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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...
Coachwork by Carrozzeria Figoni
Chassis n° 55221
24 Hrs du Mans 1932
n° 15
Team : Guy Bouriat
Result : Not finished
Engine : 2.262 cc
Guy Bouriat (F)
Louis Chiron (MC)
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...
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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Ronan: I have a counter-offer. Why not spend some time here? Observe me?
I mean, you're a tenet, you must be hunting razers, right? (gives a
small flourish of one hand) I happen to be in-the-know about local
nefarious types.
Caly: You associate with razers?
Ronan: If I say yes, will you kill me?
Caly: (shrugs) It's not specifically against our code of ethics.
Ronan: Be an absolute dear and get me a copy of those, would you? (holds
up a hand when she looks annoyed) All I'm saying is, I can be an asset
to you. I don't like razers, and I don't mind pointing them out.
Caly: I'm a tenet.
Ronan: Oh, that solitary crusader schtick is certainly titillating, but
even knights on a quest were known to bring along bards to amuse them.
Caly: (skeptical) Did they?
Ronan: According to the historian, Monty Python.
Caly: Hm.
(At that moment, Dir. Wilson bursts through the front doors, spotting
them through the pass through.)
Dir. Wilson: You! Both of you! Come outside and help!
Ronan: Director Wilson! You look positively frantic!
(Cut to main eating area, Ronan and Caly go out to meet Dir. Wilson.)
Dir. Wilson: It's the girl they found, it's terrible! She used to be a
camp employee! Guests are making assumptions, it's just chaos out there.
All hands on deck, people! We need cool heads out there! (motions
vigorously at them and they leave the lodge.)
(Cut to the dark hallway leading from the rear offices to the kitchen.
Mateo steps into the kitchen with a dismayed expression. He looks from
the stove, to the lodge doors, to the stunner in his hand.)
(Cut to the RV park. Dir. Wilson is jogging toward the lake which is a
hive of activity with police, aid units, and a throng of onlookers.
Ronan and Caly are lagging a little behind him.)
Ronan: I need to talk to you.
Caly: I thought we did.
Ronan: Just need to spill a little tea.
(He abruptly draws her behind an RV, speaking low and earnestly.)
Ronan: There's a lot of them, here. Razers, I mean.
Caly: Here? (she looks toward the lake)
Ronan: No, Mother Energy, not here, this area. And it's been building. I
get the feeling that they're planning something.
Caly: I'm going to blame your odd melding with a human for your lack of
concise reporting.
Ronan: (sighs) I'm not a detective, and I'm not exactly "on the inside"
of things, but more and more razers have been settling in the area.
Medina and Hunts Point is almost exclusively razers, now.
Caly: Hunts Point was why I came here.
Ronan: I'm not arguing the intimidating vibes you project, but I don't
suppose you have a small army of tenets on standby?
Caly: Tenets are solitary because we don't require armies.
Ronan: Fan me before I faint, but I am being serious. We're talking
about hundreds of razers, and you might not need an army, but I think
they're creating one.
Caly: So, it will be as it was when we arrived on this planet.
Conquerors against colonists.
Ronan: Oh, no. We need a new tagline, Kubla Calm. Colonialism is frowned
upon.
Caly: But our people were colonists seeking new, unpopulated worlds on
which to live.
Ronan: So was everyone else.
Caly: We were stranded. Conquest was not our mission.
Ronan: That table was flipped over 5,000 years ago. Baddies decided to
rule, goodies decided to protect the dominant lifeform that evolved
here, and I'll work on a tagline that's less problematic.
Caly: I will defeat the razers.
(Cut to view above the RV park, showing Ronan and Caly joining the mass
of activity from one direction while Mateo joins from another direction.
Camera soars higher, focusing on a point of land jutting into the Sound,
moving toward it. Cut to above golf course. Cut to ornate entrance sign,
"Golden Lake Country Club." Cut to interior, ballroom filled with
attractive people of varying ages, all dressed casually (for wealthy
folk), their attention focused on the dais where a handsome 30-something
man, Trajan August, is speaking.)
Trajan: Our time has truly come! We will tear this world asunder, and
take our rightful place as rulers! She has risen again! And tonight, she
is with us, here! Lilitus!
