled to sail between Salerno, Italy and Port of Izmir, Turkey.
Leyland Olympian / Roe A97KUM about to leave Dewsbury on its mammoth journey for a new life and future. Quite fitting it came back to West Yorkshire for old times sake and did very useful work serving as an outreach at a local church for around 4 years. It will be replaced by a newer less interesting vehicle shortly. Lovely to drive something which fits like a pair of old slippers, rather than something which is a headache or gives you one. "Bonne Chance" friend.
Driven by the owner here Joe Rothery tells me this truck has got over 3 million Kilometres on the clock & still looks the Dogs ...!!!!!
Here YJ53 KFU SCANIA R580 V8 164L of JOE ROTHERY INTERNATIONAL @ THE LIMES CAFE , A614 Bilsthorpe , Thursday 30th JUNE 2016
Coachwork by Carrozzeria Figoni
Chassis n° 55221
Les Grandes Marques du Monde au Grand Palais 2020
Bonhams
Parijs - Paris
Frankrijk - France
February 2020
Estimated : € 4.000.000 - 7.000.000
Sold for € 4.600.000
Here, Bonhams proudly offers the renowned 'Geoffrey St John', 56-years in his ownership, 1932 Bugatti Type 55 Supersport with its unique, 1933-fitted, Figoni coachwork. This magnificent high-performance, Post-Vintage Thoroughbred two-seater began life as a works-backed Bugatti entry in the 1932 Le Mans 24-Hour race. It was co-driven there by two of France's most capable and charismatic drivers, the aristocratic Sarthois (from Le Mans) Count Guy Bouriat Quintart and the renowned Monegasque future French Champion, Louis Chiron.
While this 2.3-litre supercharged straight-8 Bugatti originated with a spartan lightweight racing body tailored to that year's Le Mans 24-Hour regulations, following its post-race sale to Parisian magazine publisher Jacques Dupuy it was speedily rebodied in Boulogne sur-Seine on the outskirts of Paris by the now legendary Italian-born stylist/coachbuilder Giuseppe Figoni.
Following an awards-rich early history in France, this mouth-watering sports Bugatti survived World War 2 and, as long ago as August, 1963 – some 56 years ago – it was acquired by its long standing owner, leading British Bugattiste, Geoffrey St John.
This magnificent car became the apple of his eye, and he was devastated in June 1994 when it was involved in a road accident in France, assailed by a speeding car driven by a youth who was both uninsured, and drunk. Frontal damage to the car was beautifully repaired in a subsequent, utterly painstaking 5,000-hour restoration, from which his Bugatti Type 55 – chassis '55221' – re-emerged, the vast majority of its original St John-ownership fabric having been successfully preserved and repaired...A photographic record of the restoration has been documented by Independent Bugatti Consultant Mark Morris.
In fact, Bugatti Type 55 chassis '55221' was ordered by Guy Bouriat as early as January 1, 1932. The order form specifies: "2.3 litre Supersport car, Type 55, supercharged, 4-seat torpedo body, complying with Le Mans regulations. With 6 Bugatti wheels and all necessary accessories for a 24 hours race. Automatic fuel cap." The address on the form is Bouriat's family home in Paris, 44 Rue Fabert, near the Champ de Mars. No trace has been found in the factory archives of any related invoice or payment – perhaps indicative of it having been treated as a works entry for Bouriat as an established (and well connected) racing driver.
To meet this formal order, chassis No. '55221'/(initial) engine '14' was assembled at the works in April 1932, concurrent with sister chassis using engines '15' and '16'. It was factory-bodied as a torpedo, the Molsheim bodyshop register recording it as being the first of the bodies built in June 1932: "Carr 24h . 55/14 -55221. juin 32". The car was then delivered to Paris by road on June 11th, 1932 – ready for the following weekend's important race at Le Mans.
Le Mans 24-Hours - June 18-19, 1932.
Guy Bouriat and Louis Chiron in '55221' starred under race number '15' amongst the 27 entries for this late-Depression-era 24-Hour Grand Prix d'Endurance.
Charles Faroux of the journal 'L'Auto' reported: "There are four Bugattis entered of which two, above all, deserve attention by the speed they achieved during testing days: one is at the hands of Chiron and Bouriat, while the other has Count Czaykowski and the brave Friderich as pilots... I would not be at all surprised to see these two pairs fight hard with the Alfa Romeos, as did the Bentleys and Mercedes."
