ediciones photos on Flickr

miniaturasconry43.blogspot.com.es/2010/10/car-collection-...

Nº05.

Ford Mustang (1967).

Escala 1/43.

"Car Collection" - Ediciones Del Prado (España).

Año 1999.

More info:

www.foroescala43.net/phpBB3/viewtopic.php?f=16&t=469

www.micksmodelworld.com/Del%20Prado/The%20Ultimate%20Car%...

------------------------------------------------------------------------------------------------

Ford Mustang History

- First Generation (1964 1/2-1966)

- Second Generation (1967-1968)

"By 1967, the Mustang had something it hadn't had before: competition. Chevrolet was now making the Camaro, Pontiac the Firebird, and Plymouth had redesigned the Barracuda into a more serious machine. Even within Ford, Mercury was now selling the Cougar.

Ford's response to that competition was a new, slightly larger Mustang with an all-new body over what was pretty much the same chassis. The wheelbase was still 108 inches, but total length was up two inches to 183.6 inches and every styling feature was just a little bit exaggerated — the grille opening was bigger, the side scallops deeper, the taillights were now larger and concave instead of modest and convex, the 2+2 fastback's roof now extended all the way back to the trunk lid's trailing edge and the convertible's rear window was now a two-piece item made of real glass instead of instantly hazing plastic. A hood with dual recesses was optional.

The standard power plant was now the 200-cubic-inch six making 120 horsepower with a 250-cubic-inch (4.1-liter) 155-horsepower six and the 200-, 225- and 271-horsepower K-code 289 V8s optional. New on the menu was a 390-cubic-inch (6.4-liter) "big-block" V8 breathing through a Holley four-barrel carburetor making 315 horsepower. Accommodating that wider engine meant that the front suspension's track needed to be widened by 2.5 inches for clearance.

With its wider track, the '67 Mustang was a more stable car than the '66. The seats were more comfortable, and the instrumentation was easier to read. It was, generally speaking, a better car in every way that counted. Ford sold 356,271 coupes, 71,042 2+2s and 44,808 convertibles during '67 despite the new competition. Of those, only 472 cars were equipped with the 271-horsepower 289, while around 28,800 had the 390 under their hoods.

Federally mandated side marker lights and a revised grille distinguished the 1968 Mustang from the '67 on the outside, while a slew of new engines set it apart mechanically. A low-performance 195-horsepower 289 V8 was still an option, but the other 289s were gone in favor of two new 302-cubic-inch (4.9-liter) versions of the small block V8. The two-barrel 302 made 220 horsepower, while the four-barrel-equipped version put out 230 horsepower.

More glamorous than the revised small V8s were new 427- and 428-cubic-inch (both convert to about 7.0 liters) versions of the big-block V8. The more radical 427, which had a slightly higher-compression ratio and wilder cam, was rated at 390 horsepower, while the more civilized 428 knocked out 335 horsepower. Both the 427 and 428 were very rare options. Those big engines hinted at what was in store for the Mustang over the next few years."

- Third Generation (1969-1970)

- Fourth Generation (1971-1973)

- Fifth Generation (1974-1978)

- Sixth Generation (1979-1993)

- Seventh Generation (1994-1998)

- Eighth Generation (1999-2004)

- Ninth Generation (2005-2014)

- Tenth Generation (2015- )

"The 2015 model year Mustang entered showrooms in November, 2014"

EVEREADY batteries advertising on the back cover of the "Calendario del más Antiguo Galván", 1958, edited by Librería y Ediciones Murgía, S.A. by José G. Sánchez González

Manual de vinos españoles by Jusotil_1943

2 1

José Peñín.

Penthalon Ediciones 1980

Pasillo primeras ediciones by Obra Social Caja Cantabria

Ediciones by ana maría

5

Honda integra by Camilo Riquelme

1

JDM style.. auto de nelson street

DTC DESIGN EDICIONES ®

SPAIN, Héroes Marvel #1 (1981, Ediciones Vértice/Mundi Comics) by Globo Comico

2

FRANCISCO EDICIONES (H) by FRANCISCO JAVIEEEER

1 162

Xdkjajjaj fantasmal ;)

Bailando eres mia, mia, mia, mia, i de nadie mas 77 (8)

Notas notas notas notas notas notas notas notas notas notas

2

The Oldest Galvan Calendar is a proudly Mexican almanac that has been published without interruption annually since 1826.

