de Havilland Canada DHC-1 Chipmunk
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The former administration building of the Textile Trade Association (Textilberufsgenossenschaft) at Volkhartstraße 6
"Three-part building with central eight-storey high-rise, concrete skeleton with brick infill, by Robert Pfaud, 1949-1952" de.wikipedia.org/wiki/Liste_der_Baudenkm%c3%a4ler_in_Augs...
The Junkers Ju 52 (nicknamed Tante Ju ("Aunt Ju") and Iron Annie) is a German trimotor transport aircraft manufactured from 1931 to 1952. It saw both civilian and military service during the 1930s and 1940s. In a civilian role, it flew with over twelve air carriers including Swissair and Deutsche Luft Hansa as an airliner and freight hauler. In a military role, it flew with the Luftwaffe as a troop and cargo transport and briefly as a medium bomber. The Ju 52 continued in postwar service with military and civilian air fleets well into the 1980s.
1951 Talbot-Lago Saoutchik designed T-26 Coupe'. A very sensuous art deco design to begin the second half of the 20th century. The engine and drive train are the same as the Talbot-Lago that won outright the 1950 Le Mans 24 hour race, so a quick and reliable......and gorgeous ride.
Founded by cabinet maker Jacques Saoutchik (born Iakov Savtchuk in Russian Empire in 1880), Saoutchik was a French coachbuilding company founded in 1906. In the 1930s, the company became well known for their often extravagant automobile designs for high end luxury car manufacturers. After Jacques died in 1955, the company passed into the hands of his son Pierre. With most of the well known French luxury car manufacturers going out of business and independent automotive coachbuilding as an industry in decline, the market for Saoutchik designs evaporated and the company ceased trading in 1955.[1]
The company was known for designing flamboyant and expensive automobile bodies for brands such as Bugatti, Delahaye, Pegaso, Hispano-Suiza Talbot-Lago and others. (WP)
AS ALWAYS....COMMENTS & INVITATIONS with AWARD BANNERS will be respectfully DELETED!
The Spacelander is a marvel of postwar biomorphic design. Its curving lines and amoeba-like voids represent the mutation of the prewar streamlined style into a new expression based on organic, rather than machine-made, forms. Although the prototype—made for a 1946 exhibition of British industrial design—was a critical success, Benjamin Bowden failed in his attempts to have it manufactured. By the time it finally went into production in the United States in 1960, tastes had changed and the price of the bicycle—$89.50—was too high. It is believed that only about five hundred examples were ever sold, making it one of the rarest and most sought-after industrial designs of the mid-twentieth century. When new, this bicycle was bright red; the color has faded over time
Post war, Modernist structure.
A target for graffiti and associated defacement.
LR4255 © Joe O'Malley 2022
Post war gloom being brightened by the approaching 60's.......
I'm very grateful for all your visits and would like to thank you now for stopping by, and any comments you may leave. Much appreciated, John...
Please don't use this image on websites, blogs or other media without my explicit permission. ©2019 John Baker. All rights reserved.
"Das Augsburger Finanz- und Hauptzollamt befindet sich am Prinzregentenplatz im Bahnhofsviertel. Nach der Zerstörung des Vorgängerbaus [...] bei den Luftangriffen auf Augsburg im Februar 1944 wurde das Finanz- und Hauptzollamt in den Jahren 1953 und 1954 [...] wieder errichtet. Es ist ein wichtiges Zeugnis der Nachkriegsarchitektur in Augsburg." de.wikipedia.org/wiki/Finanz-_und_Hauptzollamt_(Augsburg)
These buildings of the Augsburg revenue and customs authorities erected in the years 1953-54 are a beautiful example of the city's post-war architecture. The predecessor buildings had been destroyed during the bombing raid of 25/26 February 1944.
Laundry day on a post war estate.
Note the telltale chimney dating to a time before the clean air act.
LR4246 Joe O'Malley 2022
From Luftfartsmuseet i Bodø.
