de Havilland Canada DHC-1 Chipmunk
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The Internationales Congress Centrum Berlin (ICC Berlin) ranks among the biggest congress venues in the world. It was built in just four years under the architects Ralf Schüler and Ursulina Schüler-Witte. Since its opening the highly versatile communication complex - 320 metres long, 80 metres wide and 40 metres high, - ICC Berlin is one of the most outstanding landmarks of postwar German architecture.
The complex consists of spacious lobbies (5,500 m2) and 80 halls.
A three-storey walkway provides a direct link between ICC Berlin and the Berlin Exhibition Grounds.
The building is contaminated by asbestos, renovation has to be done and it's future is until now undecided.
© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
From it's most earliest days in the early 1900's to it's sad end in the mid 1950's Packard maintained a signature design element on their grill surrounds. Starting lower on the sides the grill surrounds would bump up and raise in the center, and you will find versions of this on every model of every Packard for every year of Packard's existence. When I first came upon the Reo in the photo the first thing I noticed was the Packard like grill surround, and thinking, in fact, that it was indeed a Packard. Well, that was only true until I noticed the emblem in the center with the letters R E O emblazoned on it. Like Packard in their day, Reo was considered somewhat of a luxury automobile, and as such, they were priced accordingly. I suspect, however, that they didn't have the same panache that Packard enjoyed. So, was the Packard like grill surround on this 1930 Reo a design coincidence, or could you say that "imitation is the sincerest form of flattery?" REO, the company, was founded by the former founder and owner of the Oldsmobile company, Ransom E. Olds (Notice the first letters in his name REO.) The company started in Lansing, Michigan, and had a long and somewhat successful history producing cars and trucks from 1905 to 1975. In 1936, Reo stopped producing cars in favor of devoting it's time to the end in 1975 to producing trucks.
Vince M
Although truck orders during World War II enabled it to revive somewhat, the company remained unstable in the postwar era, resulting in a bankruptcy reorganization. In 1954, the company was still underperforming, and sold its vehicle manufacturing operations (the primary asset of the company) to the Bohn Aluminum and Brass Corporation of Detroit. Three years later, in 1957, Reo's vehicle manufacturing operation became a subsidiary of the White Motor Company. White then merged REO with Diamond T Trucks in 1967 to form Diamond Reo Trucks. In 1975, this company filed for bankruptcy and most of its assets were liquidated. Volvo later took over White and thus currently owns the rights to the REO brand name.
Wiki
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...
Built for the LNER in 1937, and the 100th Gresley Pacific built. Its Doncaster Works number was 1863. It was originally numbered 4498. It is a 4-6-2 locomotive to the same design by Sir Nigel Gresley as the more famous Mallard.
Sir Nigel Gresley is the holder of the postwar steam record speed of 112 miles per hour (180 km/h) gained on 23 May 1959 and carries a plaque to that effect. As with Mallard's record, this was descending southward from Stoke Bank, but unlike Mallard's run which was a special attempt, this was with a full train of passengers returning from an excursion to Doncaster Works. The excursion exceeded 100 miles per hour (160 km/h) on two other occasions on the same day. As the nominated member of the British Transport Commission's Eastern area board.
Source: en.wikipedia.org/wiki/LNER_Class_A4_4498_Sir_Nigel_Gresley
Typical postwar architecture you can find in the city of Nijmegen. The city was bombed by mistake by the allies of World War II
California coast
In 1964, a group of architecture faculty at the University of California, Berkeley, some only in their 20s, were entrusted by developer Al Boeke with ten miles of magnificent California coastline three hours north of San Francisco.
For an exhilarating historical moment the energies of postwar suburban development, an emerging ecology movement and Modernist architecture found a common purpose: transforming a 5,200 acre sheep ranch here into a progressive residential community, built in a way that was not only in tune with nature, but driven by nature.
The Sea Ranch came to be “the California architectural monument of the 1960s,”
The Junkers Ju 52 (nicknamed Tante Ju ("Aunt Ju") and Iron Annie) was a German trimotor transport aircraft manufactured from 1932 to 1945. 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!
Alternative shot of Oosanbashi Pier (大桟橋) with the passenger terminal in the centre. Two photos were merged to get this image.
Yokohama is located 30 km southwest of downtown Tokyo. Being the second populous city after Tokyo, it has many faces.
It is a cosmopolitan port city that has led Japan's westernisation. Its old port area with MM21 is a pioneer of waterfront redevelopment and rejuvenation. Sankei'en is something like a predecessor of theme parks and an antithesis of westernised Yokohama. It is also an industrial city that lead Japan's postwar economic development. It includes a few up-scale bed towns for commuters to Tokyo.