While '55221' was fitted with a 130-litre fuel tank, the sister Type 55 for Count Czaykowski/Friderich had only a 115-litre tank. In the opening race period, four Alfa Romeo 8C-2300s led, with this Bouriat/Chiron Bugatti keeping pace in fifth place. But, as Faroux then reported: "At the beginning of the third hour, we are told to the astonishment of everyone, that Bouriat, then fifth, (has) run out of gas... Bouriat was helped to the pit. Of course he is declared out of the race since his forced stop happened on the 22nd lap when he had two more laps to run before refuelling" – having thus infringed the organising ACO club's unpitying minimum refuelling distance rule.
The 'L'Auto' issue of June 20, 1932, then described how: "Wisely, Bouriat and Chiron had lined their tank with a thick piece of felt and duckboard providing good protection against flying stones. This protection could not extend to a small part above the rear axle trumpet; it is in this small gap that a stone stuck, bending the metal sheet which resisted, but whose crimping parted and let 50 litres of gas leak through it. Bouriat, then in his twentieth lap, who knew he could run forty more laps on his fuel, thought there was a breakdown of his fuel supply and finds his carburettor empty and the floats, lacking damping, detached. Unavoidable withdrawal. Having abandoned, he is given 5 litres of fuel to go back to the pit. It is while refuelling to return to the pit that he sees the leak in the tank and realizes the cause of it. What a terrible tragedy...".
This Bugatti '55221' had in fact represented the French industry's best hope of a home win at Le Mans that year, but its split fuel tank helped leave the course clear for Raymond Sommer/Luigi Chinetti to win – for Alfa Romeo and Italy...
Post-race, '55221' was sold to Jacques Dupuy, motoring-enthusiast son of Paul Dupuy, proprietor of the newspaper 'Le Petit Parisien', and founder of the magazines 'Mirroir des Sports' and 'Sciences et Vie'. In a 1992 letter to Pierre-Yves Laugier, Jacques Dupuy recalled: "I bought the Bugatti from Guy Bouriat. It was a black 2+2 torpedo with light aluminium body. The car could reach 200 km/h...I kept it with its bucket seats for a few months before taking it to Figoni's. It was bodied there according to my drawings. The steel body was black and white. The dashboard was in black leather...I sold the car about three or four years later, after the 1936 Paris-Nice rally, to Monsieur Gandon, a wine and spirits merchant at 152 Boulevard Hausmann."
Between 1928 and 1933, the Figoni bodyshop at "14 rue Lemoine, Boulogne, Seine", bodied some 77 Bugattis.
Jean Dupuy's order for this Bugatti Type 55 appears in the Figoni register in February 1933, while the August issue that year of 'L'Équipement Automobile' carries a profile drawing of the car and cites its Nitrolac enamel paintwork as being "iris black and Leda white".
M. Dupuy also recalled how: "During my custody, I had to go twice to the factory one of them was for repairing the compressor (factory note dated March 21st 1933). I won the Paris-Nice rally in 1933 beating the Alfa Romeos in the Sport category. At La Turbie, I reached 83km/h standing start. This car is the 2300cc single shaft...which was maintained for me by Mr Rocatti, a Bugatti specialist in Paris who had a garage at Buttes-Chaumont".
XIIth Critérium International de Tourisme Paris-Nice, 1933
The journal 'L'Auto' for March 30th 1933 described how the Paris-Nice Rally was to be run in three stages: Paris-Vichy, Vichy-Marseille and Marseille-Nice. Jacques Dupuy's Type 55 would run as number '52' in up-to-3-litre Class D. In the 1km Michelet stage – with standing start and flying finish - Dupuy set the fastest time, of 34 seconds, averaging 105,882km/h (66.09mph). Upon arrival in Nice on April 3rd, an idling and acceleration test took place on the Quai des États-Unis in which Dupuy's Bugatti set times of 49.6 secs and 18 secs respectively.
Next day, in a 500 metres trial before thousands of spectators on the Promenade des Anglais Dupuy again bettered the rival Alfa Romeos of Gunzburg and Weinberg, at 142,860 km/h (88mph). In the final stage on the famous 6.3km (3.9-mile) La Turbie hill-climb, Dupuy finally won the Paris-Nice event overall, with a climb time of 4mins 25.6secs, 85.391km/h (53mph). The 'L'Auto' report described how: "Victory goes to Jacques Dupuy. This young pilot had a 2.3 litre double camshaft Bugatti at his disposal. No need to be a pre-eminent driver and Jacques Dupuy never had such pretentiousness. But you had to own a car complying with the regulations. The 2.3 litre Bugatti fully satisfied. In congratulating Dupuy, one must not forget the maker of Molsheim...".
