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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...
Gateway House by Richard Seifert, Piccadilly, Manchester
Photo Zines on Etsy: Etsy: 100 Real People
Original Postcard art on Etsy: Etsy: 100 Real People
Nikon D750 | Nikkor 35/f2
Typical postwar architecture you can find in the city of Nijmegen. The city was bombed by mistake by the allies of World War II
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
After it was split apart in the 1950s, Amelia Earhart's personal Cord 812 is back together again and looks as good as new. On September 20, 1936, record-setting aviator Amelia Earhart posed for a picture in front of her Cord convertible and Lockheed Electra airplane. All three eventually vanished. Although Earhart and her Lockheed are still missing, her Cord has since resurfaced.
The Cord 810 (later known as the 812) debuted in late 1935. Whereas most cars of this era were of the body-on-frame type and relied on a front-mounted engine to power their rear wheels, the front-engine Cord broke the mold by adopting unibody construction and a front-wheel-drive setup. This combination netted the 810 a head-turning low-slung look.
Cord complemented this with other state-of-the-art features such as forward-opening doors with hidden hinges (exposed hinges were then the norm). Instead of a chrome-laden grille, the 810 featured subtle horizontal louvers. It also introduced hidden headlights to the automotive industry. When not in use, the Cord's headlights folded into the front fenders, a design cribbed from the retractable landing lights of Stinson airplanes.
Stylist Gordon Buehrig had previously designed Stutz cars that raced at Le Mans and the Duesenberg Model J, but the Cord was his most daring work.
"Even beyond the styling, a well-restored Cord is just a really fun car to drive," said Travis LaVine of LaVine Restorations, the shop that restored Earhart's Cord. "People see these cars as art, but they're functional, very stable for highway cruising, and [have] lots of V-8 power."
LaVine grew up with Cords, as both of his parents were involved with the Auburn-Cord-Duesenberg Club (ACD). To put into perspective how thoroughly LaVine Restorations restored Earhart's Cord, consider the fact the car received a seemingly mathematically impossible score of 1002 out of 1000 points at the Auburn, Cord, Duesenberg Festival. Expert ACD judges went over the car's every microscopic detail. Credit a handful of rare accessories for the extra points received.
Having been the first woman to cross the Atlantic by air (and only the second person to do so—she was also the first person to cross it twice), Earhart set her sights on circumnavigating the globe. On May 21, 1937, she and navigator Fred Noonan left Oakland, California, and headed east.
After covering 22,000 miles over several weeks, they touched down in New Guinea for fuel, departing on July 2, 1937. No one ever saw them again.
Earhart's husband, George Putnam, commissioned several expensive searches, but nothing turned up. In 1939, he had her officially declared dead and liquidated parts of her estate, including the Cord.
The Earhart Cord was quite rare, being one of the last 200 cars built in 1936. It was thus a mix of Cord 810 and 812 parts, though it was officially listed as a 1937 Cord 812.
This rarity didn't translate to its preservation, as like many Cords in the postwar period, the 812 formerly owned by Earhart was neglected. The fact that few mechanics knew how to work on these front-drive American machines certainly didn't make maintaining one any easier.
Article edited from Car and Driver Magazine
Inset Photo: Hagerty Drivers Foundation
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.
Post war, Modernist structure.
A target for graffiti and associated defacement.
LR4255 © Joe O'Malley 2022
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
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.
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.
•
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.
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.
Trellick and a bit of the non-trellick Cheltenham esate.
Click for The 100 Real People website Or See my zines on etsy
Nikon D750, Nikkor 35/f2.0
"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.
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.
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 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.
Düren. In WW2 the church was completely destroyed. There are a few things of the old church incorporated in the one build in the early sixties. An old gate and some stones like here in the tower.
Somewhere between postwar optimism and Cold War paranoia, Detroit built rocket ships for the highway and painted them candy colors.
The theme for “Looking Close… on Friday” is “motion blur” in which I needed to catch the impression of movement in my photo. I know it may not be the most original of ideas, but I took out a newly minted one Australian dollar coin which was wonderfully bright, and I spun it on my maternal Grandfather’s chess board. Luckily, I seem to have the knack for spinning coins. I had quite a bit of fun spinning the coin over and over, trying to catch its spinning movement in the light pouring through the window. I came out with a few shots I was happy with, three of which I have used in this collage. They all show the spinning coin becoming a golden orb or a ghostly golden ball. I will leave the interpretation to you, however I hope you like my choice for this week’s theme, and that it brings a smile to your face, as it did mine taking it!