Due to this long history it is well known and considered by many as a solid and reliable source of information.

Isla de Ediciones . 2013 by Fundación arteba

IMG_0028 Geoff and Jean Spafford RIP Bienvenido A Tenerife Ediciones Fotograficas Hergue SL Welcome to Tenerife B&W Family photos by photographer695

Geoff and Jean Spafford RIP Bienvenido A Tenerife Ediciones Fotograficas Hergue SL Welcome to Tenerife B&W Family photos

en.wikipedia.org/wiki/Tenerife

IMG_5698leteo by Jorge Mejía peralta

Presentación Poesía ante la incertidumbre.

Leteo ediciones, Visor Poesía.

Instituto Nicaragüense de Cultura Hispánica

IMG_0026 Geoff and Jean Spafford RIP Bienvenido A Tenerife Ediciones Fotograficas Hergue SL Welcome to Tenerife B&W Family photos by photographer695

Geoff and Jean Spafford RIP Bienvenido A Tenerife Ediciones Fotograficas Hergue SL Welcome to Tenerife B&W Family photos

en.wikipedia.org/wiki/Tenerife

miniaturasconry43.blogspot.com.es/2010/10/car-collection-...

Nº05.

Ford Mustang (1967).

Escala 1/43.

"Car Collection" - Ediciones Del Prado (España).

Año 1999.

More info:

www.foroescala43.net/phpBB3/viewtopic.php?f=16&t=469

www.micksmodelworld.com/Del%20Prado/The%20Ultimate%20Car%...

------------------------------------------------------------------------------------------------

Ford Mustang History

- First Generation (1964 1/2-1966)

- Second Generation (1967-1968)

"By 1967, the Mustang had something it hadn't had before: competition. Chevrolet was now making the Camaro, Pontiac the Firebird, and Plymouth had redesigned the Barracuda into a more serious machine. Even within Ford, Mercury was now selling the Cougar.

Ford's response to that competition was a new, slightly larger Mustang with an all-new body over what was pretty much the same chassis. The wheelbase was still 108 inches, but total length was up two inches to 183.6 inches and every styling feature was just a little bit exaggerated — the grille opening was bigger, the side scallops deeper, the taillights were now larger and concave instead of modest and convex, the 2+2 fastback's roof now extended all the way back to the trunk lid's trailing edge and the convertible's rear window was now a two-piece item made of real glass instead of instantly hazing plastic. A hood with dual recesses was optional.

The standard power plant was now the 200-cubic-inch six making 120 horsepower with a 250-cubic-inch (4.1-liter) 155-horsepower six and the 200-, 225- and 271-horsepower K-code 289 V8s optional. New on the menu was a 390-cubic-inch (6.4-liter) "big-block" V8 breathing through a Holley four-barrel carburetor making 315 horsepower. Accommodating that wider engine meant that the front suspension's track needed to be widened by 2.5 inches for clearance.

With its wider track, the '67 Mustang was a more stable car than the '66. The seats were more comfortable, and the instrumentation was easier to read. It was, generally speaking, a better car in every way that counted. Ford sold 356,271 coupes, 71,042 2+2s and 44,808 convertibles during '67 despite the new competition. Of those, only 472 cars were equipped with the 271-horsepower 289, while around 28,800 had the 390 under their hoods.

Federally mandated side marker lights and a revised grille distinguished the 1968 Mustang from the '67 on the outside, while a slew of new engines set it apart mechanically. A low-performance 195-horsepower 289 V8 was still an option, but the other 289s were gone in favor of two new 302-cubic-inch (4.9-liter) versions of the small block V8. The two-barrel 302 made 220 horsepower, while the four-barrel-equipped version put out 230 horsepower.

More glamorous than the revised small V8s were new 427- and 428-cubic-inch (both convert to about 7.0 liters) versions of the big-block V8. The more radical 427, which had a slightly higher-compression ratio and wilder cam, was rated at 390 horsepower, while the more civilized 428 knocked out 335 horsepower. Both the 427 and 428 were very rare options. Those big engines hinted at what was in store for the Mustang over the next few years."