The Bois de Boulogne Concours d'Elégance - June 24, 1933
Two months after his Paris-Nice victory Jacques Dupuy entered his freshly Figoni-bodied Bugatti '55221' in the annual Parisian Grand Concours d'Elégance. The Countess de Rivals-Mazères had been invited "to enhance his convertible" and after the car had won the 'L'Auto'-sponsored first class judged, for over 10hp open cars, the Countess helped show it in two further categories backed by the journals 'Fémina' and 'L'Intransigeant' In the third category (cars over 15 HP presented by ladies and driven by a chauffeur in livery), Mme de Rivals-Mazères – accompanied by two Scottie dogs - "sur Bugatti 17C cabriolet transformable Figoni" won a Spark gramophone...
Owner Dupuy recovered his laurelled thoroughbred and would use it for three more years before selling it, as he recalled, to Marcel Gandon.
The new owner was the 38-year-old son of wine merchant Alphonse Gandon, of 152 Boulevard Hausmann, Paris, but he kept '55221' only briefly – from early-1936 to April 1937 – when he bought a brand-new Type 57S Atalante. On November 28, 1936, the unique Figoni-bodied Type 55 was sold via Bugatti to Garage Bayard, 22 Rue Bayard, Paris, the sale document stating: "Sold to garage Bayard one car Type 55 N° 55221, engine 14 (ex Gandon) 2 seat roadster bodywork (convertible by Figoni) in good working order, second hand sold as is for a net price of 25 000 francs".
Paris-Saint-Raphaël Rallye Féminin 1937
The Garage Bayard was run by Charles de Lavoreille, Jacques de Valence and a M. Richer-Delavau and the latter's wife ran '55221' in the March 17-22, 1937 'IXe Paris-Saint-Raphaël Féminin' – entry number '48', facing a 1,039 km route to be completed in five days, staging through Nevers, Clermont-Ferrand, Orange and Toulon. In initial 500 metres standing start, and 1km flying-start tests at Nevers Mme Richer-Delavau placed 6th in each, and in the Saint-Sébastien hill-climb at Saint Raphaël, she maintained her position with a time of 47.8secs, behind Mmes Lamberjack and Lucy O'Reilly Schell in their Delahaye Sport. Overall in the Rally she would finish sixth and fifth in class.
M. Laugier's Bugatti records show that on December 27, 1937, an un-named Parisian enthusiast bought '55221' from Garage Bayard. This might have been Roger Teillac, a Bugatti specialist based in the Avenue de Suffren, as his archives contain three pictures of the car, but wearing a 1938 Nancy licence plate. Teillac possibly maintained the car for another owner 1938-39 or had taken back the car in the post-war summer of 1946 when his establishment repaired its oil sump, split by frost.
Certainly, Louis Stephanazzi had acquired the car on May 7, 1938, and registered it '5658 KU 5' to his home address of 49bis Avenue Anatole France, Nancy. Family memory recalls that the car was hidden dismantled during the war in the garage that Stephanazzi ran in town. The Germans requisitioned his garage where they would repair their vehicles. At the back were a Bugatti Type 57 convertible, bought in Paris in August 1938, and the 55 roadster, which both survived the conflict.
On September 16, 1946, the Type 55 was sold in Paris under licence plate '4239 RP 4' and one month later, it passed to André Couston, a dealer from Nice, resident at 4bis Avenue Mont Alban. On October 18, 1946 he re-registered the car '3286 BA 8'. At the time André Couston also owned the first Type 55 roadster, chassis '55201'.