The chessboard was made by my Grandfather, a skilful and creative man in 1952. Two chess sets, a draughts set and three chess boards made by my Grandfather were bequeathed to me as part of his estate when he died a few years ago.
This 1941 Packard sits at the WigWam Motel in Tucumcari, one of the last surviving reminders of the great roadside boom that reshaped mid-century American travel. Motor courts like this sprang up along the Mother Road as families took to the open road, chasing the promise of the West. The teepee‑style rooms were part novelty, part marketing genius.
This old Chrysler carries that era in its bones — worn paint, sun‑baked metal, and the quiet dignity of a car that survived wartime rationing, postwar migration, and decades of desert weather. It's an artifact of the great American road, resting in one of the last places where Route 66 history still stands
Happy 100th Birthday to the Mother Road!
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.
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 105-foot escalator at The Broad (rhymes with Road) museum of postwar and contemporary art on Grand Ave, Los Angeles. [11 of 12]
Breitscheidplatz Berlin Charlottenburg
Group Exhibition »Show Your Darling«
Until 08. January 2016 at Atelier Sabine Wild
Eschenstraße 4, Berlin-Friedenau
Open: Saturdays + Sundays from 15.00-18.00 h
Holidays: 26. Dec. 2015 until 03. Jan. 2016
Closing event: 8. January 2016 19.00 h
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.
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 ENGLISH BELOW THE LINE
Acabant'se la Segona Guerra Mundial, el regim feixista de Franco va temer (i per desgracia no fou així) una invasió aliada. Per això es fortificaren de punta a punta els Pirineus, amb una serie de fortificacions de formigó anomenades, amb "molta" imaginació, Linea P. Localment també s'ha conegut com Linea Gutierrez o Perez, potser com a broma.
Just sota Camprodon n'hi ha un sector força interessant. Hi ha diversos bunquers des del "Coll de Camprodon" seguint la carretera C38 fins al riu Ter en el punt on la plana desapareix del tot. Obviament, tot i "cedir" Camprodon, es un punt estrategic clau, ja que la carretera queda atrapada entre els cingles i el riu.
Inmediatament al costat de la carretera hi ha aquests dos bunquers, un d'ametralladores i un altre d'artilleria antitanc.
A Martinet de Cerdanya es pot visitar un sector de la linea, el CR 53, al Cabiscol.
ca.wikipedia.org/wiki/L%C3%ADnia_P
===============================================================
As the III Reich was losing World War II, their friends in the spanish fascist regime of Franco were afraid of an allied invasion (which never came, sadly). So they built a fortified line along the Pyrenees. It was much less impressive than the Maginot or Siegfried lines, but at least the mountains gave it a difficult terrain all arround. It was known as Linea P, "P-Line".
Just below Camprodon there is a quite interesting sector. There are several bunkers from the "Coll de Camprodon" following the C38 road to the river Ter at the point where the plain disappears completely. Obviously, despite "yielding" Camprodon, it is a key strategic point, since the road is trapped between the cliffs and the river.
Immediately next to the road are these two bunkers, one for machine guns and one for anti-tank artillery.
In Martinet de Cerdanya, a sector of the line (the CR-53) is open to the public and restored.
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.
Postwar Chevrolet pickup, late'40's to early '50's. Age and the weather have given this old beauty real character.
Secret Cinema Presents: The Third Man
Photo by Graeme Wilmot
Facebook: Graeme Wilmot Photography
Flickr: bluerockpile
Twitter: @bluerockpile
www.facebook.com/pages/Graeme-Wilmot-Photography/18537988...
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.
Eric Fraser was one of the foremost English illustrators of the twentieth century and he did prolific amounts of work for the BBC and Radio Times in the days when commissioned covers, line drawings and vignettes were popular before photographic illustrations became common. This is the cover for the 1953 Coronation edition of the Radio Times - a date that helped to kick-start the inexorable post-war rise of television in the UK. Great care was taken to produce the first postwar 'colour' cover by using tinted printing paper. Over 9m copies of this edition were sold - this copy comes from a scrap book I have of Fraser's work.