View allAll Photos Tagged postwar
“Sunsets on the Overhead” (Liverpool)
From and oil painting by Eric Bottomley G R A.
Eric Bottomley Prints.
Post card: - British Postwar Trams, No. 3 of 8.
This photo is part of the Australian National Maritime Museum’s Gervais Purcell collection.
Gervais Purcell (1919-1999) was a respected Australian commercial photographer who worked from the 1940s with retailers like David Jones and Hordern Bros, radio technology manufacturer Amalgamated Wireless Australasia (AWA), swimwear manufacturer Jantzen, tourism operator Ansett Airways, and cruise ship operators P&O.
Gervais’ camera and some of his swimwear fashion photographs were featured in the popular ANMM travelling exhibition Exposed! the story of swimwear of 2009.
The photos in this collection are a part of the 3000 images gifted to the Museum by Gervais’ son Leigh Purcell in 2012.
If reproduced or distributed, this image should be clearly attributed to the collection of the Australian National Maritime Museum; and not be used for any commercial or for-profit purposes without the permission of the museum.
For more information see our Flickr Commons Rights Statement.
The Australian National Maritime Museum undertakes research and accepts public comments that enhance the information we hold about images in our collection. If you can identify a person or fashion design, write the details in the Comments box below.
Thank you for helping caption this important historical image.
Object number: ANMS1405[473]
Early fifties London scene. Model diorama in 1/76 scale OO gauge.
LCC fire station and Black Cat Tavern buildings fom the Kingsway Models range.
This was Bury Corporation's first bus to be delivered after the end of the second world war, in the Corporation's then-new green and cream livery. The six years of war took a heavy toll on heavily used buses due to petrol rationing and war work in the factories. with little maintenance due to staff shortages of men who had gone to the forces and shortages of spares. Moreover the flow of new buses slowed to a trickle as factories concentrated on war transport.
So the sight of new buses at the end of the war was a welcome sight for weary travellers and staff alike, and Bury took its new acquisition to the junction of Rochdale Road and Wash Lane for a photo.
In fact 102 has a place of history not just as Bury's first postwar bus, but the first postwar Leyland 'PD1' model to be delivered. Leyland had been planning for its postwar designs since the mid-war years and number 102 was the very first postwar Leyland bus to be seen on the streets.
For the enthusiast, you can tell this is a very early postwar Leyland because the first few had a concealed radiator cap, under a flap in the chrome cowling: but this was impractical and the more traditional cap at the top soon returned.
Today. there are two Bury Corporation buses preserved in the Museum of Transport Greater Manchester: number 177 of 1952, and number 116 of 1963.
If you'd like to know more about the Museum of Transport Greater Manchester and its collection of vintage buses, go to www.gmts.co.uk.
In the postwar years, Fiat was working on an eight-cylinder engine which was internally known as Tipo 106. Dante Giacosa originally designed the engine for a luxury sedan, but then that project stopped. Rudolf Hruska, at the time working at S.I.A.T.A., was given the task to design a car around the V8 engine. Development took place in absolute secrecy. To not stress the experimental department of Fiat, S.I.A.T.A took up the production of the chassis. Styled by chief designer Fabio Luigi Rapi, the Fiat 8V or OttoVù was presented to the Italian press in February 1952 and first exhibited in the following March at the Geneva Motor Show.
The Fiat 8V prototype used an art deco grill that extended into the hood. A second series was made featuring four headlights with some of the later cars have a full-width windscreen. A high-performance coupé destined to compete in the GT class, the 2-litre 8V model, was a departure from the usual Fiat production. It was well accepted by Italian private drivers and tuners and was the car to beat in the 2-litre class, also thanks to the unique versions built by Zagato or Siata. The Fiat V8 had a 70-degree V configuration of up to a 1996 cc of volume, at 5600 rpm the engine produced 105 hp (78 kW) in standard form with two two-barrel Weber 36 DCS carburettors giving a top speed of 190 km/h (118 mph). Some engines were fitted with substantial four-throat Weber 36 IF4/C carburettors offering 120 bhp, but the intake manifold was very rare. The Fiat 8V is the only eight-cylinder built by Fiat. The engine was connected to a four-speed gearbox. The shapes of the car have seen several changes over time: the prototype had an art deco grille that extended into the bonnet. A second series was made with four headlights; finally, some of the latest cars had a large windshield without divisions. Only 114 of this high-performance coupé were produced, 63 of which with a “Fiat Carrozzerie Speciali” body, 34 first-series and 29 second-series. It was made available in different body styles, offered by the factory and by various coachbuilders like Zagato, Pinin Farina, Ghia and Vignale. The production ceased in 1954.
Text from:
www.carrozzieri-italiani.com/listing/fiat-8v-carrozzerie-...
mémoire2cité - Sols absorbants, formes arrondies et couleurs vives, les aires de jeux standardisées font désormais partie du paysage urbain. Toujours les mêmes toboggans sécurisés, châteaux forts en bois et animaux à ressort. Ces non-lieux qu’on finit par ne plus voir ont une histoire, parallèle à celle des différentes visions portées sur l’enfant et l’éducation. En retournant jouer au xixe siècle, sur les premiers playgrounds des États-Unis, on assiste à la construction d’une nation – et à des jeux de société qui changent notre vision sur les balançoires du capitalisme. Ce texte est paru dans le numéro 4 de la revue Jef Klak « Ch’val de Course », printemps-été 2017. La version ici publiée en ligne est une version légèrement remaniée à l’occasion de sa republication dans le magazine Palais no 27 1, paru en juin 2018. la video içi www.youtube.com/watch?v=Uwj1wh5k5PY The concept for adventure playgrounds originated in postwar Europe, after a playground designer found that children had more fun with the trash and rubble left behind by bombings -inventing their own toys and playing with them- than on the conventional equipment of swings and slides. Narrator John Snagge was a well-known voice talent in the UK, working as a newsreader for BBC Radio - jefklak.org/le-gouvernement-des-playgrounds/ - www.collectorsweekly.com/articles/chasing-the-vanishing-p... or children, playgrounds are where magic happens. And if you count yourself among Baby Boomers or Gen Xers, you probably have fond memories of high steel jungle gyms and even higher metal slides that squeaked and groaned as you slid down them. The cheerful variety of animals and vehicles on springs gave you plenty of rides to choose from, while a spiral slide, often made of striped panels, was a repeated thrill. When you dismounted from a teeter-totter, you had to be careful not to send your partner crashing to the ground or get hit in the head by your own seat. The tougher, faster kids always pushed the brightly colored merry-go-round, trying to make riders as dizzy as possible. In the same way, you’d dare your sibling or best friend to push you even higher on the swing so your toes could touch the sky. The most exciting playgrounds would take the form of a pirate ship, a giant robot, or a space rocket.
“My husband would look at these big metal things and go, ‘Oh my God, those are the Slides of Death!'” - insh.world/history/playground-equipment-of-yesterday-that...
Today, these objects of happy summers past have nearly disappeared, replaced by newer equipment that’s lower to the ground and made of plastic, painted metal, and sometimes rot-resistant woods like cedar or redwood. The transformation began in 1973, when the U.S. Congress established the Consumer Product Safety Commission, which began tracking playground injuries at hospital emergency rooms. The study led to the publication of the first Handbook for Public Playground Safety in 1981, which signaled the beginning of the end for much of the playground equipment in use. (See the latest PPS handbook here.) Then, the American Society for Testing and Materials created a subcommittee of designers and playground-equipment manufacturers to set safety standards for the whole industry. When they published their guidelines in 1993, they suggested most existing playground surfaces, which were usually asphalt, dirt, or grass, needed to be replaced with pits of wood or rubber mulch or sand, prompting many schools and parks to rip their old playgrounds out entirely.
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
That said, removing and replacing playground equipment takes money, so a certain amount of vintage playground equipment survived into the next millennium—but it’s vanishing fast. Fortunately, Brenda Biondo, a freelance journalist turned photographer, felt inspired to document these playscapes before they’ve all been melted down. Her photographs capture the sculptural beauty and creativity of the vintage apparatuses, as well as that feeling of nostalgia you get when you see a piece of your childhood. After a decade of hunting down old playgrounds, Biondo published a coffee-table book, 2014’s Once Upon a Playground: A Celebration of Classic American Playgrounds, 1920-1975, which includes both her photographs of vintage equipment and pages of old playground catalogs that sold it.
Starting this November, Biondo’s playground photos will hit the road as part of a four-year ExhibitsUSA traveling show, which will also include vintage playground postcards and catalog pages from Biondo’s collection. The show will make stops in smaller museums and history centers around the United States, passing through Temple, Texas; Lincoln, Nebraska; Kansas City, Missouri; and Greenville, South Carolina. Biondo talked to us on the phone from her home in small-town Colorado, where she lives with her husband and children.
This 1975 Miracle catalog page reads, "This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast." (Courtesy of Brenda Biondo)This 1975 Miracle catalog page reads, “This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast.” (Courtesy of Brenda Biondo)Collectors Weekly: What inspired you to photograph playgrounds?Biondo: In 2004, I happened to be at my local park with my 1-year-old daughter, who was playing in the sandbox. I had just switched careers, from freelance journalism to photography, and I was looking for a starter project. I looked around the playground and thought, “Where is all the equipment that I remember growing up on?” They had new plastic contraptions, but nothing like the big metal slides I grew up with. After that, I started driving around to other playgrounds to see if any of this old equipment still existed. I found very little of it and realized it was disappearing quickly. That got to me.I felt like somebody should be documenting this equipment, because it was such a big part—and a very good part—of so many people’s childhoods. I couldn’t find anybody else who was documenting it, and I didn’t see any evidence that the Smithsonian was collecting it. As far as I could tell, it was just getting ripped up and sent to the scrap heap. At first, I started traveling around Colorado where I live, visiting playgrounds. Eventually, I took longer trips around the Southwest, and then I started looking for playgrounds whenever I was in any other parts of the country, like around California and the East Coast. It was a long-term project—shot over the course of a decade. And every year that I was shooting, it got harder and harder to find those pieces of old equipment.
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
Collectors Weekly: How did you find them?
Biondo: I would just drive around. I started hunting down local elementary schools and main-street playgrounds as well as neighborhood playgrounds. If I had a weekend, I would say, “OK, I’m going to drive from my home three hours east to the Kansas border, stay overnight and drive back.” Along the way, I would stop at every little town that I’d pass. They usually had one tiny main-street playground and one elementary school. I never knew what I was going to find. In a poorer area, a town often doesn’t have much money to replace playground equipment, whereas more affluent areas usually have updated their playgrounds by now. It was a bit of a crap shoot. Sometimes, I’d drive for hours and not really find anything—or I’d find one old playground after the other, because I happened to be in an area where equipment hadn’t been replaced.
I couldn’t get to every state, so I had to shoot where I was. I think there certainly are still old playgrounds out there, especially in small towns. But there’s fewer and fewer of them every year. My book has something like 170 photographs. I would guess that half the equipment pictured is already gone. Sometimes, I’d go back to a playground with a nice piece of equipment a year later to reshoot it, maybe in different lighting or a different season, and so often it had been removed. That pressured me to get out as often as I could because if I waited a few weeks, that piece might not be there anymore.
A 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
a 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
Collectors Weekly: What did you learn about playground history?
Biondo: I didn’t know American playgrounds started as part of the social reform or progressive movement of the early 1900s. Reformers hoped to keep poor inner-city immigrant kids safe and out of trouble. Back then, city children were playing in the streets with nothing to do, and when cars became more popular, kids started to get hit by motorists. Child activists started building playgrounds in big cities like Boston, Chicago, and New York as a way to help and protect these kids. These reformers felt they could build model citizens by teaching cooperation and manners through playgrounds. These early main-street parks would also have playground leaders who orchestrated activities such as games and songs.
“I started driving to playgrounds to see if any old equipment still existed. I found very little of it and realized it was disappearing quickly.”
In the late 1800s, Germans developed what they called “sand gardens,” which are just piles of sand where kids can come dig and build things. There were few of those in the United States as well. But by the early 1900s, the emphasis of playgrounds was on the apparatuses, things kids could climb on or swing on.
Soon after I started researching playground history, I happened to stumble on an eBay auction for a 1926 catalog that the playground manufacturers used to send to schools. At that point, I wasn’t thinking of doing a book, but I thought I could do something with it. I won the catalog; I paid, like, $12 for it. And it was so interesting because I could see this vintage equipment when it was brand new and considered modern and advanced. The manufacturers boasted about how safe it was and how it was good for building both muscles and imaginations.
After that, I would always search on eBay for playground catalogs, and I ended up with about three dozen catalogs from different manufacturers. My oldest is 1916, and my newest is from 1975. So I would take a photograph of some type of merry-go-round, and then I might find that same merry-go-round in a 1930 catalog. Often in the book, I pair my picture with the page from the catalog showing when it was first manufactured. I discovered a couple dozen manufacturers, which tended to be located in the bigger industrial areas with steel manufacturing, like Trenton, New Jersey, and Kokomo and Litchfield, Indiana. Pueblo, Colorado, even had a playground manufacturer. Burke and GameTime were big 20th century companies, and actually are among few still in existence.