On July 30th 1948, '55221' returned to Paris, registered '7220 RQ 4'. Its owner was possibly Jacques Devinot who told M. Laugier in June 1993: "I owned three Bugattis...(including)...the Type 55 convertible...bought around 1948 from a garage near Porte de Champerret. It was then sold to Mr Bierlein from Paris in 1950 who sold it to a Canadian man. I found it back later at Docime's, dismantled. The registration papers were never changed and the Canadian man came to see me to get a sale certificate which I refused to do, having already done one for Mr Bierlein. When I bought the car, the chassis had been bent and I had to dismantle the car and correct it. As I see it, every bit was original on the car which was in a cream and black livery". He also had a luggage rack installed by Figoni»
The Police register confirms M. Devinot's dates, while a letter from him states that in August 1950 the Bugatti was owned by Gaston Bierlein, of Hôtel Pylone 1, Megève, Haute-Savoie. He kept the car for five years before selling it on March 24, 1955, to Canadian journalist Douglas Lachance, of 59 Avenue Hoche, Paris. The car – with its engine dismantled or removed - was then consigned to leading Bugatti specialist Gaston Docime, in the Rue de la Saussaie, Neuilly-sur-Seine. It remained in there until August 28, 1962 when British Type 55 enthusiast Anthony Austin Morse, a dentist of 4 Westfield Road, Rugby, imported it into England, less engine, with a £20 deposit on the import duty pending valuation.
A. A. Morse then owned three Type 55s - '55220', '55221' and '55223' – but he quickly sold the unique Figoni-bodied example to Henry H. Thomas of White Cottage, Belmond Park Road, Maidenhead, proprietor of the Fernley Service Station, who on July 25, 1963, re-sold it to Geoffrey St John, of Woodland Cottage, Greenwich Lane, Leafield, Oxon for £750
In a letter to Geoffrey St John, dated August 12, 1963, the eminent British Bugatti Registrar Hugh Conway wrote: "I did point out the engineless car to Morse, at Docime's, which he bought for £100 and sold to Thomas..." In another letter, Conway remarked that the engine of '55221' could have been sold by Docime in the USA.
Geoffrey St John restored the car to running order with engine 26 ex 55223 installed. It became a stable-mate for his Type 35B and Type 51 Grand Prix cars and it has remained in this single family ownership to this day. Geoffrey St John was a talented technician working for Smiths Industries, and eventually became the company's Chief Engineer, while dedicating most of his spare time to Bugatti restoration, tuning and racing. He was a most talented driver and became the sporting Bugatti marque's foremost British exponent over many years. He was exceptionally highly regarded as a twin-cam 2.3 Bugatti specialists, and always took particular delight in driving '55221' widely throughout the UK, and in Continental Europe, particularly – of course in France.
It was on a French road – near Auxerre in June 1994 – that he had the misfortune to be hit by a drunken driver, as described. The damage sustained took some two years of work to put right, Geoffrey St John being determined (at considerable extra expense) to save absolutely all of the car's original fabric that had escaped total destruction. Chassis straightening, keeping all the original parts, was carried out by renowned British specialist Gino Hoskins (Images on file).
A November 2019 inspection report on the car has been compiled by leading French Bugatti authority Pierre-Yves Laugier. He sums up its present condition thus: "The car keeps its original chassis, repaired in 1994. It (the original element of the chassis) is 90% complete with a few additional strengthening plates added according to Christian Huet, Parisian expert in charge of the accident file. The exterior of the car after restoration was completely in accordance with the original after more than 5,000 hours work.
"It (then) took part in its first event in the summer of 1996 (and so) the only Figoni roadster on a Supersport Type 55 Bugatti chassis is ready to join the world of rallies and concours d'élégance. It remains one of the most beautiful expressions of a Sports car by a coachbuilder, multi-purpose and powerful, one of the most important witnesses of the golden era of coachbuilding and know-how of the Bugatti brand..."
In detail M. Laugier observed: "The frame bore number 22, but the fixing hole of the spare wheel shows only one of the '2s' (the other having been drilled through). The front axle is of the right type, with no number and is probably new". In fact Geoffrey St John always maintained that the current front axle is an original, Bugatti-manufactured, hollow front axle of correct Type 55 specification...
M. Laugier continued: "The engine (comprising a matched pair of upper and lower crankcase castings – the left-rear mounting leg of which carries) assembly number '48' from roadster '55223'/engine '26'. One observes important welding traces under the rear-left mounting piece. Front-left mounting piece (the integrally cast engine leg), which was completely destroyed in the accident, was melted down and re-cast from a pattern amongst Geoffrey St John's spare parts collection. The re-cast leg was then welded back into place.
The clutch casing carries on both parts number '14'. Both gearbox and rear-axle sumps were rewelded after the accident. Traces are still visible on the original parts.
