de Havilland Canada DHC-1 Chipmunk
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Typical postwar architecture you can find in the city of Nijmegen. The city was bombed by mistake by the allies of World War II
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!
ENG: The elegantly curved staircase in the Bayer-Haus on Kurfürstendamm impresses with its clean lines and striking design. Built in 1951–52 by Hans Geber and Otto Risse, the building is one of West Berlin’s early postwar structures and is now a designated historic landmark. A fine example of the high-quality architecture of the 1950s.
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GER: Das elegant geschwungene Treppenhaus im Bayer-Haus am Kurfürstendamm beeindruckt mit seinen klaren Linien und dem markanten Auge. Das 1951/52 von Hans Geber und Otto Risse errichtete Gebäude zählt zu den frühen Nachkriegsbauten West-Berlins und steht heute unter Denkmalschutz. Ein schönes Beispiel für die hochwertige Architektur der 1950er Jahre
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
1948 to 1950 Ford F1 Pickup Truck.
Ford’s all-new trucks for 1948 were redesigned to be improved and totally different than any truck before it. The new F-Series trucks were not only stylish, but also relatively comfortable and easy to drive. The public took note, making the new, modern F-Series pickups a sales success immediately upon their availability in January of 1948.
While Ford put most of its postwar resources into the redesign of its passenger cars, the company still poured money into the development and production of the 1948 truck line to make it as revolutionary as it was. It even touted the F-Series’ cab as the “Million Dollar Cab,” presumably for the amount spent on its new styling and improved features. The investment paid off, and the newly designed F-Series was quite popular, allowing the automaker to grab much-needed market share during the increasingly competitive postwar period.
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.
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 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 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.
The is a legendary Japanese micro vehicle with a history spanning over six decades, first introduced in 1957 as a three-wheeled, single-seat mini-truck designed for urban delivery and small business use. Known for its compact size, practicality, and affordability, the original Midget became a symbol of Japan’s postwar economic recovery and the "Osaka merchant spirit," embodying the idea that success lies in getting the product to the customer.
IN ENGLISH BELOW THE LINE
Tot i la seva accidentada historia, en especial al s. XX, Varsòvia conserva bona part de les seves muralles medievals, molt més que, per exemple Cracovia, que en tenia molt més longitud i quedà intacte durant les guerres. Per descomptat ha estat reconstruida, com la resta de la ciutat, de fet. I aquest és el sector nord, el més ben conservat, i la barbacana domina tota la zona.
es.wikipedia.org/wiki/Barbacana_de_Varsovia
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Despite its turbulent and violent history, especially in the 20th century, Warsaw retains a good part of its medieval walls, much more than, for example, Krakow, which had much longer walls and remained intact during the wars. And this is the northern sector, the best preserved, with the barbican as the most relevant part of it.
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.
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.
Das Hotel Hessenland in Kassel wurde 1951 von Paul Bode, dem Bruder des documenta-Gründers Arnold Bode, auf einem innerstädtischen Ruinengrundstück in Nachbarschaft zum Hugenottenhaus entworfen. Hinter einer schmucklos-grau wirkenden Fassade wartet ein denkmalgeschütztes Beispiel für die 1950er-Jahre-Architektur mit eleganter Lobby, geschwungener Treppe und Ballsaal, der bis zu 800 Menschen Platz bot, auf den Besucher. Sehr fotogen.
A Downeaster train streaks through the countryside outside of I believe Exeter, NH with Amtrak 90406 leading the way.
The setting sun reflecting off the windows of the amfleets remind me of Lionel postwar passenger cars for some reason.
Excerpt from the plaque:
The Palace Pier
The vision of a grand lakefront amusement pier was conceived in the 1920s as a rival for the neighbouring Sunnyside Pavilion. The pier was designed by Craig & Madill with various structures in a flamboyant Moroccan style of architecture, and was to project 1800 feet into Lake Ontario terminating with a steamboat landing. Financial difficulties in the early 1930’s delayed the construction. Only the first phase of the redesigned amusement pier, 300 feet long, was opened on June 10, 1941 and it became popular as a major dance hall of the big band era during World War II and the postwar years. The pier was destroyed by fire in 1963, and the site later redeveloped into condominiums and public park. The base of this monument is one of the original concrete pier footings, donated to the City of Etobicoke by the residents of the Palace Pier Condominium.