The Junkers Ju 52/3m (nicknamed Tante Ju ("Aunt Ju") and Iron Annie) is a transport aircraft that was designed and manufactured by German aviation company Junkers.
Development of the Ju 52 commenced during 1930, headed by German aeronautical engineer Ernst Zindel. The aircraft's design incorporated a corrugated duralumin metal skin as a strengthening measure, which was very unusual at the time. The Ju 52's maiden flight was performed on 13 October 1930. It was initially designed with a single engine, however, it was produced in quantity as a trimotor. The primary early production model, the Ju 52/3m, was principally operated as a 17-seat airliner or utility transport aircraft by various civil operators during the 1930s. Following the rise of Nazi Germany, thousands of Ju 52s were procured as a staple military transport of the nation. The Ju 52/3mg7e was the principal production model.
The Ju 52 was in production between 1931 and 1952. In a civilian role, it flew with over 12 airlines, including Swissair and Deutsche Luft Hansa, as both a passenger carrier and a freight hauler. In a military role, large numbers flew with the Luftwaffe, being deployed on virtually all fronts of the Second World War as a troop and cargo transport; it was also briefly used as a medium bomber. Additionally, the type was deployed by other nation's militaries in conflicts such as the Spanish Civil War, the Chaco War, and the Portuguese Colonial War. During the postwar era, the Ju 52 had a lengthy service life with numerous military and civilian operators; large numbers were still in use by the 1980s. Even in the 21st century, several aircraft have remained operational, typically used for purposes such as heritage aviation displays and aerial sightseeing.
I photographed the Torre Velasca from the roof of the Duomo di Milano on a grey morning, with soft light filtering through the overcast sky. The image isolates the tower in color against a black-and-white cityscape, emphasizing its cantilevered top and angled supports. From this elevated vantage point, the contrast between postwar modernism and Milan’s historic architecture becomes even more pronounced.
1947 Chrysler Windsor Sedan.
Americans in general had saved up quite a bit of money during the Second World War there was not much to buy (but plenty to make), so after peace finally came the American public was more than ready for new cars. The car companies did the only thing they really could do given the fact that they had been literally forbidden from legally working on postwar cars during the war years. No new cars had been produced since early 1942 and the nation had just then come out of a depression.
The civilian vehicle fleet was nearly to the point of breaking point where it would be impossible to recover the economy in a timely way. In fact, in a little known edict, the U.S. Government actually allowed the production of 200,000 cars in 1945, prior to the end of the war in Asia. By the end of the war, the average car on the road was 10 years old. This may not seem too severe in a modern sense, but in this era cars generally were only reliable until they were about three years old, and a car that was five years old was considered a clunker. In fact, many cars were inoperable, or being literally held together with baling wire and a prayer. The tire situation was even more desperate.
In this environment, Chrysler Corporation was able to reestablish automobile production but was not able to do so as quickly as its competitors due to unique circumstances relating to their military contracts. Very few cars were built in 1945, but by 1946 production had ramped up. Chrysler didn’t even keep production records year over year, but simply kept adding from 1946 through early 1949. The Windsor, the series of car above the base Royal but below the Saratoga, New Yorker, Town & Country and Crown Imperial lines, was the top-seller, and the top selling Windsor was the basic four-door sedan.
The Windsor utilized the more economical of the two Chrysler engines, a 250.6 cubic inch L-head inline-six of 114 hp. The cars above it (except for some Town & Country sixes) used a 323.5 cubic inch L-head inline-eight of 135 hp. The smooth fluid-coupling manual transmission system was standard on all Chryslers.
The cars were, for all intents and purposes, 1942 cars with a new grille and a little different trim, but the buying public was more than willing to pay top-dollar for cars overwrought with every possible dealer accessory, inflating the price, in order to obtain a car. People even put their names on waiting lists for cars, something virtually unheard of in the United States. Deliveries were not weeks in coming, but often many months. Many unscrupulous dealers would simply “retail” buy any cars coming into their dealer new, drive them for a few hundred miles, and sell them for 50% more than the legal new-car price as used cars.