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
Collectors Weekly: I recently came across an old metal slide whose steps had the name of the manufacturer, American, forged in openwork letters.
Biondo: I love those. One of the last pages in the book shows treads from six different slides, and they each had the name of their manufacturer in them, including Porter, American, and Burke. One time when I was traveling, I did a quick side trip to a small town with an elementary school. In the parking lot was this old metal slide with the American step treads, lying on its side. You could tell it had just been ripped off out of the concrete, which was still attached to the bottom, and was waiting for the steel recyclers to come and take it away.
I thought, “Oh my gosh, just put it on eBay! Somebody is going to want that. Don’t melt it down.” But nobody thinks about this stuff getting thrown away when it should be preserved. If you go on eBay, you can find a lot of those small animals on springs that little kids ride, because they’re small enough to be shipped. Once I saw someone selling one of those huge rocket ships, which had been dismantled, on eBay, but I don’t know if anybody ever bid on it. It’s rare to see the big stuff, because it is so expensive to ship. It’s like, “What kind of truck do you need to haul this thing away?” I don’t know of anyone who’s collecting those pieces, but I hope somebody is.
A metal slide in Victor, Colorado, had step treads with the name "American" in them. Photographed in 2008. (Photo by Brenda Biondo)
A metal slide in Victor, Colorado, had step treads with the name “American” in them. Photographed in 2008. (Photo by Brenda Biondo)
Collectors Weekly: It seems like an opportunity for both starting a collection or repurposing the material.
Biondo: I photographed many of the apparatuses as if they were sculptures because they have really cool designs and colors. Even when they’re worn down, the exposed layers of paint can be beautiful. Hardly anybody stops to look at it that way. People drive by and think, “Oh, there’s an old, rusty, rundown playground.” But if you take the time to look closely at this stuff, it’s really interesting. Just by looking at these pieces, you can picture all the kids who played on them.
Collectors Weekly: Aren’t people nostalgic for their childhood playgrounds?
Biondo: While I was taking the pictures, I visited Boulder, Colorado, which is a very affluent community. I was sure there would be no old playground equipment there. When I was driving around, all of a sudden, I looked over and saw this huge rocket ship. It turns out that one of the original NASA astronauts, Scott Carpenter, grew up in Boulder, and this playground was built in the ’60s to honor their hometown boy. Because of that, the citizens of Boulder never wanted to take down the rocket ship. One of the first exhibitions of this photography project happened in Boulder, and at the opening, I sold four prints of that rocket ship. People would come up to me at the exhibition, and they’d go, “Oh my gosh, I grew up playing on this when I was a little kid! Now, my kids are playing on it, and I’m so excited that I can get a picture of it and hang it in their bedroom.” So people have a strong nostalgic attachment to this equipment. It’s sad that most of it’s not going to be around for much longer.
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship play set seen at the top of this story. (Courtesy of Brenda Biondo)
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship playset seen at the top of this story. (Courtesy of Brenda Biondo)
Collectors Weekly: Besides slides and animals on springs, what were some other pieces that were common in older playgrounds?
Biondo: I didn’t come across as many old swings as I expected. I thought they would be all over the place, but I guess they’re gone now because they were so easy to replace. I tended to find merry-go-rounds more frequently—you know, the one where you’d run around pushing them and then jump on. When my kids were younger, they’d go out playground hunting with me, and the merry-go-rounds were their favorite things. They’re just so fun. The other thing you don’t find often is the seesaw or teeter-totter, and that was my favorite.The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado's R.F. Lamar and Co. (Photo by Brenda Biondo)
The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado’s R.F. Lamar and Co. (Photo by Brenda Biondo)
Before I started this project, I didn’t know there was such a variety of equipment. I figured I’d see seesaws, swings, slides, and merry-go-rounds. But I had no idea there were such things as revolving swings, which would be attached to a spinning pole via outstretched metal arms. Many mid-century pieces had themes from pop culture like “The Wizard of Oz,” “Cinderella,” “Denis the Menace,” cowboys and Indians, and Saturday-morning cartoons. During the Space Age, you started to see pieces of equipment shaped like rocket ships and satellites, because in the ’60s, Americans were so excited about space exploration. What was going on in the broader culture often got reflected in playground equipment.
Pursuing the catalogs was eye-opening. I live about an hour and a half south of Denver, so I often looked for playgrounds around the city. There, I’d find these contraptions where were shaped like umbrella skeletons, but then they had these rings hanging off the spindles. I’ve never seen them outside of Colorado. Then I bought a 1930s catalog from the manufacturer in Pueblo, Colorado, which is only 45 minutes from me, and it featured this apparatus. Later, I met people in Denver who’d say, “Oh, yeah, I remember that thing as a kid. It’s kind of like monkey bars where you had to try and get from ring to ring swinging and hanging by your arms.” There was so much variety, and even so many variations on the basics.I have a cool catalog from 1926 from the manufacturer Mitchell, which doesn’t exist anymore. I looked at one of the contraptions they advertised and I was like, “Oh my God, this looks like a torture device!” It was their own proprietary apparatus and maybe it didn’t prove to be very popular. I had never seen something like that on a playground. There probably weren’t very many of them installed.
This strange Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Brenda Biondo says she's never found one in the wild. (Courtesy of Brenda Biondo)
This Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Biondo’s never found one in the wild. (Courtesy of Brenda Biondo)
Collectors Weekly: After a while, were you able to date pieces just by looking at them?
Biondo: From looking at the catalogs, I certainly got a better idea of when things were built. But there were a handful things I couldn’t find in the catalogs. You can guess the age by knowing the design, as well as by looking at the amount of wear and the height of the piece. Usually, the taller it was, the older it was. One of the oldest slides I photographed was probably from the ’30s. I climbed to the top to shoot it as if the viewer were going to go down the slide. Up there, the place where you’d sit before sliding had been used for so many years by so many kids that I could see an outline of all the butts worn into the metal. You can imagine all the children who must have gone down that slide to wear the metal down like that.
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
Collectors Weekly: How did Modernism influence playground design?
Biondo: In 1953, the Museum of Modern Art in New York held a competition for playground design. Modern Art was just getting popular, and the idea of incorporating the theories of Modernist design into utilitarian objects was in the air, and was translated into playgrounds for several years. I have a 1967 catalog that features very abstract playground equipment made from sinuous blobs of poured concrete. And you’ve probably seen some of it, but there’s not too much of that around. That’s another example of how broader cultural trends were reflected in playgrounds.
When most people think of playgrounds, they say, “Oh, that’s a kiddie subject. There’s not much to it.” But when you start looking into them, you realize playgrounds are a fascinating piece of American culture—they go back a hundred years and played a part in most Americans’ lives. These playground pieces are icons of our childhood.
Collectors Weekly:What was the impact of the Consumer Product Safety Commission, which launched in 1973?
Biondo: Things started to change after that, which is why I limited to book to apparatuses made before 1975. New playgrounds were starting to be build out of plastic and fiberglass. I looked up the statistics, and according to the little research I’ve done—contrary to what you’d expect—there’s not much difference in the number of injuries on older equipment versus injuries on equipment today. A “New York Times” article from 2011 called “Can a Playground Be Too Safe?” explains that studies show when playground equipment was really high and just had asphalt underneath it and not seven layers of mulch, thekids knew they had to be careful because they didn’t want to fall. Nowadays, when everything is lower and there’s so much mulch, kids are just used to jumping down and falling and catching themselves. So kids learned to assess risk by playing on the older equipment. They also learned to challenge themselves because it is a little scary to go up to the top of the thing.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
At my local park where you have new equipment, the monkey bars aren’t that high and there’s mulch below it, but a child fell and broke their arm last year. When I was talking to the principal at the school where they had just torn out that old American slide, I asked her, “Why did you replace the equipment?” She said, “We felt the parents in the community were expecting to have a little bit newer and nicer equipment. And this stuff had been here for so long.” And I said, “Have you seen a difference in injury rates since you put up your newer equipment?” She replied, “I’ve been a principal here several years, and we never had a serious broken-bone injury on the playground until four months ago on the new equipment.”
There were some nasty accidents in the ‘60s and ’70s, where kids got their arms or their heads caught in the contraptions. Those issues definitely needed to be assessed. What’s interesting is the Consumer Product Safety Commission never issued requirements, just suggested guidelines. But manufacturers felt that if their equipment didn’t meet those guidelines, they’d be vulnerable to liability. Everybody went to the extreme, making everything super safe so they wouldn’t risk getting sued.A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
In the last decade, people have been looking at playground-equipment design and trying to make it more challenging and more encouraging of imaginative play, but without making it more likely someone’s going to get injured. And adults, I think, are realizing kids are spending more time indoors on devices so they want to do everything they can to encourage kids to still get outside, run around, and climb on things.
Collectors Weekly: You don’t need a playground to hurt yourself. When I was a kid, I fell off a farm post and broke my arm.Biondo: Oh, yeah, kids have been falling out trees forever—they always want to climb stuff. Playground politics are always evolving. Even in the 1920s, the catalogs talked about how safe their equipment was, and they were selling these 30-foot slides. Sometimes, I’d be out with my family on a vacation, and we’d make a little side tour to look for an old playground to shoot. My husband would look at these big metal things and go, “Oh my God, those are the Slides of Death!” because they were so huge and rickety. But back then, these were very safe pieces of equipment compared to what kids had been playing on before.
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
Collectors Weekly: Growing up in the 1980s, I always hated the new fiberglass slides because I’d end up with all these tiny glass shards in my butt.
Biondo: Yeah, I remember that, too. It’s always something. It is fun to talk to people about playgrounds because it reminds them of all the fun stuff they did as kids. When people see pictures of these metal slides, they tell me, “Oh my gosh, I remember getting such a bad burn from a metal slide one summer!” The metal would get so hot in the sun, and kids would take pieces of wax paper with them to sit on so they’d go flying down the slide. I have some old postcards that show playgrounds from the early ’20s. The wood seesaws not only were huge, but they had no handles so you had hold on to the sides of the board where you sat. I’m looking at that like, “Oh my God!” It’s all relative.
playground_postcard_milwaukee
Kids ride the rocking-boat seesaw at a Milwaukee, Wisconsin, park in this postcard postmarked 1910.
(To see more of Brenda Biondo’s playground photos and vintage catalog pages, pick up a copy of her book, “Once Upon a Playground: A Celebration of Classic American Playground, 1920-1975.” To find an exhibition of Biondo’s playground project, or to bring it to your town, visit the ExhibitsUSA page. To learn more about creative mid-century playgrounds around the globe, also pick up, “The Playground Project” by Xavier Salle and Vincent Romagny.) insh.world/history/playground-equipment-of-yesterday-that...
mémoire2cité - Sols absorbants, formes arrondies et couleurs vives, les aires de jeux standardisées font désormais partie du paysage urbain. Toujours les mêmes toboggans sécurisés, châteaux forts en bois et animaux à ressort. Ces non-lieux qu’on finit par ne plus voir ont une histoire, parallèle à celle des différentes visions portées sur l’enfant et l’éducation. En retournant jouer au xixe siècle, sur les premiers playgrounds des États-Unis, on assiste à la construction d’une nation – et à des jeux de société qui changent notre vision sur les balançoires du capitalisme. Ce texte est paru dans le numéro 4 de la revue Jef Klak « Ch’val de Course », printemps-été 2017. La version ici publiée en ligne est une version légèrement remaniée à l’occasion de sa republication dans le magazine Palais no 27 1, paru en juin 2018. la video içi www.youtube.com/watch?v=Uwj1wh5k5PY The concept for adventure playgrounds originated in postwar Europe, after a playground designer found that children had more fun with the trash and rubble left behind by bombings -inventing their own toys and playing with them- than on the conventional equipment of swings and slides. Narrator John Snagge was a well-known voice talent in the UK, working as a newsreader for BBC Radio - jefklak.org/le-gouvernement-des-playgrounds/ - www.collectorsweekly.com/articles/chasing-the-vanishing-p... or children, playgrounds are where magic happens. And if you count yourself among Baby Boomers or Gen Xers, you probably have fond memories of high steel jungle gyms and even higher metal slides that squeaked and groaned as you slid down them. The cheerful variety of animals and vehicles on springs gave you plenty of rides to choose from, while a spiral slide, often made of striped panels, was a repeated thrill. When you dismounted from a teeter-totter, you had to be careful not to send your partner crashing to the ground or get hit in the head by your own seat. The tougher, faster kids always pushed the brightly colored merry-go-round, trying to make riders as dizzy as possible. In the same way, you’d dare your sibling or best friend to push you even higher on the swing so your toes could touch the sky. The most exciting playgrounds would take the form of a pirate ship, a giant robot, or a space rocket.
“My husband would look at these big metal things and go, ‘Oh my God, those are the Slides of Death!'” - insh.world/history/playground-equipment-of-yesterday-that...