Yokohama is included in the Greater Tokyo Area with a total population of 37 million, in which it has been the forerunner.
This is the last photo of the series "Sankei'en and Yokohama."
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
"But once people have had a huge glut of progress, they'll get bored. They'll start talking to the wind and flowers and stones again and listening to the song of the stars."
- Þórbergur Þórðarson -
Þórbergssetur at Hali in Suðursveit
Þórbergssetur opened on July 1, 2006, at the farm Hali in south-eastern Iceland. It was built in memory of the author Þórbergur Þórðarson (1888-1974), who was born at the site. The centre houses a restaurant, souvenir shop and two exhibition spaces.
One of the spaces is used for various exhibitions, while the other offers an retrospective of Þórbergur's life. With props and backdrops evoking impressions of past ages, it tells the story of Þórbergur's life, from his childhood years at Hali at the turn of the century, to his twilight years in postwar Reykjavík. While the exhibition provides an overview of an remarkable artistic career, it also tells the larger story of the changes wrought on Icelandic society by the twentieth century.
Þórbergssetur è stato inaugurato il 1° luglio 2006, nella fattoria Hali, nell'Islanda sud-orientale. È stato costruito in memoria dell'autore Þórbergur Þórðarson (1888-1974), nato in quel luogo. Il centro ospita un ristorante, un negozio di souvenir e due spazi espositivi.
Uno degli spazi è utilizzato per varie mostre, mentre l'altro offre una retrospettiva della vita di Þórbergur. Con oggetti di scena e fondali che evocano impressioni di epoche passate, racconta la storia della vita di Þórbergur, dagli anni della sua infanzia ad Hali all'inizio del secolo, ai suoi anni del crepuscolo nella Reykjavík del dopoguerra. Mentre la mostra fornisce una panoramica di una straordinaria carriera artistica, racconta anche la storia più ampia dei cambiamenti apportati alla società islandese dal ventesimo secolo.
Fonte: www.islit.is
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
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.
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.
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
A successful, postwar, French multipurpose type. More than 300 were built, and a number remain active today, although this is apparently the first time one has ever displayed at a UK airshow. This was after 8pm in the low evening sun, and it looked absolutely gorgeous.
"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.
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
With its brilliant V-8 and best-in-class styling, Cadillac reached the top of the luxury heap by 1950, and would stay there for the next 40 years.
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.
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.
Somewhere between postwar optimism and Cold War paranoia, Detroit built rocket ships for the highway and painted them candy colors.
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
The Stearman (Boeing) Model 75 is a biplane used as a military trainer aircraft, of which at least 10,626 were built in the United States during the 1930s and 1940s.[1] Stearman Aircraft became a subsidiary of Boeing in 1934. Widely known as the Stearman, Boeing Stearman or Kaydet, it served as a primary trainer for the USAAF, the USN (as the NS & N2S), and with the RCAF as the Kaydet throughout World War II. After the conflict was over, thousands of surplus aircraft were sold on the civilian market. In the immediate postwar years they became popular as crop dusters, sports planes, and for aerobatic and wing walking use in airshows.
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.
Vasily (or Wassily) Kandinsky
b.1866 Moscow
d.1944 Nueilly-sur-Seine,France
Dominant Curve (1936)
-oil on canvas
Movement-Expressionism,abstract art
After the Bauhaus closed under pressure from the Nazis in 1933,Kandinsky was forced to abandon Germany for a second time;he settled in the Parisian suburb Neuilly-sur-Seine.The artist increasingly experimented with materials and colors,favoring pastels and gold-hues reminiscent of his Russian origins.Likewise,Surrealism and the natural sciences clearly inform Kandinsky's compositions from this period.In Dominant Curve,a schematized embryo floats in the upper-right corner while the figures within the green rectangle in the upper-left recall microscopic marine animals.These buoyant biomorphic images suggest a hope for a postwar rebirth and regeneration,despite the worsening political environment.
Peggy Guggenheim,who introduced Kandinsky to Great Britain acquired Dominant Curve from the show at her London gallery.She sold the painting to Karl Neirendorf a short time later,only for it to be sold to her uncle Solomon (Guggenheim) in 1946.
A rare look inside the "Radio Center" building in Tokyo's Akihabara ("Electric Town") district. The site was one of the early homes to Tokyo's postwar radio and electronics boom. The building itself is about 50 years old.
秋葉原電波会館にて（道側から旧「古炉奈」に上がる階段。）
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.
Built in 1942, from the beginning it was erected as one of the most important postwar villas. It belonged to Elisa Carpi, wife of Count Joaquín Bau, president of the Council of the Kingdom. It is currently owned by the Benicasim city council, which uses it as a venue for socio-cultural activities. Its appearance is totally Renaissance with two side towers and a sinuous terrace resting on the arcades of the porch.