- Third Generation (1969-1970)

- Fourth Generation (1971-1973)

- Fifth Generation (1974-1978)

- Sixth Generation (1979-1993)

- Seventh Generation (1994-1998)

- Eighth Generation (1999-2004)

- Ninth Generation (2005-2014)

- Tenth Generation (2015- )

"The 2015 model year Mustang entered showrooms in November, 2014"

by Toto Duarte

3

Agenda Lunar de Casita Ediciones

1978 by José Santamarina. Grafista

Ayalga ediciones. Avilés. Iliustación animales prehistóricos

miniaturasconry43.blogspot.com.es/2010/10/car-collection-...

Nº05.

Ford Mustang (1967).

Escala 1/43.

"Car Collection" - Ediciones Del Prado (España).

Año 1999.

More info:

www.foroescala43.net/phpBB3/viewtopic.php?f=16&t=469

www.micksmodelworld.com/Del%20Prado/The%20Ultimate%20Car%...

------------------------------------------------------------------------------------------------

Ford Mustang History

- First Generation (1964 1/2-1966)

- Second Generation (1967-1968)

"By 1967, the Mustang had something it hadn't had before: competition. Chevrolet was now making the Camaro, Pontiac the Firebird, and Plymouth had redesigned the Barracuda into a more serious machine. Even within Ford, Mercury was now selling the Cougar.

Ford's response to that competition was a new, slightly larger Mustang with an all-new body over what was pretty much the same chassis. The wheelbase was still 108 inches, but total length was up two inches to 183.6 inches and every styling feature was just a little bit exaggerated — the grille opening was bigger, the side scallops deeper, the taillights were now larger and concave instead of modest and convex, the 2+2 fastback's roof now extended all the way back to the trunk lid's trailing edge and the convertible's rear window was now a two-piece item made of real glass instead of instantly hazing plastic. A hood with dual recesses was optional.

The standard power plant was now the 200-cubic-inch six making 120 horsepower with a 250-cubic-inch (4.1-liter) 155-horsepower six and the 200-, 225- and 271-horsepower K-code 289 V8s optional. New on the menu was a 390-cubic-inch (6.4-liter) "big-block" V8 breathing through a Holley four-barrel carburetor making 315 horsepower. Accommodating that wider engine meant that the front suspension's track needed to be widened by 2.5 inches for clearance.

With its wider track, the '67 Mustang was a more stable car than the '66. The seats were more comfortable, and the instrumentation was easier to read. It was, generally speaking, a better car in every way that counted. Ford sold 356,271 coupes, 71,042 2+2s and 44,808 convertibles during '67 despite the new competition. Of those, only 472 cars were equipped with the 271-horsepower 289, while around 28,800 had the 390 under their hoods.

Federally mandated side marker lights and a revised grille distinguished the 1968 Mustang from the '67 on the outside, while a slew of new engines set it apart mechanically. A low-performance 195-horsepower 289 V8 was still an option, but the other 289s were gone in favor of two new 302-cubic-inch (4.9-liter) versions of the small block V8. The two-barrel 302 made 220 horsepower, while the four-barrel-equipped version put out 230 horsepower.

More glamorous than the revised small V8s were new 427- and 428-cubic-inch (both convert to about 7.0 liters) versions of the big-block V8. The more radical 427, which had a slightly higher-compression ratio and wilder cam, was rated at 390 horsepower, while the more civilized 428 knocked out 335 horsepower. Both the 427 and 428 were very rare options. Those big engines hinted at what was in store for the Mustang over the next few years."

- Third Generation (1969-1970)

- Fourth Generation (1971-1973)

- Fifth Generation (1974-1978)

- Sixth Generation (1979-1993)

- Seventh Generation (1994-1998)

- Eighth Generation (1999-2004)

- Ninth Generation (2005-2014)

- Tenth Generation (2015- )

"The 2015 model year Mustang entered showrooms in November, 2014"

www.facebook.com/edicioneschmypimages

Charles Clifford - Queen Victoria, November 14, 1861 by The History of Photography Archive

1

Maker: Charles Clifford (1821-1863)

Born: UK

Active: Spain

Medium: albumen print - hand colored

Size: 2.25" x 4"