Today, these objects of happy summers past have nearly disappeared, replaced by newer equipment that’s lower to the ground and made of plastic, painted metal, and sometimes rot-resistant woods like cedar or redwood. The transformation began in 1973, when the U.S. Congress established the Consumer Product Safety Commission, which began tracking playground injuries at hospital emergency rooms. The study led to the publication of the first Handbook for Public Playground Safety in 1981, which signaled the beginning of the end for much of the playground equipment in use. (See the latest PPS handbook here.) Then, the American Society for Testing and Materials created a subcommittee of designers and playground-equipment manufacturers to set safety standards for the whole industry. When they published their guidelines in 1993, they suggested most existing playground surfaces, which were usually asphalt, dirt, or grass, needed to be replaced with pits of wood or rubber mulch or sand, prompting many schools and parks to rip their old playgrounds out entirely.
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
That said, removing and replacing playground equipment takes money, so a certain amount of vintage playground equipment survived into the next millennium—but it’s vanishing fast. Fortunately, Brenda Biondo, a freelance journalist turned photographer, felt inspired to document these playscapes before they’ve all been melted down. Her photographs capture the sculptural beauty and creativity of the vintage apparatuses, as well as that feeling of nostalgia you get when you see a piece of your childhood. After a decade of hunting down old playgrounds, Biondo published a coffee-table book, 2014’s Once Upon a Playground: A Celebration of Classic American Playgrounds, 1920-1975, which includes both her photographs of vintage equipment and pages of old playground catalogs that sold it.
Starting this November, Biondo’s playground photos will hit the road as part of a four-year ExhibitsUSA traveling show, which will also include vintage playground postcards and catalog pages from Biondo’s collection. The show will make stops in smaller museums and history centers around the United States, passing through Temple, Texas; Lincoln, Nebraska; Kansas City, Missouri; and Greenville, South Carolina. Biondo talked to us on the phone from her home in small-town Colorado, where she lives with her husband and children.
This 1975 Miracle catalog page reads, "This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast." (Courtesy of Brenda Biondo)This 1975 Miracle catalog page reads, “This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast.” (Courtesy of Brenda Biondo)Collectors Weekly: What inspired you to photograph playgrounds?Biondo: In 2004, I happened to be at my local park with my 1-year-old daughter, who was playing in the sandbox. I had just switched careers, from freelance journalism to photography, and I was looking for a starter project. I looked around the playground and thought, “Where is all the equipment that I remember growing up on?” They had new plastic contraptions, but nothing like the big metal slides I grew up with. After that, I started driving around to other playgrounds to see if any of this old equipment still existed. I found very little of it and realized it was disappearing quickly. That got to me.I felt like somebody should be documenting this equipment, because it was such a big part—and a very good part—of so many people’s childhoods. I couldn’t find anybody else who was documenting it, and I didn’t see any evidence that the Smithsonian was collecting it. As far as I could tell, it was just getting ripped up and sent to the scrap heap. At first, I started traveling around Colorado where I live, visiting playgrounds. Eventually, I took longer trips around the Southwest, and then I started looking for playgrounds whenever I was in any other parts of the country, like around California and the East Coast. It was a long-term project—shot over the course of a decade. And every year that I was shooting, it got harder and harder to find those pieces of old equipment.
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
Collectors Weekly: How did you find them?
Biondo: I would just drive around. I started hunting down local elementary schools and main-street playgrounds as well as neighborhood playgrounds. If I had a weekend, I would say, “OK, I’m going to drive from my home three hours east to the Kansas border, stay overnight and drive back.” Along the way, I would stop at every little town that I’d pass. They usually had one tiny main-street playground and one elementary school. I never knew what I was going to find. In a poorer area, a town often doesn’t have much money to replace playground equipment, whereas more affluent areas usually have updated their playgrounds by now. It was a bit of a crap shoot. Sometimes, I’d drive for hours and not really find anything—or I’d find one old playground after the other, because I happened to be in an area where equipment hadn’t been replaced.
I couldn’t get to every state, so I had to shoot where I was. I think there certainly are still old playgrounds out there, especially in small towns. But there’s fewer and fewer of them every year. My book has something like 170 photographs. I would guess that half the equipment pictured is already gone. Sometimes, I’d go back to a playground with a nice piece of equipment a year later to reshoot it, maybe in different lighting or a different season, and so often it had been removed. That pressured me to get out as often as I could because if I waited a few weeks, that piece might not be there anymore.
A 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
a 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
Collectors Weekly: What did you learn about playground history?
Biondo: I didn’t know American playgrounds started as part of the social reform or progressive movement of the early 1900s. Reformers hoped to keep poor inner-city immigrant kids safe and out of trouble. Back then, city children were playing in the streets with nothing to do, and when cars became more popular, kids started to get hit by motorists. Child activists started building playgrounds in big cities like Boston, Chicago, and New York as a way to help and protect these kids. These reformers felt they could build model citizens by teaching cooperation and manners through playgrounds. These early main-street parks would also have playground leaders who orchestrated activities such as games and songs.
“I started driving to playgrounds to see if any old equipment still existed. I found very little of it and realized it was disappearing quickly.”
In the late 1800s, Germans developed what they called “sand gardens,” which are just piles of sand where kids can come dig and build things. There were few of those in the United States as well. But by the early 1900s, the emphasis of playgrounds was on the apparatuses, things kids could climb on or swing on.
Soon after I started researching playground history, I happened to stumble on an eBay auction for a 1926 catalog that the playground manufacturers used to send to schools. At that point, I wasn’t thinking of doing a book, but I thought I could do something with it. I won the catalog; I paid, like, $12 for it. And it was so interesting because I could see this vintage equipment when it was brand new and considered modern and advanced. The manufacturers boasted about how safe it was and how it was good for building both muscles and imaginations.
After that, I would always search on eBay for playground catalogs, and I ended up with about three dozen catalogs from different manufacturers. My oldest is 1916, and my newest is from 1975. So I would take a photograph of some type of merry-go-round, and then I might find that same merry-go-round in a 1930 catalog. Often in the book, I pair my picture with the page from the catalog showing when it was first manufactured. I discovered a couple dozen manufacturers, which tended to be located in the bigger industrial areas with steel manufacturing, like Trenton, New Jersey, and Kokomo and Litchfield, Indiana. Pueblo, Colorado, even had a playground manufacturer. Burke and GameTime were big 20th century companies, and actually are among few still in existence.
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
Collectors Weekly: I recently came across an old metal slide whose steps had the name of the manufacturer, American, forged in openwork letters.
Biondo: I love those. One of the last pages in the book shows treads from six different slides, and they each had the name of their manufacturer in them, including Porter, American, and Burke. One time when I was traveling, I did a quick side trip to a small town with an elementary school. In the parking lot was this old metal slide with the American step treads, lying on its side. You could tell it had just been ripped off out of the concrete, which was still attached to the bottom, and was waiting for the steel recyclers to come and take it away.
I thought, “Oh my gosh, just put it on eBay! Somebody is going to want that. Don’t melt it down.” But nobody thinks about this stuff getting thrown away when it should be preserved. If you go on eBay, you can find a lot of those small animals on springs that little kids ride, because they’re small enough to be shipped. Once I saw someone selling one of those huge rocket ships, which had been dismantled, on eBay, but I don’t know if anybody ever bid on it. It’s rare to see the big stuff, because it is so expensive to ship. It’s like, “What kind of truck do you need to haul this thing away?” I don’t know of anyone who’s collecting those pieces, but I hope somebody is.
A metal slide in Victor, Colorado, had step treads with the name "American" in them. Photographed in 2008. (Photo by Brenda Biondo)
A metal slide in Victor, Colorado, had step treads with the name “American” in them. Photographed in 2008. (Photo by Brenda Biondo)
Collectors Weekly: It seems like an opportunity for both starting a collection or repurposing the material.
Biondo: I photographed many of the apparatuses as if they were sculptures because they have really cool designs and colors. Even when they’re worn down, the exposed layers of paint can be beautiful. Hardly anybody stops to look at it that way. People drive by and think, “Oh, there’s an old, rusty, rundown playground.” But if you take the time to look closely at this stuff, it’s really interesting. Just by looking at these pieces, you can picture all the kids who played on them.
Collectors Weekly: Aren’t people nostalgic for their childhood playgrounds?
Biondo: While I was taking the pictures, I visited Boulder, Colorado, which is a very affluent community. I was sure there would be no old playground equipment there. When I was driving around, all of a sudden, I looked over and saw this huge rocket ship. It turns out that one of the original NASA astronauts, Scott Carpenter, grew up in Boulder, and this playground was built in the ’60s to honor their hometown boy. Because of that, the citizens of Boulder never wanted to take down the rocket ship. One of the first exhibitions of this photography project happened in Boulder, and at the opening, I sold four prints of that rocket ship. People would come up to me at the exhibition, and they’d go, “Oh my gosh, I grew up playing on this when I was a little kid! Now, my kids are playing on it, and I’m so excited that I can get a picture of it and hang it in their bedroom.” So people have a strong nostalgic attachment to this equipment. It’s sad that most of it’s not going to be around for much longer.
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship play set seen at the top of this story. (Courtesy of Brenda Biondo)
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship playset seen at the top of this story. (Courtesy of Brenda Biondo)
Collectors Weekly: Besides slides and animals on springs, what were some other pieces that were common in older playgrounds?
Biondo: I didn’t come across as many old swings as I expected. I thought they would be all over the place, but I guess they’re gone now because they were so easy to replace. I tended to find merry-go-rounds more frequently—you know, the one where you’d run around pushing them and then jump on. When my kids were younger, they’d go out playground hunting with me, and the merry-go-rounds were their favorite things. They’re just so fun. The other thing you don’t find often is the seesaw or teeter-totter, and that was my favorite.The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado's R.F. Lamar and Co. (Photo by Brenda Biondo)
The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado’s R.F. Lamar and Co. (Photo by Brenda Biondo)
Before I started this project, I didn’t know there was such a variety of equipment. I figured I’d see seesaws, swings, slides, and merry-go-rounds. But I had no idea there were such things as revolving swings, which would be attached to a spinning pole via outstretched metal arms. Many mid-century pieces had themes from pop culture like “The Wizard of Oz,” “Cinderella,” “Denis the Menace,” cowboys and Indians, and Saturday-morning cartoons. During the Space Age, you started to see pieces of equipment shaped like rocket ships and satellites, because in the ’60s, Americans were so excited about space exploration. What was going on in the broader culture often got reflected in playground equipment.
Pursuing the catalogs was eye-opening. I live about an hour and a half south of Denver, so I often looked for playgrounds around the city. There, I’d find these contraptions where were shaped like umbrella skeletons, but then they had these rings hanging off the spindles. I’ve never seen them outside of Colorado. Then I bought a 1930s catalog from the manufacturer in Pueblo, Colorado, which is only 45 minutes from me, and it featured this apparatus. Later, I met people in Denver who’d say, “Oh, yeah, I remember that thing as a kid. It’s kind of like monkey bars where you had to try and get from ring to ring swinging and hanging by your arms.” There was so much variety, and even so many variations on the basics.I have a cool catalog from 1926 from the manufacturer Mitchell, which doesn’t exist anymore. I looked at one of the contraptions they advertised and I was like, “Oh my God, this looks like a torture device!” It was their own proprietary apparatus and maybe it didn’t prove to be very popular. I had never seen something like that on a playground. There probably weren’t very many of them installed.
This strange Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Brenda Biondo says she's never found one in the wild. (Courtesy of Brenda Biondo)
This Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Biondo’s never found one in the wild. (Courtesy of Brenda Biondo)
Collectors Weekly: After a while, were you able to date pieces just by looking at them?
Biondo: From looking at the catalogs, I certainly got a better idea of when things were built. But there were a handful things I couldn’t find in the catalogs. You can guess the age by knowing the design, as well as by looking at the amount of wear and the height of the piece. Usually, the taller it was, the older it was. One of the oldest slides I photographed was probably from the ’30s. I climbed to the top to shoot it as if the viewer were going to go down the slide. Up there, the place where you’d sit before sliding had been used for so many years by so many kids that I could see an outline of all the butts worn into the metal. You can imagine all the children who must have gone down that slide to wear the metal down like that.
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
Collectors Weekly: How did Modernism influence playground design?
Biondo: In 1953, the Museum of Modern Art in New York held a competition for playground design. Modern Art was just getting popular, and the idea of incorporating the theories of Modernist design into utilitarian objects was in the air, and was translated into playgrounds for several years. I have a 1967 catalog that features very abstract playground equipment made from sinuous blobs of poured concrete. And you’ve probably seen some of it, but there’s not too much of that around. That’s another example of how broader cultural trends were reflected in playgrounds.
When most people think of playgrounds, they say, “Oh, that’s a kiddie subject. There’s not much to it.” But when you start looking into them, you realize playgrounds are a fascinating piece of American culture—they go back a hundred years and played a part in most Americans’ lives. These playground pieces are icons of our childhood.