The Windsor was a solid choice and well worth the wait. Unfortunately, 1946 was a year of many upheavals including many labor strikes, which added to the already sporadic shortages of parts that plagued all automakers. Prices were also fixed by government fiat, which added to automaker woes since component parts prices, labor, steel, coal and everything else was soaring in price.
South Bethlehem, Pennsylvania has undergone quite a bit of change since the late 1970’s, and this image captures the beginning of the change. The Bethlehem Steel complex, which dominated the South Bethlehem skyline for well over a century, is still running, but the glut of cheap foreign steel has taken its toll on production totals. The mainline of the Lehigh Valley Railroad has been slowly deteriorating due to the deferred maintenance policies of the postwar era. Newly-formed Conrail is now undertaking the task of rebuilding the line, and upgrading it as part of what will become the main New York – Harrisburg corridor. A pair of Alcos of Lehigh and Hudson River and Lehigh Valley heritage lead a local on a siding to bypass the construction work. Within a few years, the Alco’s will also be gone. The 2072 was the only of Conrail’s C420’sto receive Conrail blue paint. Done by the Bethlehem shop forces the paint was applied with a roller. I never heard the actual story, but local rumors suggest that CR management was not pleased with the misappropriation of paint for this project.
The need to change, to become a human being, to extract myself from the self-inflicted carnage, murder and mind-boggling falsehood that reigned 1933 to 1945. This is certainly one of the permanent themes of my life since I was able to think for myself. And hard work it was, too hard if you ask my children. Too much energy went into this ferocious process of distancing myself from the world of the previous generation and, therefore, leaving limited space only for the needs of the up and coming next generation. You see, when you extract yourself from a nightmare, you do not end up in dreamland. The job of becoming a human being, a "Mensch", is not yet finished, neither there nor here in the UK, the country of my choice. Fuji X-Pro1 plus Samyang telefoto lens at F11.
"A Cartful Of Clowns" by artist: Ioan Bolborea (2010).
Background: Postwar modernist Grand Hotel Bucharest.
Design (1967): Dinu Hariton; Gheorghe Nădrag; Ion Moscu; Romeo Belea.
1953 Chevrolet 3100 pick up truck.
The 1948-1953 Chevrolet Series 3100 half-ton pickups benefited from a redesign that took Chevy trucks into a new era of comfort, convenience, and style. Chevy's restyled "Advance-Design" trucks were introduced in 1947, well ahead of its first new postwar cars, and little changed in appearance through 1953.
In 1948, Jaguar launched its first postwar sports car, the XK120. With a sophisticated dual-overhead cam 3.4-liter straight-six engine and curvy, aerodynamic bodywork, the car was a sales hit—and was also discovered to be a significant race car in the hands of privateer drivers. Noting this performance, Jaguar decided to build a variant of the XK designed specifically with an eye toward competition. First referred to internally as the XK120C, the car was ultimately different enough from the XK120 that its name changed to C-Type ('C' standing for Competition).
Jaguar C-Type And XK120 Differences
While the XK120 was a capable car (the '120' designating top speed in miles per hour), the C-Type's aim was light weight and slippery aerodynamics to achieve the highest top speed possible for longer racetracks like Le Mans. Whereas the XK120 was based on a heavy steel chassis derived from the Mark V sedan, and used ash wood framework to hold its aluminum body panels, the C-Type had a new lightweight tube frame chassis, one of the first of its type, and Malcolm Sayer-designed alloy bodywork with a more aero-efficient design. The 3.4-liter twin-cam straight-six engine remained, but was given an improved cylinder head, more aggressive camshaft profiles, a dual-exhaust system and unique pistons to bump output from 160 hp to just over 200 hp. With a significantly lighter curb weight than the XK120 road car, the C-Type was an instant performer.