Construida en 1942, desde el principio se erigió como una de las villas más importantes de la posguerra. Perteneció a Elisa Carpi esposa del conde Joaquín Bau, presidente del consejo del Reino. En la actualidad es propiedad del ayuntamiento de Benicasim que la utiliza como sede de actividades socioculturales. Su apariencia es totalmente renacentista con dos torres laterales y una sinuosa terraza apoyada sobre las arcadas del porche.
Les Villes de Benicàssim (Castelló/ Spain)
The Jaguar Mark VII is a four-door luxury car produced by Jaguar Cars of Coventry from 1950 to 1956. Launched at the 1950 British International Motor Show as the successor to the Jaguar Mark V, it was called the Mark VII because there was already a Bentley Mark VI on the market. [citation needed] A version of the Jaguar Mark V with the XK engine had been designated as the Mark VI, but it is thought that only two were built.[2]
In its original 1950 form the Mark VII could exceed 100 mph, and in 1952 it became the first Jaguar to be made available with an optional automatic transmission.[4]
Mark VIIs were successful in racing and rallying.
Whereas the Mark V had a prewar pushrod engine originally developed by the Standard Motor Company, the Mark VII was powered by the newly developed XK engine. First seen in production form in the 1948 XK120,[5] the 3442 cc DOHC straight-six provided 160 bhp (119.3 kW), the same as in the XK120, and the saloon's claimed top speed was over 100 mph (160 km/h).
When the car was being developed, Jaguar thought it would find most of its customers overseas, mainly because UK car tax at that time penalised buyers of larger-engined cars. However it went into production just as Britain's postwar economic austerity began to ease, and in 1951 the car's enthusiastic reception in both the British and American markets prompted Jaguar to relocate production to larger premises, at the Browns Lane plant, which had been built for wartime production as a shadow factory and was now available for immediate use.[5]
The published performance figures for the Mark VII were based on the standard 8:1 compression ratio, but as this was unsuitable for the UK market's low-octane Pool petrol, a 7:1 engine was optional.[6] British motoring magazines tested the car's performance with the higher compression ratio, using the Ostend to Brussels autoroute in Belgium, where 80 octane fuel was available.[6] A Mark VII tested by The Motor in 1952 had a top speed of 101 mph (163 km/h), accelerated from 0–60 mph (97 km/h) in 13.7 seconds, and returned 17.6 miles per imperial gallon (16.1 L/100 km; 14.7 mpg‑US). The test car cost £1693 including taxes.[3]
In 1952 the Mark VII became the first Jaguar to be offered with an automatic transmission.
By the time the model was upgraded to M specification in 1954, 20,908 had been produced.[1]
Mark VII M (1954–1956)
The Mark VII M was launched at the British International Motor Show in October 1954. Although the engine continued with the same capacity and 8:1 compression ratio, the introduction of new high-lift cams increased the amount of power to 190 bhp (141.7 kW), giving the car a claimed top speed of 104 mph (167 km/h).[7]
Jaguar Mark VII M
The four-speed manual gearbox remained the standard fitting but was now constant mesh and fitted with closer ratios, while the Borg Warner automatic, hitherto available only on exported Mark VIIs, now became optional for British buyers. Larger torsion bars were fitted to the front suspension. Flasher-type traffic indicators replaced semaphore arms.[7]
Distinguishing the Mark VII M from its predecessor, circular grilles over the horns were installed below the headlights in place of the former integrated auxiliary lamps, which were moved slightly further apart up-rated and mounted on the bumper.[8] Both bumpers now wrapped further around the sides of the car.[8] New large tail lamps with built-in reflectors now incorporated direction indicators. New headlamps were given Le Mans type diffuser glasses. Seats were now full length and incorporated Dunlopillo.[7]
In 1956, with the advent of the Suez Crisis, Britain anticipated fuel rationing, and bubble cars appeared on the streets. Jaguar switched focus to their smaller saloons (the Mark I 2.4 had been introduced in 1955), and neither the Mark VII M nor any of its increasingly powerful but fuel-thirsty successors would match the production volumes of the original Jaguar Mark VII. Nevertheless, before it was superseded by the Mark VIII, the Mark VII M achieved 10,061 sales during its two-year production run. Wikipedia
1/24 scale forced prospective.
Built as a training base and airport for the Army Air Corp, the City of Bedville took over ownership in 1949. Many times over the years the city negotiated with many regional airlines hoping to grow and expand the airport into a major transportation hub. All efforts failed as it seemed few had interest in making Bedville a destination of any kind.
Of course, like the photo this story is fake.