Collectors Weekly:What was the impact of the Consumer Product Safety Commission, which launched in 1973?
Biondo: Things started to change after that, which is why I limited to book to apparatuses made before 1975. New playgrounds were starting to be build out of plastic and fiberglass. I looked up the statistics, and according to the little research I’ve done—contrary to what you’d expect—there’s not much difference in the number of injuries on older equipment versus injuries on equipment today. A “New York Times” article from 2011 called “Can a Playground Be Too Safe?” explains that studies show when playground equipment was really high and just had asphalt underneath it and not seven layers of mulch, thekids knew they had to be careful because they didn’t want to fall. Nowadays, when everything is lower and there’s so much mulch, kids are just used to jumping down and falling and catching themselves. So kids learned to assess risk by playing on the older equipment. They also learned to challenge themselves because it is a little scary to go up to the top of the thing.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
At my local park where you have new equipment, the monkey bars aren’t that high and there’s mulch below it, but a child fell and broke their arm last year. When I was talking to the principal at the school where they had just torn out that old American slide, I asked her, “Why did you replace the equipment?” She said, “We felt the parents in the community were expecting to have a little bit newer and nicer equipment. And this stuff had been here for so long.” And I said, “Have you seen a difference in injury rates since you put up your newer equipment?” She replied, “I’ve been a principal here several years, and we never had a serious broken-bone injury on the playground until four months ago on the new equipment.”
There were some nasty accidents in the ‘60s and ’70s, where kids got their arms or their heads caught in the contraptions. Those issues definitely needed to be assessed. What’s interesting is the Consumer Product Safety Commission never issued requirements, just suggested guidelines. But manufacturers felt that if their equipment didn’t meet those guidelines, they’d be vulnerable to liability. Everybody went to the extreme, making everything super safe so they wouldn’t risk getting sued.A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
In the last decade, people have been looking at playground-equipment design and trying to make it more challenging and more encouraging of imaginative play, but without making it more likely someone’s going to get injured. And adults, I think, are realizing kids are spending more time indoors on devices so they want to do everything they can to encourage kids to still get outside, run around, and climb on things.
Collectors Weekly: You don’t need a playground to hurt yourself. When I was a kid, I fell off a farm post and broke my arm.Biondo: Oh, yeah, kids have been falling out trees forever—they always want to climb stuff. Playground politics are always evolving. Even in the 1920s, the catalogs talked about how safe their equipment was, and they were selling these 30-foot slides. Sometimes, I’d be out with my family on a vacation, and we’d make a little side tour to look for an old playground to shoot. My husband would look at these big metal things and go, “Oh my God, those are the Slides of Death!” because they were so huge and rickety. But back then, these were very safe pieces of equipment compared to what kids had been playing on before.
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
Collectors Weekly: Growing up in the 1980s, I always hated the new fiberglass slides because I’d end up with all these tiny glass shards in my butt.
Biondo: Yeah, I remember that, too. It’s always something. It is fun to talk to people about playgrounds because it reminds them of all the fun stuff they did as kids. When people see pictures of these metal slides, they tell me, “Oh my gosh, I remember getting such a bad burn from a metal slide one summer!” The metal would get so hot in the sun, and kids would take pieces of wax paper with them to sit on so they’d go flying down the slide. I have some old postcards that show playgrounds from the early ’20s. The wood seesaws not only were huge, but they had no handles so you had hold on to the sides of the board where you sat. I’m looking at that like, “Oh my God!” It’s all relative.
playground_postcard_milwaukee
Kids ride the rocking-boat seesaw at a Milwaukee, Wisconsin, park in this postcard postmarked 1910.
(To see more of Brenda Biondo’s playground photos and vintage catalog pages, pick up a copy of her book, “Once Upon a Playground: A Celebration of Classic American Playground, 1920-1975.” To find an exhibition of Biondo’s playground project, or to bring it to your town, visit the ExhibitsUSA page. To learn more about creative mid-century playgrounds around the globe, also pick up, “The Playground Project” by Xavier Salle and Vincent Romagny.) insh.world/history/playground-equipment-of-yesterday-that...
A 1954 Ford “Pop” Popular 2-door, “sit-up-and-beg” compact saloon, [103E], painted in black sits atop a two-car transporter on property belonging to the famous Mathewson family auction house in Thornton-Le-Dale, Ryedale, North Yorkshire, U.K. The car has an age-related six-character black plate - “323 YUA”, which was first registered in May 2010, indicating that this rust-free RHD car may in fact be an import from overseas, such as Australia, New Zealand, or South Africa. Or perhaps it is a restored example, which was re-registered using a six-character plate? The badges on the front grille are of an old-style AA badge, and two badges from the Ford Popular registry, and the Ford sidevalve owners club.
The 1953-’59 Ford Popular 103E was the basic budget entry-level buy for postwar austerity Britain. The car sold for under £400 (roughly £9,050 adjusted in today’s money), and some years later the “Pop” became a homegrown favourite for British hot rodders.
Coachwork by Baur
Aiming to create a postwar sports car worthy of the brand, in 1954 BMW took a shortened sedan chassis with a 3.186 cc V8 engine and fitted it with an aerodynamic body designed in-house by Heinz Jacht and built by Baur in Stuttgart. Tested at the Nurburgring by former BMW racing director Ernst Loof, the car proved capable of 200 km/h. However, project 502 won few friends and was shelved. The day was saved when US importer Max Hofman employed Count Albrecht Goertz to create the 507.
Class VII : 60th Anniversary BMW 507
Zoute Concours d'Elegance
The Royal Zoute Golf Club
Zoute Grand Prix 2017
Knokke - Zoute
België - Belgium
October 2017
Rockefeller Center is one of those projects where the name is arguably more famous than the forms themselves: everyone knows you have to see it, nobody could really tell you why, though ice skating is sure to be mentioned among the scenic pleasures to be had. The "why" would have been clearer eighty years ago; before the massive scale of postwar urban renewal, this was essentially the demonstration case for what might be possible if a number of adjacent blocks in the undifferentiated commercial city could be assembled together in a single hand, with a coordinated team of designers seeking to assemble something more than the sum of its parts. In this sense, it was a test case long overdue, as the City Beautiful had been testing out versions at various scales for decades (with the reconstitution of the National Mall in Washington, D.C. being perhaps the largest achievement to this point). Rockefeller Center's distinction among these other projects derives primarily from its huge scale, the largely coordinated architectural language among its many pieces, and the one major sop to "public space": a T-shaped void, cut out of a single block, makes for an arrival "promenade" giving way to a rectangular sunken plaza and turning the tallest skyscraper in the set into a monumental presence.
That's about it: no closed-off streets, not even a continuation of the "promenade" on to Sixth Avenue. As much of a stunner as this was in the 1930s - and it impressed everybody, even Le Corbusier - it's hard not to wonder if the incompleteness of its civic generosity contributed to the apparent consensus that in fact this was a dead end - and a very, very expensive one for John D. Rockefeller. Postwar urban renewal didn't look like this, in part due to changing ideas about office space and a federally-subsidized suburban boom given further impetus by white flight, "decentralization" propaganda related to fears of aerial bombardment, and all the other usual suspects. Tafuri may be right that the symbolic loading of the business skyscraper as a "magic mountain" (rather than just another anonymous node in a global network of money, information and labor) was itself obsolete. On the other hand, this remains a desirable address, and it remains hard to say: what if the Depression had struck later, and the Metropolitan Opera (who initiated the whole scheme) was able to remain involved, maintaining the idea of a fundamentally "cultural" public centerpiece to the whole affair? What if, along the same lines, plans for a second, perpendicular set of blocks (sending the promenade up to the Museum of Modern Art) had gone through?
To an extent, these are idle speculations even by the standards of armchair counterfactuals, since it was precisely Depression-era construction costs that made it practical to build the Center at all. As well, Tafuri might reasonably object that I'm missing the point: even if the "cultural" or "civic" aspects of the scheme could have been made more convincing, it would still be an idea out of time, fighting the current of a grid that insists on the fungible, functional interchangeability of space. But in a more medium-term alternate history I think it could have mattered: urban witnesses to a Rockefeller Center that wasn't merely aesthetically dazzling but urbanistically compelling might have walked away thinking not simply "We've got to get some more bulldozers into the rest of town, pronto" but "we've got to make some more places like that."
All of the above, of course, reflects my old New Urbanist background and what I must now regard as a sadly naive hope that by some means, the lineage of the City Beautiful could be restored without having to go through the destructive convulsions of urban renewal. Without rendering the latter as inevitable or natural - we know that they were made out of specific policy choices at particular moments, each of which might have gone differently - it's still hard for me not to see the later developments as part of an interlocking complex of forces that come down less to the disenchanting of mountains as to the real estate logics of downtowns under capitalism. Here, I think Tafuri should be read in tandem with David Harvey, whose similarly Marxist reading is more closely attentive to the postwar American city (see e.g. The Urbanization of Capital; for a more recent take, I strongly recommend Samuel Zipp's Manhattan Projects). The short version is that local governments, enabled by federal and state legislation, were susceptible to the demands of powerful real estate and construction interests which saw enormous profits in redeveloping downtown land for the middle- and professional classes: office towers and high-end modern apartments, clearing what could be conveniently labeled as "slums" and incidentally promising to rescue the city's tax purse from the departure of others to the suburbs.
In light of these interests, no amount of "wow" factor from a Rockefeller Center, real or imaginary, could really matter much. The decision-makers were happy to separate their "culture" and their offices - see Lincoln Center and Park Avenue, in tandem with the explosion of upstate corporate campuses - and the city would grow spatially and experientially more fragmentary, not less, even as its remaining working-class population was squeezed onto marginal sites and flung to the periphery.
So, suppose I set all that lofty discourse aside and just consider Rockefeller Center "like an architect," whatever that might mean? Well, formally, I think it looks great. The lost opportunities do detract, particularly as they render the complex surprisingly hodge-podgey in its massing. Only the primary symmetrical axis between 49th and 50th sustains the sense of a unified city-crown spread out into several buildings with room for light and pedestrian space. The "side" buildings north of 50th and south of 49th face every which way, with (in those constructed later in the 30s) ballooning massings. They reflect a decreased dependency on windows for ventilation, but fail to cohere with the slimming, inward-stepping profile of the RCA Building, clearly the signature accomplishment of the whole affair. Of the postwar additions across Sixth Avenue - a row of truly desultory International Style skyscrapers of no distinction - the less said, the better. The ornament and embellishments - back in the Thirties part - are impeccable if occasionally kitschy; together, the buildings form an Art Deco Gesamtkunstwerk that was doomed to reject Diego Rivera's contribution like a faulty transplant, even before he painted Lenin into the picture. As works of art, the best buildings here are clearly among the best skyscrapers in New York, at that Chrysler or Seagram level where only a nefarious contrarian would leave them out of the Top Ten, however they were ranked exactly. In many ways, Rockefeller Center was the best of its kind, even if it was simultaneously the first and the last.
Recommended reading: In the past year, I've read three different takes on the Center, all of which offer copious illustration and a thorough breaking-down of the development's saga, each with its own larger agenda in play. Manfredo Tafuri's "The Disenchanted Mountain: The Skyscraper and the City" (in the fat American City volume) is a closely-researched and very grounded Marxist analysis of the meaning of "planned" urban space (including Rocekfeller Center, at length) as the logics of capitalism were moving beyond the need for conventional centers or locally symbolic architectural presences. William Jordy's take, in American Buildings and Their Architects, vol. 3, is more conventionally architect-y, with a focus on composition, urban connectivity (for better or worse) and a comparison to other planned spaces in New York. Finally, Rem Koolhaas, in Delirious New York, is most interested in the architects themselves: how the super-team was organized, and how they built up the new informational logics of both the mid-century office and the (highly technical) Rockefeller buildings themselves. I'd say if you read only one, the Tafuri is the most thorough on the history of the project, but if you're absolutely repelled by critical theory of any sort, Jordy (if rather duller) may be more your speed.
This shot: The main (really, the only) promenade of the center, moving from Fifth Avenue towards the sunken plaza, with the RCA Building (1931-1933) dominating, and the mid-rise British Empire and Maison Française buildings (1932-1933) framing things up. In the far distance, we glimpse part of the sad postwar sequel along Sixth Avenue (the Avenue of the Americas): Harrison & Abramovitz's Time-Life building, 1957-1959.
This style of 7V is the postwar model introduced in 1947 and updated from the original 7V of 1937. It could be fitted with a four-cylinder side valve engine but more usually the 30 hp V8 of 3,622cc the same powerful petrol engine as used in the Ford V8 Pilot saloon car.
This particular lorry fitted with a tipping tanker body for carrying liquid concrete is one of half a dozen employed on building sites and most likely not even road registered. Seen on the construction of a vast oil storage depot on the outskirts of London the cheap to buy little Fordsons would at the end of the contract probably have their bodies removed and the chassis sold off.
In the background a long coal train, once a common sight on Britain’s railways before the destruction of the coal indusrty by the Iron Lady, trundles by hauled by a Standard 2.10.0.