(Lights flash around the dais and the crowd rises to their feet,
chanting the name, "Lilitus.")
(To be continued in Part 3!)
Special thanks to cast!
Ronan: Seth
Mateo: BSM
Caly: TB
Offers female mesh apparel (clothing and footwear) in standard sizes.
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want some? here's my offer - send me some money in the mail (if you trust me) & i'll send you as many 5x7's & 8x10's as you want (if i trust you).
what the hell would you do with copies of my grotesque photos?
well, they're pretty flamable, so you could ball them up & get a fire started with them.
or you could take them to a psychiatrist & find a diagnosis or two for me.
or you could even tape them to the walls of public bathrooms in the hopes that men might smear their sperm all over my tiny paper face.
those are just a few of the many possibilities, my friends. sky's the limit.
matte on regular paper. $3.00 for 5x7, $6.00 for 8x10. don't worry, they look nice. i promise.
message me about it, yo.
I offered to take a few photos of the university library for some of our publicity. Most of the photos we have are quite old, and pre-date an extensive refurbishment that took place around 9 months ago. This was one of the photos. I have no idea whether they will get used but I'm pleased with how some of them came out.
"Honeywell Makes New Offer for United Technologies" by LESLIE PICKER via NYT t.co/EQ6toRzUr0 (via Twitter twitter.com/felipemassone/status/701932063524524033)
Offers during Hatsumōde (初詣) a festival on the first day of new year. It is commotie offer food, drinks or like here arrows.
I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database of more than 1400 images, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info@elkevogelsang.com
________________________
Elke Vogelsang
Commercial and editorial pet photographer
info@elkevogelsang.com
________________________
All pictures: © Elke Vogelsang
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All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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Dorset Mela offers a unique experience to people in Dorset as it brings various communities together. This event offers a unique dining experience with variety of food, dance, music, live performances, handicraft, henna painting and many more activities.
Ladies and gentlemen of the class of '99
"Wear sunscreen"
If I could offer you only one tip for the future, "sunscreen" would be it.
The long-term benefits of sunscreen have been proved by scientists, whereas the rest of my advice has no basis more reliable than my own meandering experience.
I will dispense this advice NOW!
Enjoy the power and beauty of your youth.
Oh, never mind.
You will not understand the power and beauty of your youth until they've faded.
But trust me, in 20 years, you'll look back at photos of yourself and recall in a way you can't grasp now how much possibility lay before you and how fabulous you really looked.
You are not as fat as you imagine.
Don't worry about the future.
Or worry, but know that worrying is as effective as trying to solve an algebra equation by chewing bubble gum.
The real troubles in your life are apt to be things that never crossed your worried mind, the kind that blindside you at 4 pm on some idle Tuesday.
Do one thing every day that scares you.
Sing
Don't be reckless with other people's hearts.
Don't put up with people who are reckless with yours.
Floss
Don't waste your time on jealousy.
Sometimes you're ahead, sometimes you're behind.
The race is long and, in the end, it's only with yourself.
Remember compliments you receive.
Forget the insults.
If you succeed in doing this, tell me how.
Keep your old love letters.
Throw away your old bank statements.
Stretch
Don't feel guilty if you don't know what you want to do with your life.
The most interesting people I know didn't know at 22 what they wanted to do with their lives.
Some of the most interesting 40-year-olds I know still don't.
Get plenty of calcium.
Be kind to your knees.
You'll miss them when they're gone.
Maybe you'll marry, maybe you won't.
Maybe you'll have children, maybe you won't.
Maybe you'll divorce at 40.
Maybe you'll dance the funky chicken on your 75th wedding anniversary.
Whatever you do, don't congratulate yourself too much, or berate yourself either.
Your choices are half chance.
So are everybody else's.
Enjoy your body.
Use it every way you can.
Don't be afraid of it or of what other people think of it.
It's the greatest instrument you'll ever own.
Dance
Even if you have nowhere to do it but your living room.
Read the directions, even if you don't follow them.
Do not read beauty magazines.
They will only make you feel ugly.