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.
Birthday card, Oberoderwitz (Saxony), 1951
Literal translation:
Oberoderwitz, 22 July 1951
Dear godfather Reinhold!
Health and all good things
for your birthday
wish to you
your godparent Elisabeth
and family
Explanation:
The text opens with Elisabeth addressing the recipient, Reinhold, as Godfather. Read literally, the closing phrase appears to reverse the godparent relationship, with Elisabeth referring to herself as Reinhold's godparent. How can that be?
In fact, the wording assumes a social institution that is no longer familiar to most modern readers.
In mid-20th-century German society, godparenthood (Pate / Patin) still functioned as a durable form of fictive kinship rooted in long-standing Christian tradition.
This institution bridged the Catholic–Protestant divide in German-speaking Europe, though with different emphases: in Catholic contexts godparents acted as sacramental sponsors and spiritual guarantors embedded in dense village networks, while in Protestant (especially Lutheran and Reformed) regions the role emphasized moral oversight, social responsibility, and community standing, often functioning almost like a social contract.
Saxony, where this card was written, was predominantly Protestant, and the fictive-kin aspect of godparenthood remained very much alive there into the early–mid 20th century.
By then, however, the institution was beginning to wane in everyday force even as its language and assumptions persisted.
Before about 1900, practice and language aligned; between 1900 and 1950, the practice thinned while the language remained intact; after roughly 1950–1970, both declined rapidly.
This card sits precisely on that hinge: it assumes an older kinship system without explanation. What reads today as grammatical confusion reflects the residue of a once-consequential social bond whose cultural scaffolding has largely vanished.
Here, the text is revised to reveal the implied meaning of the card:
Oberoderwitz, 22 July 1951
Dear CO-godfather Reinhold!
Health and all good things
for your birthday
wish to you
your CO-godparent Elisabeth
and family
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Although written in 1951, the card itself may well have been manufactured earlier. In postwar Saxony, older stationery stock remained in circulation for years due to material shortages and continuity of small-scale retail inventories.
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Saxony, where the card was written, was first in the post-WWII Soviet occupation zone and then in East Germany, or the German Democratic Republic (GDR). Godparenthood was not directly abolished in the GDR, but it was effectively neutralized through the state’s campaign against religious rites and its substitution of secular socialist ceremonies. As a result, godparenthood lost its ritual, moral, and social force within a generation.
Facade of The Broad (rhymes with Road) museum of postwar and contemporary art on Grand Ave, Los Angeles. [2 of 12]
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.
When the dust settled on the Second Great War, the Ayanami Empire found itself in a commanding position in East Aphrodia. The rising moon flag flew across holdings from the Eastern Tip of Blanqui, through swathes of Tolmekia and down to the southern island chains. Postwar tank doctrine focused increasingly on the inferiority of Imperial tanks as far back as the Tolmekian war of 1936-1939. This almost obessive instinct to sacrifice weight and mobility concerns would culminate in the type 76, a tank so powerful that few bridges in the home islands could withstand the force of its massive hull. Military planners envisioned the vehicle fulfilling the role of the older "breakthrough tanks" in the seemingly inevitable second showdown with the Principality of Blanqui, The sudden rapprochement between the two nations in 1979 meant that the vehicle would end up fighting alongside its erstwhile foes in the Third Great War.
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.
This forward-looking “everyman” car from the postwar UK was designed with a uniquely British flair. Featuring chrome fenders and character elements, a distinctive grille shaped like an upside-down “T,” and a raked rear windscreen, it helped workers keep their daily commutes punctual and stylish.
More photos available in the build album. Thank you to The Lego Car Blog and The Brothers Brick for their humorous posts about this build and the peculiarities of 1950s British cars!
©2022 Chris Elliott, All Rights Reserved.
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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