This painting in oils on a 20”x30” canvas originally made for a transport calendar hangs in the offices of Kelsey Publishing of Cudham in Kent.
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Postwar London Transport tramway scene in 1/76 scale.
The layout will have it's exhibition debut at Worksop MBF Model Transport Exhibition on 19th January.
West-German postcard by IRMA-Verlag, Stuttgart, no. 1584. Photo: MGM. Maria Schell in The Brothers Karamazov (Richard Brooks, 1958).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s 'L’Assommoir', she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her, later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
4,0 Litre
6 In-line
150 hp
Class III : Post War "1945-1965"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2022
Knokke - Zoute
België - Belgium
October 2022
Postwar era British military engineering vehicle
This version of the Churchill AVRE (Armoured Vehicle Royal Engineers) was based on a Churchill Mk.VII and was in British Army service between 1954 and 1965. They were fitted with a breech-loading low velocity L9A1 165mm demolition gun, firing a 64lb HESH (High Explosive Squash Head) round designed to destroy bunkers and obstacles.
This example is on display at the Royal Engineers Museum
Gillingham, Kent, UK
24th July 2021
Craighalber Church in Cumbernauld, one of the postwar "new towns" (which largely means spread out (so you need to rely on cars to get around), with no real centre and architecture which ranges from bland to downright horribly ugly for the most part.
The church here, right next to the nearby mosque in the previous pics, isn't as ugly as some buildings around this area, but it is terribly bland - as my dad commented on seeing it, if it didn't say church on the sign you could mistake it for anything from the building for a small school, a rest home or one of those insipid chain carvery pubs. Still, in this odd light caused by the evening sun and the shifting white and darker, stormy clouds it looked interesting in B&W
Saul Leiter was a groundbreaking postwar photographer who created painterly, often abstract images in muted colors.
Class III b : Post-War Closed Cars "The Special Ones"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2021
Knokke - Zoute
België - Belgium
October 2021
Postwar Dialogues:
Europe and the United States
The cataclysm of World War II brought in its wake the obligation of profound reflection as well as an intense desire for a new beginning. The nations of Europe were starting to recover from physical and economic devastation and to recognize that the horrors of war had irrevocably damaged former ways of life, social bonds, and cultural assumptions. Having avoided home-front hostilities, the United States emerged from the war a geopolitical superpower, optimistic about the future but also bearing the scars of wartime sacrifice. The artistic cultures on both sides of the Atlantic remained deeply interconnected, but the perceived balance of authority began to shift toward the Americans.
The Brutally reactionary Nazi regime decimated the progressive cultural communities of Europe, and many of its leading talents—among them Hans Hofmann, Willem de Kooning, Piet Modrian, and Arshile Gorky—fled to the United States, infusing new ambition into the country’s artistic life. Abstract Expressionism (in New York), Art Informel (in Paris), and CoBrA (in Copenhagen, Brussels, and Amsterdam) developed as parallel efforts to delve beneath the compromised façade of Western civilization to seek sources of cultural rebirth in archaic eras and the art of children and the insane. Meanwhile, individualists such as Pablo Picasso, Alberto Giacometti, and Balthus explored universal aspects of the human condition: desire, alienation, and dream.
From the Placard: The Philadelphia Museum of Art, PA
2.175 cc
4 in-line
115 hp
Class IV : Post War "1965 - 1985"
Zoute Concours d'Elegance
Royal Zoute Golf Club
Zoute Grand Prix 2022
Knokke - Zoute
België - Belgium
October 2022
Zuzuordnen wohl auch dem Archiv 18 (W) Album m, postwar bis 1960er.
This should also be assigned to "Archiv 18 (W) Album m", postwar through the 1960s.
The Museum of the Dreamers
The Phantastenmuseum is a museum in the Palais Palffy in the 1st district of Vienna Inner City. It shows the evolution of fantastic, surreal and visionary art of the postwar period to the present.
History
Following discussions between the Austrian artist Ernst Fuchs (* 13. Februar 1930 in Wien; † 9. November 2015) and the publisher, organizer and author Gerhard Habarta the idea of a museum of fantastic art in Vienna came to the realization. The "Austrian Cultural Center since 1958" in the Palais Palffy was enthusiastic about the idea, the plans for the new museum were concretised in the year of 2010. In autumn 2010 was started with the adaptation of the premises, which was completed in January 2011. The opening of the museum took place under the patronage of Federal President Heinz Fischer on 15 January 2011.
Premises
For the museum parts of the historical Palais Palffy due to war damage in the 1950s renovated were used.
The foyer was designed by Lehmden student Kurt Welther about The Marriage of Figaro. Here, also a lobby with the ticket office, the information and the museum shop has been set up. In this one gifts like replicas of famous works of art, sculptures, jewelery, catalogs and posters as well as original editions are sold. On the 1st floor is located opposite the Figaro Concert Hall the gallery. It is a 150 m² large space for solo exhibitions. The museum occupies the entire top floor and consists of designed spaces. In addition to works from its own collection and permanent loans, documents and portraits of artist personalities are shown.
The museum
The museum is divided into the following areas:
Impulses: Here are the inspirations identified which brought the young artists first information after the war, with works by Edgar Jené and Gustav K. Beck and Arnulf Neuwirth.
Academy: Here, the young creatives found an artistic home, including works by Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden and Kurt Steinwendner before he turned into the filmmaker and object artist Curt Stenvert.
Contemporaries: These include older artists of fantastic, who had survived the dictatorship, like Greta Freist, Kurt Goebel, Charles Lipka or the CIA agent Charles von Ripper. And the young ones, as Rudolf Schoenwald or Arnulf Rainer as well as painters who moved in later Art Club. These include the "partisan" Maria Biljan-Bilger, Peppino Wieternik before he turned to the abstract, and Carl Unger who designed a large glass front of the Palais Palffy.
Art Club: It gathered the artistic elite of the post-war period and became with the Strohkoffer (straw suitcase) a social center.
Dog Group: It became the first counter-movement, in which the rebels as Ernst Fuchs, Arnulf Rainer and Maria Lassnig, Wolfgang Kudrnofsky and maverick visionary Anton Krejcar with graphics that today have become valuable manifested themselves.
The Pintorarium of Friedensreich Hundertwasser, Ernst Fuchs and Arnulf Rainer fought actionistically with wall newspaper and nude demonstration against the established Academy, bad architecture and for the freedom of the spirit.
Hundertwasser realized the theories of Pintorarium in his buildings. A photo documentation of Kurt Pultar.
Vienna School of Fantastic Realism: The core of the museum with pictures of Arik Brauer, Wolfgang Hutter, Fritz Janschka, who lives in the United States and Anton Lehmden. Of Rudolf Hausner is - in addition to an oil painting - the documentation of long-term work on his Ark of Odysseus to see. In addition to an early work by Ernst Fuchs, a specially created for the museum great painting version of a 55 years ago arosen drawing is shown.
In the department of simultaneous 16 images of that Viennese Fantasts can be seen who presented themselves in the 1960s for the first time, among other things, in the gallery that installed Ernst Fuchs.
In the Department Next Generation are those almost still "young ones" which - despite temporary exclusion by the avant-garde - are committed to the new tendencies of the fantastic. They studied partly with Hausner, Lehmden, Hutter and Fuchs and also learned as wizards.
The Graphic Cabinet presents some etchings and lithographs to stamps. Here the global network is shown in about 30 works by international visionaries. Representatives from Japan, the US, Australia and European centers are the ambassadors of associations of fantastic artists, the Ambassadors of the Fantastic Universe.
Phantastenmuseum
Das Phantastenmuseum ist ein Museum im Palais Pálffy im 1. Wiener Gemeindebezirk Innere Stadt. Es zeigt die Entwicklung der phantastischen, surrealen und visionären Kunst von der Nachkriegszeit bis zur Gegenwart.
Geschichte
Nach Gesprächen zwischen dem österreichischen Künstler Ernst Fuchs und dem Verleger, Organisator und Autor Gerhard Habarta entstand die Idee zur Verwirklichung eines Museums für phantastische Kunst in Wien. Das „Österreichische Kulturzentrum seit 1958“ im Palais Pálffy zeigte sich von der Idee begeistert, die Pläne für das neue Museum wurden im Jahr 2010 konkretisiert. Im Herbst 2010 wurde mit der Adaptierung der Räumlichkeiten begonnen, die im Jänner 2011 abgeschlossen wurde. Die Eröffnung des Museums fand am 15. Jänner 2011 unter dem Ehrenschutz von Bundespräsident Heinz Fischer statt.
Räumlichkeiten
Für das Museum wurden Teile des historischen, aufgrund Kriegsschäden in den 1950er Jahren renovierten Palais Pálffy genutzt.
Das Foyer wurde vom Lehmden-Schüler Kurt Welther zum Thema Figaros Hochzeit gestaltet. Hier wurde auch ein Empfangsbereich mit der Ticketkasse, der Information und dem Museums-Shop eingerichtet. In diesem werden Geschenke wie Nachbildungen berühmter Kunstwerke, Skulpturen, Schmuck, Kataloge und Kunstdrucke sowie auch Original-Editionen verkauft. Im 1. Stock befindet sich gegenüber dem Figaro-Konzertsaal die Galerie. Es handelt sich um einen 150 m² großen Raum für Einzelausstellungen. Das Museum nimmt das gesamte Obergeschoss ein und besteht aus gestalteten Räumen. Neben den Werken aus eigenem Bestand und Dauerleihgaben werden Dokumente und Porträts der Künstlerpersönlichkeiten gezeigt.
Das Museum
Das Museum ist in folgende Bereiche gegliedert:
Impulse: Hier werden die Impulse aufgezeigt, die den jungen Künstlern erste Informationen nach dem Krieg brachten, mit Werken von Edgar Jené und Gustav K. Beck und Arnulf Neuwirth.
Akademie: Hier fanden die jungen Kreativen eine künstlerische Heimat, mit Werken von Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden und Kurt Steinwendner, bevor er zum Filmemacher und Objektkünstler Curt Stenvert wurde.
Zeitgenossen: Dazu zählen ältere Künstler des Phantastischen, die die Diktatur überlebt hatten, wie Greta Freist, Kurt Goebel, Charles Lipka oder der CIA-Agent Charles von Ripper. Und die Jungen, wie Rudolf Schönwald oder Arnulf Rainer sowie Maler die sich im späteren Art Club bewegten. Dazu gehören die „Partisanin“ Maria Biljan-Bilger, Peppino Wieternik, bevor er sich zum Abstrakten wandte, und Carl Unger der für das Palais Pálffy eine große Glasfront gestaltete.
Art Club: Er versammelte die künstlerische Elite der Nachkriegszeit und wurde mit dem Strohkoffer ein geselliges Zentrum.
Hundsgruppe: Sie wurde zur ersten Gegenbewegung, in der sich die Aufrührer wie Ernst Fuchs, Arnulf Rainer und Maria Lassnig, Wolfgang Kudrnofsky und der Außenseiter-Phantast Anton Krejcar mit heute wertvoll gewordenen Grafiken manifestierten.
Das Pintorarium von Friedensreich Hundertwasser, Ernst Fuchs und Arnulf Rainer kämpfte aktionistisch mit Wandzeitung und Nacktdemonstration gegen die etablierte Akademie, schlechte Architektur und für die Freiheit des Geistes.
Hundertwasser verwirklichte die Theorien des Pintorariums in seinen Bauten. Eine Fotodokumentation von Kurt Pultar.
Wiener Schule des Phantastischen Realismus: Der Kern des Museums mit Bildern von Arik Brauer, Wolfgang Hutter, dem in den USA lebenden Fritz Janschka und von Anton Lehmden. Von Rudolf Hausner ist - neben einem Ölbild - die Dokumentation der langjährigen Arbeit an seiner Arche des Odysseus zu sehen. Neben einem Frühwerk von Ernst Fuchs ist auch eine eigens für das Museum geschaffene große Gemälde-Fassung einer vor 55 Jahren entstandenen Zeichnung ausgestellt.
In der Abteilung der Gleichzeitigen sind 16 Bilder jener Wiener Fantasten zu sehen, die sich in den 1960er-Jahren zum ersten Mal präsentierten, u.a. in der Galerie, die Ernst Fuchs installierte.
In der Abteilung Next Generation sind jene fast „noch Jungen“, die sich – trotz zeitweiliger Ausgrenzung durch die Avantgarde – neuen Tendenzen des Phantastischen verpflichtet fühlen. Sie haben zum Teil bei Hausner, Lehmden, Hutter und Fuchs studiert und auch als Assistenten gelernt.
Das Graphische Kabinett stellt einige Radierungen und Lithographien bis hin zu Briefmarken aus. Hier wird in etwa 30 Werken internationaler Phantasten die weltweite Vernetzung gezeigt. Vertreter aus Japan, den USA, Australien und europäischen Zentren sind die Botschafter von Vereinigungen phantastischer Künstler, den Ambassadors of the Fantastic Universe.