Location: UK

Object No. 2018.826a

Shelf: E-19

Publication: Clifford en Espana, Un fotografo en la Corte de Isabel II,Lee Fontanella, Ediciones El Viso,, 1999, pl 687

Dimond and Taylor, Crown & Camera, The Royal Family and Photography, 1842-1910, Penguin Books, 1987, pg 69

Helmut and Alison Gernsheim, Victoria R, G.P. Putnam's Sons, New York, 1959, pl 181

Anne M Lyden, A Royal Passion, Queen Victoria and Photography, The J. Paul Getty Museum, Los Angeles, 2014, pl 99

Alison Morrison-Low, Photograph: A Victorian Sensation, National Museums of Scotland, Edinburgh, 2015, fig 5.13

Oliver Mathews, The Album of Carte-de-Viste and Cabinet Portrait Photographs, 1854-1914, Reedminster Publications, Ltd, London, 1974, #6

Other Collections: National Portrait Gallery

Provenance: pcdf

Rank: 21

Notes: Although Queen Victoria had been photographed several times in 1860 and 1861, with the specific intention of issuing the results in the new carte-de-visite format, she had so far always been portrayed primarily as a woman and a wife. For example, the homely and informal portraits of her and Prince Albert by John Mayall, which showed her reading or with children on her lap, gave no indication of her rank. This image, taken by Charles Clifford at Windsor Castle, was the first intended for public distribution to show her as a Queen, in evening dress, diadem and jewels.

It was taken at the specific request of Queen Isabella II of Spain, who had already sent her own portrait in carte format to be included in Queen Victoria’s rapidly growing collection. She even sent her own Court photographer to England to carry out the commission, Charles Clifford, an Englishman resident in Madrid since 1852. Clifford had express instructions to return with a stately photograph of a ruling sovereign looking regal.

Although the photograph was taken on 14 November 1861, the pirating of royal images was so rampant that publication was deliberately delayed until after the passing of a copyright act. The image was eventually entered at Stationers’ Hall on 9 February 1863 by A. Marion and Co. on behalf of Clifford’s widow, Jane. The CDV was published by Cundall, Downes & Co, 168 New Bond Street, London

The portrait was a great success with public and critics alike. Isabella II was delighted with the result of her commission, and Queen Victoria herself liked it so much that she had it copied in oils.

The imposing nature of the regal portrait was short-lived. The following month Prince Albert died and the Queen’s long cult of widowhood began. For many years the public were force-fed the image of their sovereign in heavy widow’s weeds, weighed down by the enormity of her grief.

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Joshifer / Jennifer Lawrence and Josh Hutcherson 3D by Mare Skybernathy

Creado y editado por Ediciones ChmypImages, no robar y si usas no quitar el texto

weheartit.com/maylolove

Barbastro - Plaza San Ramón by José Vicente Salamero

7

Ediciones París J.M. Zaragoza

Manitos de Aylu by ayluaylu

6

MUY pronto disco nuevo

Download/Listen

Rocio Durcal by Truus, Bob & Jan too!

10

Spanish postcard by Ediciones Tarjefher, no. 214. Photo: Epoca Films.

Spanish singer and actress Rocío Dúrcal (1944–2006) was called the ‘Queen of Ranchera’, the traditional Mexican song. She began in the 1950s as a child star and as a teenager, she appeared in a series of popular Spanish 1960s musicals. Later she focused on her musical career, became a star in Mexico and Latin America and won for her albums with rancheras and ballads several Latin Grammy awards.