"The car was equipped with an overdrive. Compressor No '33' is ancient and of the right kind, but is not the one on the car in 1933, because a note of the repair workshop for compressors dated March 21st, 1933. states: 'Compressor 55 N° 45, Mr Rocatti, Paris, client Mr Dupuy, milling of notches in the chambers' The body of the gearbox is engraved (stamped) '39'. It is probably the factory replacement box, following the 38 (other such gearboxes that were) produced from 1931 to 1933.
"It could have been fitted to the car after one of the races in which it took part between 1933 and 1937. The original gearbox of the car, No '14', is today on a Type 55 chassis '55235' with a British history and which in 1962 was equipped with a Cotal gearbox. The original rear axle numbered '14' is the original one (installed in) the car and has race type ratio of 14 x 54 instead of the usual 13 x 54 of the first Type 55."
Mark Morris adds: "The front axle is of the right type, with no number" .
Pierre-Yves Laugier's report continues: "The fixed parts of the body are made of steel, while the opening parts are made of aluminium. After the accident in 1994, the wooden dashboard was rebuilt as the original wood board was split in two. The aluminium part of the bonnet had also to be completely replaced as well as the left front wing and the right door. Most of the wooden structure was kept. The work was carried out at Terry Hall's workshop. Drums and left front brake shoe were rewelded and two brake shoes were replaced. The wheel rim of several wheels was redone by welding - particularly visible on the spare wheel."
M. Laugier further observes: "The chassis plate of the vehicle is ancient. It wears number '55221', apparently over-stamped. It is of the Type 57 'Bas-Rhin' type and the number '57282' can be detected underneath (which) tallies with a Type 57 chassis number delivered in the Nord department in April 1935".
Since completion of restoration work in 1996 until Mr St John's recent passing, '55221' was regularly exercised by him. In similar style to the modern-day Bugatti Veyron, Chiron and EB110 models – which are both a schoolboy pin-up and a modern car collector's dream - so in its heyday the Bugatti Type 55 was a hugely coveted automotive jewel.
It is in essence a Grand Prix car with sports bodywork for use on the open road, powered by a 2.3-litre supercharged twin-cam 8-cylinder engine –as developed for the multiple Grand Prix-winning Bugatti Type 51 and only moderately detuned. Even in 1932 this power unit's blistering power and torque endowed the Type 55 with 0-60mph acceleration in 13 seconds and the hitherto unheard-of top speed – for a road car - of 115mph.
Even in the backwash from The Great Depression, the most style-conscious of high-society glitterati all aspired to the Type 55 – and, with its technical specification and haute couture body styling, it was squarely aimed at the most wealthy...and the most dashing...clientele such as the Duc de la Tremoille, Victor Rothschild and Nicholas Embiricos. With its contemporary price tag of some $7,500, Bugatti produced only 38 Type 55s, 27 of which are now known to survive.
And amongst them, this Figoni-bodied example – with its waistline-level doors offering proper cockpit wprotection in contrast to the doorless, cut-down cockpit sides of the more common Jean Bugatti roadster style – is unique. It is offered here in running order, accompanied by not only the immensely fine-detailed Pierre-Yves Laugier and Mark Morris inspection and history reports, but also by a substantial array of relevant spare parts. After 56 years in one ownership this is – when judged by the highest standards - a unique example of perhaps the most mouth-watering of all Bugatti models, and a definitive connoisseur's car to be truly, truly, coveted...
The fact is, I do feel 'driven,' driven to be the best that I can be.
I can do no less and still feel happy and content and satisfied with myself.
It must be hormonal driven but how times change for not so long ago even though I'm a good kissser and very tactile sex was hit and miss and very much a one sided affair as I didn't really fancy men. But suddenly forgive the pun everything slotted into place and I am glad as being a trans woman makes so much more sense now with a lot more to give and share to drive me. The fact that one day I was just a straight guy who wanted to be something else didn't help as becoming a transsexual is not the most obvious choice. But obviously it was there inside me all along as the journey has been so easy and pain-free and I have never needed to look back. But the more directional sex thing is quite new but it shows how I am opening up and evolving as I enjoy the possabilities life brings me as Jojo even if sometimes I could do with a bit more practice.
This is the backside of the flier. I wasnt sure if the text was too crowded on the bottom right. For those that may not know, Driven is an all ages event. It has a big focus on dynamic visual content such as paintings, video, photography, and lighting. Worship, teaching, fellowship. www.amidriven.com