"Brother and sister together we'll make it through,
Someday a spirit will take you and guide you there
I know that you're hurting but I've been waiting there for you
and I'll be there just helping you out
whenever I can..."
Get to know your parents.
You never know when they'll be gone for good.
Be nice to your siblings.
They're your best link to your past and the people most likely to stick with you in the future.
Understand that friends come and go,
but with a precious few you should hold on.
Work hard to bridge the gaps in geography and lifestyle, because the older you get,
the more you need the people who knew you when you were young.
Live in "New York City" once, but leave before it makes you hard.
Live in "Northern California" once, but leave before it makes you soft.
Travel
Accept certain inalienable truths:
Prices will rise.
Politicians will philander.
You, too, will get old.
And when you do, you'll fantasize that when you were young, prices were reasonable, politicians were noble, and children respected their elders.
Respect your elders.
Don't expect anyone else to support you.
Maybe you have a trust fund.
Maybe you'll have a wealthy spouse.
But you never know when either one might run out.
Don't mess too much with your hair or by the time you're 40 it will look 85.
Be careful whose advice you buy, but be patient with those who supply it.
Advice is a form of nostalgia.
Dispensing it is a way of fishing the past from the disposal, wiping it off, painting over the ugly parts and recycling it for more than it's worth.
But trust me on the sunscreen.
"Brother and sister together we'll make it through,
Someday a spirit will take you and guide you there
I know that you're hurting but I've been waiting there for you
and I'll be there just helping you out
whenever I can..."
Everybody's Free, Everybody's Free To Feel Good!
LCROSS and LRO are heading back to the moon, but this picture offers some nice historical perspective.
Date of original image: July 16, 1969
"Carrying astronauts Neil A. Armstrong and Edwin E. Aldrin, Jr., the Lunar Module (LM) "Eagle" was the first crewed vehicle to land on the Moon. The LM landed on the moon's surface on July 20, 1969 in the region known as Mare Tranquilitatis (the Sea of Tranquility). The LM is shown here making its descent to the lunar surface, while Astronaut Collins piloted the Command Module in a parking orbit around the Moon. The Apollo 11 mission launched from The Kennedy Space Center, Florida aboard a Saturn V launch vehicle on July 16, 1969 and safely returned to Earth on July 24, 1969. The 3-man crew aboard the flight consisted of Neil A. Armstrong, commander; Michael Collins, Command Module pilot; and Edwin E. Aldrin Jr., Lunar Module pilot. Armstrong was the first human to ever stand on the lunar surface. As he stepped off the LM, Armstrong proclaimed, "That's one small step for man, one giant leap for mankind". He was followed by Edwin (Buzz) Aldrin, describing the lunar surface as Magnificent desolation. The crew collected 47 pounds of lunar surface material which was returned to Earth for analysis. The surface exploration was concluded in 2½ hours. With the success of Apollo 11, the national objective to land men on the Moon and return them safely to Earth had been accomplished. The Saturn V vehicle was developed by the Marshall Space Flight Center (MSFC) under the direction of Dr. von Braun."
Image credit: NASA
There are plenty of amazing photos on NASA's Image Exchange site:
Learn more about the Lunar Reconnaissance Orbiter (LRO) :
www.nasa.gov/mission_pages/LRO/main/index.html
Learn more about the Lunar Reconnaissance Orbiter and Lunar Crater Observation and Sensing Satellite (LCROSS):
www.nasa.gov/mission_pages/LCROSS/main/index.html
Follow the "New Moon Missions" blog from NASA:
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
FACEBOOK | INSTAGRAM | WEBSITE
© Elke Vogelsang
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licensing dog images
licensing dog photos
licensing dog photo
licensing pet photos
licensing pet photos
stock images of pets
stock images of dogs
commercial dog photographer
commercial pet photographer
commercial dog photography
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commercial dog photograph
commercial pet photograph
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studio dog photography
studio dog photographs
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Welcome to my CrEaTiVe Space!