Rocío Dúrcal was born María de los Ángeles de las Heras Ortiz in Madrid, Spain, in 1944. She was born and raised in Spain in the bosom of a working-class family. At the age of 10, ‘Marietta’ took part in the radio show, Conozca a sus Vecinos (Meet Your Neighbours). In these shows, she charmed the audience with her clear and melodic voice that also made her a winner in many other radio contests that she participated in those years. She was secretly supported by her paternal grandfather, who believed in her talent and was her first fan. In 1959, with the approval of her parents, she participated in the television program Primer Aplauso (First Applause). For the contest she sang the traditional song La sombra vendo. Manager Luis Sanz was impressed by her talent and personality and signed her up. Soon after, she started taking singing and dancing lessons with Lola de Aragón and Alberto Lorca. From that time, Maria began working as Rocío Durcal. Durcal is taken from a town in the province of Andalucia in southern Spain. Her new name was used for the first time in her debut film, the musical Canción de Juventud/Song of Youth (Luis Lucia, 1961). The film was a huge box office hit in Spain and in other Spanish-speaking countries. Soon followed another film vehicle, Rocío de La Mancha (Luis Lucia, 1963) and a record deal with Phonogram (now Universal Music). At this time many other young singer-actors in Spanish films were popular, including Raphael, Marisol, and the twin sisters, Pili and Mili. The songs Dúrcal performed in her films served to make her debut album, Las películas de Rocío Dúrcal (The films of Rocío Dúrcal, 1962). It was the start of a successful recording career. Durcal traveled to Mexico, Venezuela, Puerto Rico and the United States where she appeared on The Ed Sullivan Show. In her fourth film, Tengo 17 años/I am 17 (José María Forqué, 1964), Dúrcal abandoned the role of child star. That same year, she made her stage debut in Un domingo en Nueva York (A Sunday in New York), in which she proved to be a good theatrical actress. In 1965 she filmed Más bonita que ninguna/Prettier than any (Luis César Amadori, 1965) for which the pop group Los Brincos (considered at the time as the Spanish version of The Beatles) wrote some songs. In 1966, she shared the spotlight with Enrique Guzmán in the film Acompáñame/Accompany me (Luis César Amadori, 1966). She began to perform duets with such singers as Jaime Morey and Amalia de Isaura. Then she co-starred in the film Amor en el Aire/Love in Flight (Luis César Amadori, 1967) with Argentine singer-songwriter Palito Ortega and Fernando Rey. The following year, she filmed Cristina Guzmán (Luis César Amadori, 1968), the first of her films that was aimed at an adult audience. She plays the double role of a young widow with a child, is asked to replace a missing woman, and of course the missing woman who suddenly returns.

In 1970, Rocío Dúrcal married Philippine musician Antonio Morales, better known as Júnior, a former member of Los Brincos. He would later manage her singing career. In 1972, Morales began a series of television shows in Spain and Latin America singing with his wife as a duo. Their first child, Spanish actress Carmen Morales de las Heras, was born in 1970. After the birth of their second child, Antonio Morales de las Heras, in 1974, Morales decided to give up his career to devote time to their children. In 1979 they had their third child, Shaila Morales de las Heras, who is now also a singer under the stage name of Shaila Dúrcal. Dúrcal continued her film and singing career. During the 1970s she appeared in such films as the musical La novicia rebelled/The Rebellious Novice (Luis Lucia, 1971) and the French-Spanish thriller Dites-le avec des fleurs/Say it with flowers (Pierre Grimblat,1974), starring Delphine Seyrig. Her final film was the drama Me siento extraña/I feel strange (Enrique Martí Maqueda, 1977). In 1977, Dúrcal signed a contract with Ariola Eurodisc, from then on dedicating herself to her musical career. That year, while in Mexico, she met the Mexican singer-songwriter Alberto Aguilera Valadez, better known as Juan Gabriel. He convinced her to perform a popular Mexican style known as ranchera. They recorded a whole album of rancheras entitled Rocío Dúrcal canta a Juan Gabriel. Backed by the Mexican band, Mariachi América, this resulted in unexpected hits, popularity and awards, not only in Spain and Mexico, but also in Latin America and in the Hispanic community of the United States. Dúrcal and Juan Gabriel decided to continue to record rancheras together. Dúrcal's album named Canta A Juan Gabriel Volumen 6 (1984) is among the top ten best-selling albums in the history of Mexico. For this album Rocío Dúrcal received her first Grammy Award nomination. The collaboration of Dúrcal with Juan Gabriel was interrupted by disagreements between the artists and because of problems of Juan Gabriel with his record label, so Dúrcal continued to record albums with other songwriters such as Marco Antonio Solís and Rafael Pérez Botija. She moved from rancheras to romantic ballads. In 1988 she recorded the album Como Tu Mujer with producer Marco Antonio Solis.