C-Type At Le Mans
The first three cars produced in 1951 were almost immediately sent to the 24 Hours of Le Mans to be tested against the competition. Two of the C-Types failed to finish, but the third car driven by Peter Walker and Peter Whitehead won the endurance race outright, making the C-Type the first British car to win the event in some two decades, setting several speed and distance records in the process. In 1952, C-Type customer car deliveries began, and the twin SU carburetors were upsized slightly, while the car's bodywork and cooling system were also revised. Jaguar's factory motorsports team again ran three cars at the 1952 Le Mans, but all retired with mechanical issues.
In 1953, Jaguar again built three new factory racers with further weight reduction thanks to thinner aluminum bodywork, lending them an unofficial "lightweight" designation. Triple Weber carburetors and higher-lift cams helped bump power to 220 hp, while the rear suspension was slightly revised and Dunlop disc brakes (a rarity in '53) replaced the previous drum units. The factory "lightweight" C-Types finished first, second, and fourth at the 1953 24 Hours of Le Mans. In the end, some 53 C-Types were built before the model was replaced by the even more specialized Jaguar D-Type for the 1954 racing season. Despite the arrival of the D-Type, a C-Type fielded by privateer team Ecurie Francorchamps finished fourth overall in the 1954 24 Hours of Le Mans.
The Jaguar C-Type was really the brand's first all-new postwar race car and as such, it was driven by many of the luminaries of the period including the late Sir Stirling Moss and American Formula 1 champion Phil Hill. Hill said of the C-Type, "I was just in awe of the C-Type when I first stepped into it. When I look back on it now, it makes me smile. The steering was light-almost scary light. It was the first car I ever drove that had a really precise feel about it-it really felt like a racing car." Just three of the special 1953 "lightweight" cars were ever built, though some cars were later modified to lightweight specification.
With just 53 Jaguar C-Types ever having been built between 1951 and 1953, and their competition legacy being what it is, you might guess that you'd have not only a hard time finding a C-Type for sale, but also affording the asking price. You'd be right on both counts. Jaguar C-Types are rare and expensive, most have been raced hard, and some have been involved in significant accidents along the way. The most expensive and desirable C-Types must be the three "lightweight" 1953 factory racers and the 1951 Le Mans winner, while privateer cars with particularly successful or interesting racing histories will also be toward the top of the pecking order.
Motor Trend
Half a postwar Ford atop the pile, on a cold and windy winter night at Big M Auto Salvage, February 2020. Those big trees were really moving. A couple of minutes of full moon and a little warm white flashlight.
The de Havilland Chipmunk was the first postwar aviation project of de Havilland Canada.
Today, over 500 DHC-1 Chipmunk airframes remain airworthy with more being rebuilt every year.
In many respects similar to the pre-war Moth Minor in configuration, the Chipmunk used metal (mainly stress-skinned) airframe construction, allowing thinner wings and better performance, as well as giving greater durability. The Chipmunk was usable for aerobatic and instrument flying as well as basic training. Some 214 Chipmunks were built in Canada, a further 1,014 in Britain, and 60 in Portugal.
Somewhere between postwar optimism and Cold War paranoia, Detroit built rocket ships for the highway and painted them candy colors.
The Grumman F8F Bearcat was the fastest piston-engine fighter used by the U.S. Navy during World War II, entering service just as the war was ending. Designed for rapid climb and short takeoff performance from aircraft carriers, it was a potent interceptor despite its late arrival. The Bearcat earned a reputation for agility and power, making it popular in postwar air races where it often set speed records. Its compact design and strong armament highlighted Grumman’s engineering prowess, bridging the era between propeller-driven fighters and the emerging jet age.