2014 Gore Aussie Muscle Mania Car Show (12-4-14)
Celebrating the 350 part #1: Chevrolet 350 V8
THE POWERPLANT (Part 1 of 2)
One of the great paradoxes of automotive history is that while the Ford Motor Company was the first mass manufacturer to produce affordable V8-powered cars, it is the Chevrolet small-block V8 that has gone on to become the most famous and loved of all eight-cylinder engines.
In naming the 10 best engines in history, Ward’s AutoWorld found a place for the Ford side-valve flathead V8 but the only postwar V8 from Detroit to get a spot was the Chevrolet 350 cubic-inch unit.
The postwar boom in the US created a huge proliferation of new models and, by the mid-1960s, what became known as the horsepower race. In our current era where the same basic engine might be found in Peugeots, Citroëns and the Australian Ford Territory, it is difficult to grasp the fact that General Motors was so rich that most of its divisions had a unique range of V8s and in multiple variants.
When the Chevrolet Division introduced the 350ci V8, Buick had a 340 (as well as its 300, 400 and 430), Oldsmobile had a 330 (plus its own 400 and a 425), Chevy’s closest sibling Pontiac had a 326 (and yet another 400 and its 428) while GM’s flagship brand Cadillac had a solitary 429.
None of these engines could match the production life of the Chevy 350 which made its debut in the 1967 Camaro 350SS, tasked with the challenge of stealing sales from the phenomenally successful Mustang.
Although replaced by the Generation II LT and Generation III LS engines in the 1990s, it was not discontinued until 2003. And it remains in production in Mexico as a crate unit for Chevrolet Performance.
To understand the significance of the 350 it is necessary to look at the history of Chevy’s small-block V8.
High-compression V8 engines had been a key element in GM’s postwar plan. Alfred P. Sloan Jr, who effectively ran the corporation from 1923 (as President) to 1956 when he finally retired as Chairman of the Board, wrote in My Years with General Motors: “At the close of World War II we made the projection that for an indefinite period the principal attractions of the product would be appearance, automatic transmissions and high-compression engines, in that order; and that has been the case.”
While Cadillac had always been GM’s top brand, Oldsmobile was usually the one where new engineering was first applied. So it made sense for the high-compression V8 engines to make their 1948 debut in both marques for model year 1949. The chief designer of the Cadillac engine was Ed Cole (see below).
In 1952 Cole was transferred to Chevrolet Division where the engineers were already at work on a new high-compression V8 intended for the Corvette. The view at the time was that without a powerful V8 engine the model would have to be discontinued as the ‘stove-bolt’ 165hp straight-six gave the wrong message for the corporation’s only dedicated sports car.
Apparently Cole didn’t like what he saw and he told the team to begin from a clean sheet of paper to design an engine that would be more efficient, easier to manufacture and less bulky. Thus his experience at Cadillac at the top of the GM hierarchy was transferred to humble Chevrolet at the bottom.
R.F. Sanders, chief passenger car chassis engineer at Chevrolet, presented a paper at the Society of Automotive Engineers Golden Anniversary Annual Meeting on 12 January, 1955. His subject was ‘The New Chevrolet V-8 Engine’. “Anything we could slice off the top or bottom of the block, or from the bores, would mean less heavy iron and less water required to cool it. This was one of our prime objectives – to make that basic block just as compact and light in weight as possible.’ At 531 pounds (241kg), it was 41 pounds (18kg) lighter than the in-line six it so comprehensively superseded.”
While rival manufacturers required up to 22 casting cores, Chevrolet used just 12. Rather than conventional heavy and complex rocker arm shafts, Chevy’s small block got stamped steel rocker arms on individual studs. This innovative valvetrain design was key to the engine’s high rpm performance. High turbulence, wedge-type combustion chambers (where only the valve seats needed machining) minimised octane demand.
Rotating and reciprocating components were balanced individually. A forged steel crankshaft was used. Connecting rods were tested to 18 million cycles without failure. The interchangeable cylinder heads were of cross-flow port design and the head bolts were arranged pentagonally to spread stresses more evenly.
‘Interchangeable’ went on to become a key adjective for the small block. It is possible to fit worked 350 cylinder heads onto a stock 1955 265. The one-piece intake manifold combined the water outlet, oil filter, the lifter valley cover, distributor mounting and exhaust heat riser in a single casting.
In its original 265ci guise the small block developed 162hp. With the optional ‘Power Pack’ comprising a four-barrel Rochester and dual exhausts, output was 180hp, which was more than respectable in 1955.
The 265 was bored from 3.75 inches to 3.875 to create the 283 for 1957. Then for the 327 in 1962, it was bored again to 4.00 inches and stroked from the original 3.00 inches to 3.25. At 4.00 X 3.25 this was a notably oversquare design.
Then for model year 1967 Chevrolet introduced the 350 with a new crankshaft and a stroke of 3.48. The first version was known as the L-48. It promised buyers of the all-new Chevrolet Camaro SS350 295bhp and 380ft/lb of torque.
The L-48 soon became optional on a huge variety of Chevrolets, including Impalas, El Camino utes and Chevelles. It had cast pistons and a compression ratio of 10.25:1. For 1968 it was offered as optional equipment in the Chevy II Nova as the main element in the $211 Super Sport option on two-door models.
Although the 350 was developed from the 327 and would eventually replace it, it didn’t find its way under the bonnet of the Corvette until 1969. Which was also the year Colin Bond won Bathurst in a so-proudly-Australian Holden Monaro GTS 350.
The L-48 became the entry-level ’Vette engine, superseding the previous model’s 300hp edition of the 327. This peak output was unchanged but Corvette buyers could specify the optional L-46 with 350hp for $132 extra. And then there were the big blocks with the 427 offering as much as 435hp by 1967.
For 1970, the 350 became the standard V8 for all full-size Chevrolets, which now included a large coupe in the Ford Thunderbird ‘personal’ idiom. The Monte Carlo undercut its Ford rival by some $1250, or roughly 30 percent. The 350 made just 250hp but Monte Carlo buyers looking for more grunt could tick the SS-454 option box to acquire the ‘Super Sport’ package which included a 360hp big-block 454 V8.
Within its first three years the 350 small block was offered in several levels of tune, the highest of which was the LT-1. Introduced in 1970, it was available in the Corvette (ZR-1) and Camaro (Z28). At 370hp, it had almost 50 percent more power than the the 350 in the Monte Carlo. The LT-1 boasted solid lifters, a revised camshaft, a four-barrel 780 CFM Holley on an aluminium intake manifold and 11:1 compression ratio.
The 350 was not the only small-block V8 available in Chevrolet’s Mustang-rival. 1967 became a huge year for the already famous small-block V8. A unique 302ci (4.9-litre) unit was created to make the Camaro Z28 eligible for the Sports Car Club of America (SCCA) Trans-Am series. For 1967-69 capacity was limited to 5.0 litres.
This remarkable new engine showcased Chevrolet’s small-block V8 technology. The three-inch crankshaft from the 283 was fitted to a four-inch bore 327 block. With such a short stroke it loved to rev. A 780cfm four-barrel Holley was fitted. Compression was 11:1. The following year the 780 was swapped for a pair of 600s on an aluminium intake manifold and a different camshaft.
Larger journals were fitted to support the new hardened forged crankshaft. For 1969 the factory admitted to 290hp beneath the newly fitted Corvette finned aluminium valve covers, but 375 was nearer the truth.
It is improbable that either Ed Cole or R.F. Sanders could have guessed at the beginning of the small block program that by 1968 their baby would be the dominant engine in American Formula 5000 open-wheeler racing. These cars weighed 1400 pounds, produced up to 550hp running through a five-speed magnesium transaxle. Despite the inclusion of such advanced features as mechanical fuel injection, a magnesium induction system, a roller-lifter camshaft and roller rockers, the 302 retained an almost stock crankshaft.
What a contrast with the fate of the 350 LT-1 as clean air demands outranked the cry for ever increasing power. It fell from a 370hp (SAE) rating in the 1970 Corvette to 255hp (SAE net, meaning installed in the car and running the ancillaries) by 1972.From 1973 to 1980 the L82 was the hottest 350 with forged pistons, a compression ratio of 9.0:1 and 250bhp (SAE net) in the first of these years dropping to 230 by 1980.
Then in 1981 came the L81 and the ’Vette was humbled to 190hp. The 1982 L83 was available only with an automatic transmission and claimed a further 10 horsepower.
For 1984 there was a new Corvette. Its L83 was equipped with throttle-body injection. Power crept up to 205hp.
From 1985 to 1992 the L98 350 with tuned port injection saw bigger performance gains with horsepower ratings from 230 up to 250. This engine was available in the Camaro and its kissin’ cousin Pontiac Firebird from 1987 to 1992. A roller camshaft was fitted from 1987.
By the 1990s the triumph of the Chevrolet small block over other similar capacity GM V8s was complete and the L05 350 was used in the 1992-93 Buick Roadmaster, the Cadillac Fleetwood and Brougham (where it was an option) and was optional in the 1992 Oldsmobile Custom Cruiser wagon.
The Gen II arrived in the ’92 Corvette and was named LT1 (no hyphen) as a tribute to the original LT-1. It wasn’t by any means all-new, retaining the classic bore and stroke dimensions of 4.00 X 3.84 inches. Interchangeability remained a key criterion. The rotating assembly of the Gen II fits many of the older engines, but the block and heads were new. The reverse-flow cooling system favoured the combustion chambers reducing the risk of detonation now the compression ratio was back to 10.4:1.
Cast-iron heads were used on the mainstream Chevrolet Impala and Caprice while the Corvette and Camaro/Firebird scored aluminium. Welcome was multi-port fuel injection. Maximum power was 330hp in the LT4 (1996-97 Grand Sport Corvette, Collector Edition Corvette and all ’96 manual Corvettes).
The Gen III of 1997 was a big departure. It had an aluminium block when used in cars while trucks made do with cast iron. The capacity was still 5.7 litres but the bore was 3.898 inches and the stroke 3.62. The premium LS1 version was used in the ’Vette from 1997 and the Camaro/Firebird from 1998. In LS1 guise the Gen III was offered in the VT Commodore, Statesman, Caprice and HSV range from 1999 to 2005 and was continually refined.
The Gen IV was based on its predecessor but boasted capacity of up to 7.0 litres. Holdens use the 6.0-litre L76 (270kW) while HSVs get the hot LS2 of 6.2 litres and with maximum power outputs of 317kW and 325kW.
On 30 November, 2012 the 100 millionth small-block Chevrolet V8 emerged from the production line. Enough said.
Old King Cole:
The man behind the machine...
EdwardD N. Cole died in his own aeroplane on 30 October, 1967. There are many things he is remembered for but some are more celebrated than others.
Born on 17 September 1909, Cole enrolled at the General Motors Institute (GMI) at Flint, Michigan in 1930 under Cadillac sponsorship.
At Cadillac he rose through several positions to become chief design engineer for US Army combat vehicles. That was in 1943. Three years later he was chief engineer at Cadillac and he was responsible for the high-compression, short-stroke Cadillac V8 that was slipped beneath the bonnet of the 1949 model.
In 1952 he became chief engineer at Chevrolet and one of his first jobs was to tell the team working on the forthcoming V8 engine to rethink the design. And, no, he did not just ask for a smaller version of the Caddy engine because several years had elapsed and he always wanted the newest and smartest.
In July 1956 Ed Cole was named general manager of Chevrolet and made a vice president of GM.
It was Ed Cole who insisted Chevrolet’s compact car, the Corvair, have an air-cooled rear-mounted engine. He also launched the car in the knowledge that it was much too easy to roll, siding with the accountants over the engineers.
In November 1961 he was promoted again to the Board and put in charge of the car and truck divisions. Next, in July 1965, he became executive vice president en route to the top job.
In 1970 he instructed GM engineers to lower compression ratios (see main story) and design engines that could run on unleaded petrol. When he retired in 1974 he held 18 patents, the most significant of which was the catalytic converter.
(Story courtesy of Unique Cars Magazine. Ref: www.uniquecarsmag.com.au/news-and-reviews/article/article...)
Vintage French postcard. S.I.P. French stage play Les deux gosses, at the Théâtre de l'Ambigu in Paris. Tableau 7, L'écluse du Pont d'Austerlitz (The Lock of the Pont Austerlitz). Fanfan opens the lock, causing the drowning of The Slug. Originally, the highlight of the play was the drowning of The Slug at the lock, but creating water on stage was considered too difficult for some theatres.