In 1990, Rocío Dúrcal recorded her first album on CD format entitled Si Te Pudiera Mentir. In 1991, Durcal offered a concert at the National Auditorium in Mexico City, recorded in a double disc El Concierto... En Vivo. Between 1992 and 1993 she recorded the album Desaires, produced by the Mexican singer and songwriter Joan Sebastián. In this album she reprises ranchera. With this album, released simultaneously in Mexico, the United States, Colombia, Venezuela and Spain, she made a promotional world tour. In 1995 she launched her production Hay Amores Y Amores, with songs written and produced by the Argentine Roberto Livi. For this album she was nominated again for a Grammy Award in the category Best Latin Pop Album. In 1997 the double album Juntos Otra Vez brought Rocío Dúrcal and Juan Gabriel together again for the last time. In 1998, under the direction of her discoverer Luis Sanz, she starred in the Spanish TV Show Los negocios de mamá. In 2000, she celebrated 40 years in the industry. In that year she returned to ranchera music with the album Caricias, under the production of songwriter and producer Bebu Silvetti. In 2001 Rocío Dúrcal recorded Entre Tangos Y Mariachi, again produced by Bebu Silvetti, an album that includes 10 of the most famous Argentine tango arrangements interpreted with ranchero/bolero style like her previous album. In the summer of 2001 Dúrcal made a successful tour in Spain, after 13 years of no shows in Spain. In 2001 Dúrcal recorded Dama, Dama for Mujer, an album released by BMG Music Spain as part of a campaign to raise funds for an organization against breast cancer. In 2002, she performed a concert at the National Auditorium in Mexico, which was recorded in the double album En Concierto... Inolvidable. The album was nominated for a Latin Grammy Award. In 2003, the artist received another Latin Grammy Award nomination for her album Caramelito, produced by Kike Santander. In May 2004 she returned to Spain to record what would be her last album Alma Ranchera, which was nominated for a Latin Grammy Award, but did not win. A year later she received a Latin Grammy Award for musical excellence. Dúrcal had been diagnosed in 2001 with uterine cancer. In 2006, Rocío Dúrcal died at her home in Madrid. She was 61.

Sources: Drago Bonacich (AllMusic), Francisca Guilarbigos (IMDb), Wikipedia and IMDb.

Cela by Bibliographos

Dedicatoria de C. J. Cela en su libro "Madrid" para el poeta J. Garcia Nieto.

Jennifer Lawrence / ChmypImages by Mare Skybernathy

Creado y editado por Ediciones ChmypImages, no robar y si usas no quitar el texto

www.facebook.com/edicioneschmypimages

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Girona24 097 by Joan

7

Temps de Flors 2024, Girona.

Girona se convierte en un gran jardín urbano con la llegada de Temps de Flors, una fiesta primaveral que este año 2024 se celebra del 11 al 19 de mayo, ocho días para vivir todo el color y la belleza de la naturaleza. Como en todas las ediciones anteriores, la ciudad se adorna con vivos arreglos florales que engalanan edificios emblemáticos del casco histórico y un sinfín de rincones y plazas, dando vida a un espectáculo que cada año regala imágenes irrepetibles.

La 69 edición de la fiesta Temps de Flors, una exhibición de flores y plantas en jardines, calles y monumentos, regresa en 2024, llenando la ciudad de Girona con su esencia de deleite primaveral y en contacto con la naturaleza. Además de calles, plazas y escalinatas, espacios interiores como claustros, los subterráneos de la Catedral o los Baños Árabes, junto a un sinfín de patios habitualmente privados, volverán a abrir sus puertas para recibir a un público entregado.

En total, este año se pueden contemplar 109 instalaciones florales repartidas en 12 barrios gerundenses: Barri Vell, Can Gibert del Pla, Carme, Devesa, Eixample, Fontajau, Mercadal, Montilivi, Santa Eugènia, Sant Narcís, Taialà y Vall de Sant Daniel. Algunos están realizados por jardineros profesionales, mientras otros son obra de asociaciones vecinales e incluso estudiantes de colegios e institutos.

Girona becomes a large urban garden with the arrival of Temps de Flors, a spring festival that this year 2024 will be celebrated from May 11 to 19, eight days to experience all the color and beauty of nature. As in all previous editions, the city is adorned with vivid floral arrangements that adorn emblematic buildings in the historic center and countless corners and squares, giving life to a spectacle that each year provides unrepeatable images.