In 1948, Jaguar launched its first postwar sports car, the XK120. With a sophisticated dual-overhead cam 3.4-liter straight-six engine and curvy, aerodynamic bodywork, the car was a sales hit—and was also discovered to be a significant race car in the hands of privateer drivers. Noting this performance, Jaguar decided to build a variant of the XK designed specifically with an eye toward competition. First referred to internally as the XK120C, the car was ultimately different enough from the XK120 that its name changed to C-Type ('C' standing for Competition).
Jaguar C-Type And XK120 Differences
While the XK120 was a capable car (the '120' designating top speed in miles per hour), the C-Type's aim was light weight and slippery aerodynamics to achieve the highest top speed possible for longer racetracks like Le Mans. Whereas the XK120 was based on a heavy steel chassis derived from the Mark V sedan, and used ash wood framework to hold its aluminum body panels, the C-Type had a new lightweight tube frame chassis, one of the first of its type, and Malcolm Sayer-designed alloy bodywork with a more aero-efficient design. The 3.4-liter twin-cam straight-six engine remained, but was given an improved cylinder head, more aggressive camshaft profiles, a dual-exhaust system and unique pistons to bump output from 160 hp to just over 200 hp. With a significantly lighter curb weight than the XK120 road car, the C-Type was an instant performer.
C-Type At Le Mans
The first three cars produced in 1951 were almost immediately sent to the 24 Hours of Le Mans to be tested against the competition. Two of the C-Types failed to finish, but the third car driven by Peter Walker and Peter Whitehead won the endurance race outright, making the C-Type the first British car to win the event in some two decades, setting several speed and distance records in the process. In 1952, C-Type customer car deliveries began, and the twin SU carburetors were upsized slightly, while the car's bodywork and cooling system were also revised. Jaguar's factory motorsports team again ran three cars at the 1952 Le Mans, but all retired with mechanical issues.
In 1953, Jaguar again built three new factory racers with further weight reduction thanks to thinner aluminum bodywork, lending them an unofficial "lightweight" designation. Triple Weber carburetors and higher-lift cams helped bump power to 220 hp, while the rear suspension was slightly revised and Dunlop disc brakes (a rarity in '53) replaced the previous drum units. The factory "lightweight" C-Types finished first, second, and fourth at the 1953 24 Hours of Le Mans. In the end, some 53 C-Types were built before the model was replaced by the even more specialized Jaguar D-Type for the 1954 racing season. Despite the arrival of the D-Type, a C-Type fielded by privateer team Ecurie Francorchamps finished fourth overall in the 1954 24 Hours of Le Mans.
The Jaguar C-Type was really the brand's first all-new postwar race car and as such, it was driven by many of the luminaries of the period including the late Sir Stirling Moss and American Formula 1 champion Phil Hill. Hill said of the C-Type, "I was just in awe of the C-Type when I first stepped into it. When I look back on it now, it makes me smile. The steering was light-almost scary light. It was the first car I ever drove that had a really precise feel about it-it really felt like a racing car." Just three of the special 1953 "lightweight" cars were ever built, though some cars were later modified to lightweight specification.
With just 53 Jaguar C-Types ever having been built between 1951 and 1953, and their competition legacy being what it is, you might guess that you'd have not only a hard time finding a C-Type for sale, but also affording the asking price. You'd be right on both counts. Jaguar C-Types are rare and expensive, most have been raced hard, and some have been involved in significant accidents along the way. The most expensive and desirable C-Types must be the three "lightweight" 1953 factory racers and the 1951 Le Mans winner, while privateer cars with particularly successful or interesting racing histories will also be toward the top of the pecking order.
Motor Trend
Facade of The Broad (rhymes with Road) museum of postwar and contemporary art on Grand Ave, Los Angeles. [2 of 12]
Postwar Chevrolet pickup, late'40's to early '50's. Age and the weather have given this old beauty real character.
Postwar International truck cab, down some long dirt road in Nevada, overlooking a normally dry lakebed, flooded this cold and wet November. Red, white and yellow flashlight, with full moon, for 81-seconds.