HOW IT WAS BUILT
A few years ago my husband offered to build me an art studio for my birthday. What a great gift! Little did I know at the time that I would be hammering with him side by side, getting splinters and into frustrating arguments (and we’re suppose to build a home together someday!). Anyhow, the spot we chose was an old concrete slab that existed as a foundation for a pig pen some years prior. It was amongst the bamboo forest behind our house so, the first project was to clear some land. The materials came from an old garage which we tore down in exchange for all the wood and old windows. The older Japanese man whose garage this was said that it had been there for some 80 years and that it could have also been built from reclaimed wood. We began to build…First the heavy, wood plank floors went in followed by the framing, walls, and roof which was reclaimed also from a roofing job up the street. The used windows still have the old hand blown glass which has that wavy look to it with bubbles in it. At this pint the structure looked dark and dingy, thus began the task of cheering it up!
TAKE THE TOUR
My studio is located above a creek which only flows during heavy rains. When it does I just love the sound of easy flowing water. Half of it lies under a gigantic avocado tree which drops melon size fruits like bombs onto my tin roof. Then of course there are the four swaying palm trees where the inspiration came for the name Palm Tree Princess.
It’s just a short walk from the house where you would find yourself on my cement threshold which has been inlaid with sea glass to read “E Komo Mai” (welcome in Hawiian). Along the way you may have spotted a hidden fairy or gnome hiding in the jungle. Open the (old closet) door (which has an old porcelain knob and skeleton keyhole lock) and you step inside of my oasis. It’s a place where no one has a say but me. For it is completely and totally my realm. It is a place where the monogram of my name and my name only can adorn the walls (with a crown on top!). You get the picture. Look to the right and you will see an old reclaimed bedside table which I have done a mosaic on from tiles I found that had washed ashore on an Italian coastline. Resting in this space is my self titled booked “Desiree” (because everyone should have some great historic novel with their name on it!). On this side of the studio is my day bed. Perfect for reading, contemplating, daydreaming, or just staring out the window which looks into our dense bamboo forest. It is also a great spot for a guest to spend the night (don’t look under the bed because I use it for storage). There are two bookshelves hovering over each side of the bed (which has too many pillows on it). One shelf is completely and only for my collection of fairy books. The other shelf has a mix of art and mermaid books. Which by the way I adore Mucha, Waterhouse, Maxfield Parrish, and Tadema to name a few. Next to the bed is another reclaimed piece of furniture, an old wooden pantry that I painted and now houses wooden bird house, my journal collection, miniatures, and more. The top of it is adorned with glass apothecary jars holding my seashell and sea glass collections (labeled by color, I am such a geek!). The other half of my studio consists of my main countertop workspace, my funky writing desk and chair, my grandmothers old Singer sewing machine and table, and a cool piece I picked up recently which swivels on wheels. One half of it is a desk and the other has drawers and shelves. Storage is key in a small workspace and so is designated spaces for each specific project. And, things on wheels are cool too. Hanging from my ceiling are an ever growing collection of paper lanterns in all colors and sizes. Some light up for a vivid nighttime atmosphere. I have a section on my wall with my fancy papers draped on rods like you would see them displayed in a paper store. Then there is also my ribbon collection which are on two rods as well above the window. I have also another reclaimed wooden cabinet which is home to odds and ends. Everything has a spot and most everything is labeled. That in a nutshell ladies and gentlemen is my studio. It truly is a dream come true.
At any given time my studio is a mess with projects! From painted onesies piling high for wholesale orders to some sewing job still laying out needing to be finished, something with paint on it drying over here and a tutu in the process over there, my space always is alive with creative jobs.
With Etsy being such a glorious place for so many artists, it would be such a great thing to see other creative work spaces. There should be some area to showcase this. I thought I’d make mine a listing to share with others. Maybe I can encourage others to do the same and open up their spaces of art for others to see. Whether it’s a nook in a kitchen or a separate barn turned into a dream studio, every artist deserves their own realm no matter how big or small to call their own and let their imagination and ideas soar.
THANKS FOR LOOKING!
Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.
First on the list was Salle.
It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.
Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.
It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.
Here is what my friend Simon has to say. He likes it too.
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During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.
St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.
Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.
As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.
You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.
The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).
You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.
Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.
Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.
Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.
Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.
There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.
Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.
Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.
Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.
There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.
One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?
This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.
Simon Knott, June 2004