Les deux gosses was a melodramatic tale, published first as novel (1880) by French author Pierre Decourcelle (1856-1926). In 1896 the first stage adaptation of the novel took place at the Théâtre de l’Ambigu in Paris. The characters of the two boys were performed by two young female actresses, with Fanfan played by Mlle. Mélo and Claudinet by Mlle. Reyé. These postcards may depict the same actresses then. Novel and play were extremely popular and led to various film adaptations by Louis Feuillade (1906), Adrien Caillard (1912), Albert Capellani (1914), Louis Mercanton (1924), and Fernand Rivers (1936). In Hollywood Maurice Tourneur adapted the novel for his film Jealous Husbands (1923), while in Mexico it was filmed during WWII as Los dos pilletes (1942) by Alfonso Patiño Gómez, and in Italy Flavio Calzavara used the source for his postwar melodrama I due derelitti (1951).
mémoire2cité - Sols absorbants, formes arrondies et couleurs vives, les aires de jeux standardisées font désormais partie du paysage urbain. Toujours les mêmes toboggans sécurisés, châteaux forts en bois et animaux à ressort. Ces non-lieux qu’on finit par ne plus voir ont une histoire, parallèle à celle des différentes visions portées sur l’enfant et l’éducation. En retournant jouer au xixe siècle, sur les premiers playgrounds des États-Unis, on assiste à la construction d’une nation – et à des jeux de société qui changent notre vision sur les balançoires du capitalisme. Ce texte est paru dans le numéro 4 de la revue Jef Klak « Ch’val de Course », printemps-été 2017. La version ici publiée en ligne est une version légèrement remaniée à l’occasion de sa republication dans le magazine Palais no 27 1, paru en juin 2018. la video içi www.youtube.com/watch?v=Uwj1wh5k5PY The concept for adventure playgrounds originated in postwar Europe, after a playground designer found that children had more fun with the trash and rubble left behind by bombings -inventing their own toys and playing with them- than on the conventional equipment of swings and slides. Narrator John Snagge was a well-known voice talent in the UK, working as a newsreader for BBC Radio - jefklak.org/le-gouvernement-des-playgrounds/ - www.collectorsweekly.com/articles/chasing-the-vanishing-p... or children, playgrounds are where magic happens. And if you count yourself among Baby Boomers or Gen Xers, you probably have fond memories of high steel jungle gyms and even higher metal slides that squeaked and groaned as you slid down them. The cheerful variety of animals and vehicles on springs gave you plenty of rides to choose from, while a spiral slide, often made of striped panels, was a repeated thrill. When you dismounted from a teeter-totter, you had to be careful not to send your partner crashing to the ground or get hit in the head by your own seat. The tougher, faster kids always pushed the brightly colored merry-go-round, trying to make riders as dizzy as possible. In the same way, you’d dare your sibling or best friend to push you even higher on the swing so your toes could touch the sky. The most exciting playgrounds would take the form of a pirate ship, a giant robot, or a space rocket.
“My husband would look at these big metal things and go, ‘Oh my God, those are the Slides of Death!'” - insh.world/history/playground-equipment-of-yesterday-that...
Today, these objects of happy summers past have nearly disappeared, replaced by newer equipment that’s lower to the ground and made of plastic, painted metal, and sometimes rot-resistant woods like cedar or redwood. The transformation began in 1973, when the U.S. Congress established the Consumer Product Safety Commission, which began tracking playground injuries at hospital emergency rooms. The study led to the publication of the first Handbook for Public Playground Safety in 1981, which signaled the beginning of the end for much of the playground equipment in use. (See the latest PPS handbook here.) Then, the American Society for Testing and Materials created a subcommittee of designers and playground-equipment manufacturers to set safety standards for the whole industry. When they published their guidelines in 1993, they suggested most existing playground surfaces, which were usually asphalt, dirt, or grass, needed to be replaced with pits of wood or rubber mulch or sand, prompting many schools and parks to rip their old playgrounds out entirely.
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
That said, removing and replacing playground equipment takes money, so a certain amount of vintage playground equipment survived into the next millennium—but it’s vanishing fast. Fortunately, Brenda Biondo, a freelance journalist turned photographer, felt inspired to document these playscapes before they’ve all been melted down. Her photographs capture the sculptural beauty and creativity of the vintage apparatuses, as well as that feeling of nostalgia you get when you see a piece of your childhood. After a decade of hunting down old playgrounds, Biondo published a coffee-table book, 2014’s Once Upon a Playground: A Celebration of Classic American Playgrounds, 1920-1975, which includes both her photographs of vintage equipment and pages of old playground catalogs that sold it.
Starting this November, Biondo’s playground photos will hit the road as part of a four-year ExhibitsUSA traveling show, which will also include vintage playground postcards and catalog pages from Biondo’s collection. The show will make stops in smaller museums and history centers around the United States, passing through Temple, Texas; Lincoln, Nebraska; Kansas City, Missouri; and Greenville, South Carolina. Biondo talked to us on the phone from her home in small-town Colorado, where she lives with her husband and children.
This 1975 Miracle catalog page reads, "This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast." (Courtesy of Brenda Biondo)This 1975 Miracle catalog page reads, “This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast.” (Courtesy of Brenda Biondo)Collectors Weekly: What inspired you to photograph playgrounds?Biondo: In 2004, I happened to be at my local park with my 1-year-old daughter, who was playing in the sandbox. I had just switched careers, from freelance journalism to photography, and I was looking for a starter project. I looked around the playground and thought, “Where is all the equipment that I remember growing up on?” They had new plastic contraptions, but nothing like the big metal slides I grew up with. After that, I started driving around to other playgrounds to see if any of this old equipment still existed. I found very little of it and realized it was disappearing quickly. That got to me.I felt like somebody should be documenting this equipment, because it was such a big part—and a very good part—of so many people’s childhoods. I couldn’t find anybody else who was documenting it, and I didn’t see any evidence that the Smithsonian was collecting it. As far as I could tell, it was just getting ripped up and sent to the scrap heap. At first, I started traveling around Colorado where I live, visiting playgrounds. Eventually, I took longer trips around the Southwest, and then I started looking for playgrounds whenever I was in any other parts of the country, like around California and the East Coast. It was a long-term project—shot over the course of a decade. And every year that I was shooting, it got harder and harder to find those pieces of old equipment.
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
Collectors Weekly: How did you find them?
Biondo: I would just drive around. I started hunting down local elementary schools and main-street playgrounds as well as neighborhood playgrounds. If I had a weekend, I would say, “OK, I’m going to drive from my home three hours east to the Kansas border, stay overnight and drive back.” Along the way, I would stop at every little town that I’d pass. They usually had one tiny main-street playground and one elementary school. I never knew what I was going to find. In a poorer area, a town often doesn’t have much money to replace playground equipment, whereas more affluent areas usually have updated their playgrounds by now. It was a bit of a crap shoot. Sometimes, I’d drive for hours and not really find anything—or I’d find one old playground after the other, because I happened to be in an area where equipment hadn’t been replaced.
I couldn’t get to every state, so I had to shoot where I was. I think there certainly are still old playgrounds out there, especially in small towns. But there’s fewer and fewer of them every year. My book has something like 170 photographs. I would guess that half the equipment pictured is already gone. Sometimes, I’d go back to a playground with a nice piece of equipment a year later to reshoot it, maybe in different lighting or a different season, and so often it had been removed. That pressured me to get out as often as I could because if I waited a few weeks, that piece might not be there anymore.
A 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
a 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
Collectors Weekly: What did you learn about playground history?
Biondo: I didn’t know American playgrounds started as part of the social reform or progressive movement of the early 1900s. Reformers hoped to keep poor inner-city immigrant kids safe and out of trouble. Back then, city children were playing in the streets with nothing to do, and when cars became more popular, kids started to get hit by motorists. Child activists started building playgrounds in big cities like Boston, Chicago, and New York as a way to help and protect these kids. These reformers felt they could build model citizens by teaching cooperation and manners through playgrounds. These early main-street parks would also have playground leaders who orchestrated activities such as games and songs.
“I started driving to playgrounds to see if any old equipment still existed. I found very little of it and realized it was disappearing quickly.”
In the late 1800s, Germans developed what they called “sand gardens,” which are just piles of sand where kids can come dig and build things. There were few of those in the United States as well. But by the early 1900s, the emphasis of playgrounds was on the apparatuses, things kids could climb on or swing on.
Soon after I started researching playground history, I happened to stumble on an eBay auction for a 1926 catalog that the playground manufacturers used to send to schools. At that point, I wasn’t thinking of doing a book, but I thought I could do something with it. I won the catalog; I paid, like, $12 for it. And it was so interesting because I could see this vintage equipment when it was brand new and considered modern and advanced. The manufacturers boasted about how safe it was and how it was good for building both muscles and imaginations.
After that, I would always search on eBay for playground catalogs, and I ended up with about three dozen catalogs from different manufacturers. My oldest is 1916, and my newest is from 1975. So I would take a photograph of some type of merry-go-round, and then I might find that same merry-go-round in a 1930 catalog. Often in the book, I pair my picture with the page from the catalog showing when it was first manufactured. I discovered a couple dozen manufacturers, which tended to be located in the bigger industrial areas with steel manufacturing, like Trenton, New Jersey, and Kokomo and Litchfield, Indiana. Pueblo, Colorado, even had a playground manufacturer. Burke and GameTime were big 20th century companies, and actually are among few still in existence.
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
Collectors Weekly: I recently came across an old metal slide whose steps had the name of the manufacturer, American, forged in openwork letters.
Biondo: I love those. One of the last pages in the book shows treads from six different slides, and they each had the name of their manufacturer in them, including Porter, American, and Burke. One time when I was traveling, I did a quick side trip to a small town with an elementary school. In the parking lot was this old metal slide with the American step treads, lying on its side. You could tell it had just been ripped off out of the concrete, which was still attached to the bottom, and was waiting for the steel recyclers to come and take it away.
I thought, “Oh my gosh, just put it on eBay! Somebody is going to want that. Don’t melt it down.” But nobody thinks about this stuff getting thrown away when it should be preserved. If you go on eBay, you can find a lot of those small animals on springs that little kids ride, because they’re small enough to be shipped. Once I saw someone selling one of those huge rocket ships, which had been dismantled, on eBay, but I don’t know if anybody ever bid on it. It’s rare to see the big stuff, because it is so expensive to ship. It’s like, “What kind of truck do you need to haul this thing away?” I don’t know of anyone who’s collecting those pieces, but I hope somebody is.
A metal slide in Victor, Colorado, had step treads with the name "American" in them. Photographed in 2008. (Photo by Brenda Biondo)
A metal slide in Victor, Colorado, had step treads with the name “American” in them. Photographed in 2008. (Photo by Brenda Biondo)
Collectors Weekly: It seems like an opportunity for both starting a collection or repurposing the material.
Biondo: I photographed many of the apparatuses as if they were sculptures because they have really cool designs and colors. Even when they’re worn down, the exposed layers of paint can be beautiful. Hardly anybody stops to look at it that way. People drive by and think, “Oh, there’s an old, rusty, rundown playground.” But if you take the time to look closely at this stuff, it’s really interesting. Just by looking at these pieces, you can picture all the kids who played on them.
Collectors Weekly: Aren’t people nostalgic for their childhood playgrounds?
Biondo: While I was taking the pictures, I visited Boulder, Colorado, which is a very affluent community. I was sure there would be no old playground equipment there. When I was driving around, all of a sudden, I looked over and saw this huge rocket ship. It turns out that one of the original NASA astronauts, Scott Carpenter, grew up in Boulder, and this playground was built in the ’60s to honor their hometown boy. Because of that, the citizens of Boulder never wanted to take down the rocket ship. One of the first exhibitions of this photography project happened in Boulder, and at the opening, I sold four prints of that rocket ship. People would come up to me at the exhibition, and they’d go, “Oh my gosh, I grew up playing on this when I was a little kid! Now, my kids are playing on it, and I’m so excited that I can get a picture of it and hang it in their bedroom.” So people have a strong nostalgic attachment to this equipment. It’s sad that most of it’s not going to be around for much longer.
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship play set seen at the top of this story. (Courtesy of Brenda Biondo)
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship playset seen at the top of this story. (Courtesy of Brenda Biondo)
Collectors Weekly: Besides slides and animals on springs, what were some other pieces that were common in older playgrounds?
Biondo: I didn’t come across as many old swings as I expected. I thought they would be all over the place, but I guess they’re gone now because they were so easy to replace. I tended to find merry-go-rounds more frequently—you know, the one where you’d run around pushing them and then jump on. When my kids were younger, they’d go out playground hunting with me, and the merry-go-rounds were their favorite things. They’re just so fun. The other thing you don’t find often is the seesaw or teeter-totter, and that was my favorite.The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado's R.F. Lamar and Co. (Photo by Brenda Biondo)
The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado’s R.F. Lamar and Co. (Photo by Brenda Biondo)
Before I started this project, I didn’t know there was such a variety of equipment. I figured I’d see seesaws, swings, slides, and merry-go-rounds. But I had no idea there were such things as revolving swings, which would be attached to a spinning pole via outstretched metal arms. Many mid-century pieces had themes from pop culture like “The Wizard of Oz,” “Cinderella,” “Denis the Menace,” cowboys and Indians, and Saturday-morning cartoons. During the Space Age, you started to see pieces of equipment shaped like rocket ships and satellites, because in the ’60s, Americans were so excited about space exploration. What was going on in the broader culture often got reflected in playground equipment.