1949 Ford Custom Coupe.
For 1949, Ford returned to first place among American manufacturers, selling 1,118,740 Ford cars.
Released in June 1948, the 1949 Ford was the first major "postwar" American car line, beating Chevrolet to market by six months and Plymouth by nine.
Alongside the redesign of the car, Ford updated its model nomenclature for 1949. The previous Custom, De Luxe, and Super De Luxe names were replaced by new Standard and Custom trims, with Tudor and Fordor sedans (two-door and four-door, respectively), fastback Club Coupe and Business Coupe (the latter, rear seat delete), Convertible Club Coupe, and two-door Station Wagon styles. In the center of the "Bullet-nose" grille emblem, Ford embossed either a "6" or an "8" on top of a red circle, denoting the fitment of an inline-6 or the Flathead V8 engine.
Once the single most popular postwar comic genre, romance comics began losing their audience to Marvel and DC superheroes in the 1960s. The writers began to switch the focus of their stories from stupid and very conservative, marriage-obsessed couples falling in love to stupid, beautiful, hip, and angst-driven sex-obsessed swingers agonizing over everything you can possibly imagine: race, politics, drugs, money, and loneliness.
Naturally the "hippie" in this story is an artist the girlfriend's parents despise for being poor. The girl's forced to choose between this poor--but talented--artist and her parents. True love wins, as usual; and as it turns out, the guy's not only successful as an artist, but filthy rich all along. Just like in real life.
This cover's begging to be photoshopped.
Postwar German Zeiss Ikonta 521A and contemporaneous Japanese Zenobia C I (with Voigtlander rangefinder). The Zenobia has an integral viewfinder, accessory shoe, faster top shutter speed and a 4-element lens, compared to this version of the Ikonta but lacks double exposure prevention and a self timer and is a few millimetres taller.
Two children, Little Riley Street, Surry Hills, Sydney, 1949, by Ted Hood, State Library of New South Wales, PXA 584/10 collection.sl.nsw.gov.au/record/n88DRMvn
Minot’s pollinator garden, The insects that previously inhabited the garden were all exterminated a few nights ago, in the name of mosquito control, Minot has many malaria cases every year due to mosquito bites…although none have been actually documented.
Shot with a Canon m39 50mm, f1.8 lens from postwar Japan.
3.929 cc
V12
320 hp
Zoute Concours d'Elégance 25
Class : Steel & Speed - Postwar '61 - '75
Entrant : Maciej Salasinski
Approach Golf - Het Zoute
Zoute Grand Prix Car Week 2025
Knokke - Zoute
België - Belgium
October 2025
A postwar plantation of pines in Blidworth Woods, Sherwood Forest, Nottinghamshire, UK.
The trees were originally planted to provide pit props for local collieries, and are still periodically felled or thinned for timber by Forestry England.
The woods have a wide variety of native broadleaves and plantation pine species, and are open to the public via footpaths and bridleways.
In postwar Japan, fledgling automakers started out by licence-building European designs; Hino started with the rear-engined Renault 4CV. By the late 1950s, Japan had gathered enough technological know-how to add its own innovations; the Contessa resulted from such modifications, including to the engine and the suspension.
This 1965 Hino Contessa 1300, on display in the London Science Museum, retains its original Japanese number plate 26-60 issued in Tama near Tokyo.
The Renault 4CV and the Contessa were the only passenger cars built by Hino. By the late 1960s, Hino became a Toyota subsidiary and concentrated on commercial vehicles, while Toyota replaced the Contessa with a similar-sized car of its own, the Corolla. Hino would not build private, non-commercial passenger vehicles again until the 2006 Toyota FJ Cruiser.
Taken with an Argus A2 camera in week 472 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
Although the shutter seemed to be working OK before I loaded the film, once I was outside in the cold weather it became sluggish. The majority of the photos are hopelessly over-exposed, but I've salvaged a few.