The 69th edition of the Temps de Flors festival, an exhibition of flowers and plants in gardens, streets and monuments, returns in 2024, filling the city of Girona with its essence of spring delight and in contact with nature. In addition to streets, squares and staircases, interior spaces such as cloisters, the basement of the Cathedral or the Arab Baths, along with an endless number of usually private patios, will reopen their doors to welcome a dedicated public.

In total, this year you can see 109 floral installations spread across 12 Girona neighborhoods: Barri Vell, Can Gibert del Pla, Carme, Devesa, Eixample, Fontajau, Mercadal, Montilivi, Santa Eugènia, Sant Narcís, Taialà and Vall de Sant Daniel. Some are made by professional gardeners, while others are the work of neighborhood associations and even students from schools and institutes.

miniaturasconry43.blogspot.com.es/2010/10/car-collection-...

Nº05.

Ford Mustang (1967).

Escala 1/43.

"Car Collection" - Ediciones Del Prado (España).

Año 1999.

More info:

www.foroescala43.net/phpBB3/viewtopic.php?f=16&t=469

www.micksmodelworld.com/Del%20Prado/The%20Ultimate%20Car%...

------------------------------------------------------------------------------------------------

Ford Mustang History

- First Generation (1964 1/2-1966)

- Second Generation (1967-1968)

"By 1967, the Mustang had something it hadn't had before: competition. Chevrolet was now making the Camaro, Pontiac the Firebird, and Plymouth had redesigned the Barracuda into a more serious machine. Even within Ford, Mercury was now selling the Cougar.

Ford's response to that competition was a new, slightly larger Mustang with an all-new body over what was pretty much the same chassis. The wheelbase was still 108 inches, but total length was up two inches to 183.6 inches and every styling feature was just a little bit exaggerated — the grille opening was bigger, the side scallops deeper, the taillights were now larger and concave instead of modest and convex, the 2+2 fastback's roof now extended all the way back to the trunk lid's trailing edge and the convertible's rear window was now a two-piece item made of real glass instead of instantly hazing plastic. A hood with dual recesses was optional.

The standard power plant was now the 200-cubic-inch six making 120 horsepower with a 250-cubic-inch (4.1-liter) 155-horsepower six and the 200-, 225- and 271-horsepower K-code 289 V8s optional. New on the menu was a 390-cubic-inch (6.4-liter) "big-block" V8 breathing through a Holley four-barrel carburetor making 315 horsepower. Accommodating that wider engine meant that the front suspension's track needed to be widened by 2.5 inches for clearance.

With its wider track, the '67 Mustang was a more stable car than the '66. The seats were more comfortable, and the instrumentation was easier to read. It was, generally speaking, a better car in every way that counted. Ford sold 356,271 coupes, 71,042 2+2s and 44,808 convertibles during '67 despite the new competition. Of those, only 472 cars were equipped with the 271-horsepower 289, while around 28,800 had the 390 under their hoods.

Federally mandated side marker lights and a revised grille distinguished the 1968 Mustang from the '67 on the outside, while a slew of new engines set it apart mechanically. A low-performance 195-horsepower 289 V8 was still an option, but the other 289s were gone in favor of two new 302-cubic-inch (4.9-liter) versions of the small block V8. The two-barrel 302 made 220 horsepower, while the four-barrel-equipped version put out 230 horsepower.

More glamorous than the revised small V8s were new 427- and 428-cubic-inch (both convert to about 7.0 liters) versions of the big-block V8. The more radical 427, which had a slightly higher-compression ratio and wilder cam, was rated at 390 horsepower, while the more civilized 428 knocked out 335 horsepower. Both the 427 and 428 were very rare options. Those big engines hinted at what was in store for the Mustang over the next few years."

- Third Generation (1969-1970)

- Fourth Generation (1971-1973)

- Fifth Generation (1974-1978)

- Sixth Generation (1979-1993)

- Seventh Generation (1994-1998)

- Eighth Generation (1999-2004)

- Ninth Generation (2005-2014)

- Tenth Generation (2015- )

"The 2015 model year Mustang entered showrooms in November, 2014"