Pursuing the catalogs was eye-opening. I live about an hour and a half south of Denver, so I often looked for playgrounds around the city. There, I’d find these contraptions where were shaped like umbrella skeletons, but then they had these rings hanging off the spindles. I’ve never seen them outside of Colorado. Then I bought a 1930s catalog from the manufacturer in Pueblo, Colorado, which is only 45 minutes from me, and it featured this apparatus. Later, I met people in Denver who’d say, “Oh, yeah, I remember that thing as a kid. It’s kind of like monkey bars where you had to try and get from ring to ring swinging and hanging by your arms.” There was so much variety, and even so many variations on the basics.I have a cool catalog from 1926 from the manufacturer Mitchell, which doesn’t exist anymore. I looked at one of the contraptions they advertised and I was like, “Oh my God, this looks like a torture device!” It was their own proprietary apparatus and maybe it didn’t prove to be very popular. I had never seen something like that on a playground. There probably weren’t very many of them installed.
This strange Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Brenda Biondo says she's never found one in the wild. (Courtesy of Brenda Biondo)
This Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Biondo’s never found one in the wild. (Courtesy of Brenda Biondo)
Collectors Weekly: After a while, were you able to date pieces just by looking at them?
Biondo: From looking at the catalogs, I certainly got a better idea of when things were built. But there were a handful things I couldn’t find in the catalogs. You can guess the age by knowing the design, as well as by looking at the amount of wear and the height of the piece. Usually, the taller it was, the older it was. One of the oldest slides I photographed was probably from the ’30s. I climbed to the top to shoot it as if the viewer were going to go down the slide. Up there, the place where you’d sit before sliding had been used for so many years by so many kids that I could see an outline of all the butts worn into the metal. You can imagine all the children who must have gone down that slide to wear the metal down like that.
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
Collectors Weekly: How did Modernism influence playground design?
Biondo: In 1953, the Museum of Modern Art in New York held a competition for playground design. Modern Art was just getting popular, and the idea of incorporating the theories of Modernist design into utilitarian objects was in the air, and was translated into playgrounds for several years. I have a 1967 catalog that features very abstract playground equipment made from sinuous blobs of poured concrete. And you’ve probably seen some of it, but there’s not too much of that around. That’s another example of how broader cultural trends were reflected in playgrounds.
When most people think of playgrounds, they say, “Oh, that’s a kiddie subject. There’s not much to it.” But when you start looking into them, you realize playgrounds are a fascinating piece of American culture—they go back a hundred years and played a part in most Americans’ lives. These playground pieces are icons of our childhood.
Collectors Weekly:What was the impact of the Consumer Product Safety Commission, which launched in 1973?
Biondo: Things started to change after that, which is why I limited to book to apparatuses made before 1975. New playgrounds were starting to be build out of plastic and fiberglass. I looked up the statistics, and according to the little research I’ve done—contrary to what you’d expect—there’s not much difference in the number of injuries on older equipment versus injuries on equipment today. A “New York Times” article from 2011 called “Can a Playground Be Too Safe?” explains that studies show when playground equipment was really high and just had asphalt underneath it and not seven layers of mulch, thekids knew they had to be careful because they didn’t want to fall. Nowadays, when everything is lower and there’s so much mulch, kids are just used to jumping down and falling and catching themselves. So kids learned to assess risk by playing on the older equipment. They also learned to challenge themselves because it is a little scary to go up to the top of the thing.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
At my local park where you have new equipment, the monkey bars aren’t that high and there’s mulch below it, but a child fell and broke their arm last year. When I was talking to the principal at the school where they had just torn out that old American slide, I asked her, “Why did you replace the equipment?” She said, “We felt the parents in the community were expecting to have a little bit newer and nicer equipment. And this stuff had been here for so long.” And I said, “Have you seen a difference in injury rates since you put up your newer equipment?” She replied, “I’ve been a principal here several years, and we never had a serious broken-bone injury on the playground until four months ago on the new equipment.”
There were some nasty accidents in the ‘60s and ’70s, where kids got their arms or their heads caught in the contraptions. Those issues definitely needed to be assessed. What’s interesting is the Consumer Product Safety Commission never issued requirements, just suggested guidelines. But manufacturers felt that if their equipment didn’t meet those guidelines, they’d be vulnerable to liability. Everybody went to the extreme, making everything super safe so they wouldn’t risk getting sued.A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
In the last decade, people have been looking at playground-equipment design and trying to make it more challenging and more encouraging of imaginative play, but without making it more likely someone’s going to get injured. And adults, I think, are realizing kids are spending more time indoors on devices so they want to do everything they can to encourage kids to still get outside, run around, and climb on things.
Collectors Weekly: You don’t need a playground to hurt yourself. When I was a kid, I fell off a farm post and broke my arm.Biondo: Oh, yeah, kids have been falling out trees forever—they always want to climb stuff. Playground politics are always evolving. Even in the 1920s, the catalogs talked about how safe their equipment was, and they were selling these 30-foot slides. Sometimes, I’d be out with my family on a vacation, and we’d make a little side tour to look for an old playground to shoot. My husband would look at these big metal things and go, “Oh my God, those are the Slides of Death!” because they were so huge and rickety. But back then, these were very safe pieces of equipment compared to what kids had been playing on before.
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
Collectors Weekly: Growing up in the 1980s, I always hated the new fiberglass slides because I’d end up with all these tiny glass shards in my butt.
Biondo: Yeah, I remember that, too. It’s always something. It is fun to talk to people about playgrounds because it reminds them of all the fun stuff they did as kids. When people see pictures of these metal slides, they tell me, “Oh my gosh, I remember getting such a bad burn from a metal slide one summer!” The metal would get so hot in the sun, and kids would take pieces of wax paper with them to sit on so they’d go flying down the slide. I have some old postcards that show playgrounds from the early ’20s. The wood seesaws not only were huge, but they had no handles so you had hold on to the sides of the board where you sat. I’m looking at that like, “Oh my God!” It’s all relative.
playground_postcard_milwaukee
Kids ride the rocking-boat seesaw at a Milwaukee, Wisconsin, park in this postcard postmarked 1910.
(To see more of Brenda Biondo’s playground photos and vintage catalog pages, pick up a copy of her book, “Once Upon a Playground: A Celebration of Classic American Playground, 1920-1975.” To find an exhibition of Biondo’s playground project, or to bring it to your town, visit the ExhibitsUSA page. To learn more about creative mid-century playgrounds around the globe, also pick up, “The Playground Project” by Xavier Salle and Vincent Romagny.) insh.world/history/playground-equipment-of-yesterday-that...
The Duchess copper deposit was discovered by Jack Kennedy, the son of pioneer pastoralist Alexander Kennedy, in 1897. In 1906 the Hampden-Cloncurry Copper Mines Ltd acquired it and it became the richest producer in the region. By 1912, Hampden-Cloncurry had also gained control of the rich Trekelano copper mine to the south of the smaller Mount Mascotte mines to the north. The ore was railed to Kuridala for processing. However, in 1918 continuing labour shortages, breakdowns, exhaustion of the high-grade oxidised ore, and the drastic postwar drop in copper prices forced the closure of most of the company’s mines including Duchess. At the time, the Duchess copper mine boasted a 100 ton capacity bin. This elaborate structure was the wonder of northwest Queensland at the time and it enabled a full train to be loaded in a relatively short time. Mining activities in the region then almost ceased. The Duchess mine had produced 204 865 t of ore that yielded 25 155t of copper, 76kg of gold and 62kg of silver.
The Duchess orebody occurred in a steep west-dipping shear zone that cuts granite and dolerite, which are probably the same age as the Burstall Granite, and mica schist and calc-silicate rocks of the Corella Formation. The lode in the upper levels of the mine consisted of bornite and subordinate chalcocite, malachite, and cuptire in calcite, but at deeper levels chalcopyrite with quartz was dominant. The mine was worked to a depth of 259m. Today only concrete footings of the machinery remain, apart from a small pit and trenches excavated by more recent exploration. Malachite forming veins and fracture coatings in quartz, and some pyrite can be found on the site. Numerous smaller copper mines occur in the vicinity of Duchess but most are very small.
The Duchess railway opened on the 21st of October 1912 as a temporary terminus for the Great Western Railway construction project. The Hampden Co pressured for the early completion of the line to Duchess to reach its copper mine situated near the station. Ore was forwarded on the 10th of June 1912 as soon as the rails reached Duchess, several months before all the bridging and ballasting was completely finished, such was the urgency.
When the railway arrived in 1912 a small town sprung up on both sides of the station. Amenity comprised a hotel, store, butcher, school, police station, and a post office. There was a local activity as shown by passenger traffic levels at around 4000 annual journeys. Distant travellers were catered for by the connecting road coach services. A weekly coach ran from here to Camooweal via Colton Hills (320km), taking in mines and pastoral stations on the way. The service departed Duchess on Thursday at 0800am and arrived at Camooweal by 1800pm. Another coach service ran to Trekelano mine twice a week on a day return.
At first there was no water infrastructure required here, locos apparently running to and from Duchess ex Malbon without filing tender tanks. However when the Trekelano tramway opened in 1917 the locos were required to haul a water gin owing to the extra distance involved. In 1918 the manager of the Duchess mine offered Queensland Rail (QR) access to a mine well and this was availed of. QR erected a 30 000 gallon tank for loco water. After the mines closed QR was able to tape the shafts of several mines in turn to maintain supply, which water was suitable after softening.
Rail passenger figures remained firm for a few years by dipped after 1921 and settled at around 1200 annually until the late 1950s when they increased to the mid-1960s, probably due to workers from the Mount Isa Line rehabilitation project. A sharp decline then ensued, and numbers dwindled to a couple of hundreds per year.
The downturn in smelting saw Duchess ore loadings terminate abruptly at the end of 1920. The Hampden Co closed the Duchess mine in 1921 and the site was not revived until 1926 when the dumps were able to be sold for smelting. QR repaired the long unsued siding to allow safe access and over the next 18 months the dumps were completely removed. The Hampden Co has no further use for the mine (its workings completely flooded by then) and none for the rail connection so it sold the siding to QR in 1928. The mine plant and the rail weighbridge were removed at the same time. Penny packets of ore continued to be sent away throughout the 1930s by district gougers and tributers, presumably loaded at the mine siding.
The copper ore and limestone traffic revived in the earnest for Mount Isa Mines from the late 1940s and a few thousand tons annually were loaded at Duchess for a while and again in the mid-1960s at around 10 000 annual tons. No copper ore or limestone was loaded after 1970. The largest single burst ore traffic came from the Phosphate Hill mine in 1975 and 1976 when phosphatic rock to the order of 176 000 tons was road trucked to rail at Duchess pending completion of the Flynn to Phosphate Hill railway and associated loaders at the mine.
The station lost its status as a terminus when the line was continued to Butru in 1915 but the place came into its own when the Mount Isa mining filed was discovered and subsequently developed. Traffic for Mount Isa went through Duchess as it was the closest railhead. The railway extension to Mount Isa officially opened on the 17th of May 1929 and Duchess became the junction to Dajarra and Mount Isa from this time. The yard was expanded, and a full suite of signals was installed. The station was protected from three directions (Mount Isa, Dajarra, and Cloncurry) by distant and home signals all worked from a six lever frame near the station office.
Some sidings were re-arranged to a new layout. The goods shed road was lifted at one end and relaid around the Mount Isa curve where a new loading bank was installed. The passing loop was extended at the Dajarra end to run beyond the Mount Isa turn out. A refreshment room was established in 1929 when the new line opened and it catered for passengers on the Mail plus the mixed trains and those transferring to and from the Dajarra service. The rooms remained in business until 1938 and benefited from the Dajarra service being worked from Mount Isa for a period in the 1930s.
Additional staff and their accommodations were placed at Duchess from 1929, including track gangs and train crews. The train crews were necessary to do away with the need for Cloncurry crews to run the full distance to Mount Isa on overnight rest.
The mine siding remained in place until around 1950 when it was lifted and an alternative ore loading ramp provided between the legs of the angle that was served by a new length of siding. The rehabilitation project of 1961 – 1962 saw the crossing loop extended at the Cloncurry end and the Up home signal moved further out.
The place generated enough traffic to justify the appointment of a station master, particularly when the copper boom lasted. However, when ore traffic ceased in 1921 the place was immediately downgraded to a gate. Developments from Mount Isa from 1924 onwards saw the station master position returned in 1928 when construction of the extension was underway and Duchess becoming a junction station. Fettling gangs were placed at Duchess to maintain the track in three directions.
The station master position lasted until 1972 when replaced by Porter-in-Charge under gate conditions but the building and opening of the Phosphate Hill branch and a rise in ore traffic caused the position to be reinstated in 1975. Changed in train running and safe working led to the final demise of the station master office in 1988 and the place was unattended from the 30th of September that year. The introduction of mechanised gangs from 1966 led to the gradual attrition of the fettling gangs and track inspectors and from a high point of 20 or so staff and a dozen departmental residences the Duchess staffing establishment dwindled to nothing by the late 1990s.
In 1988 Train Order Working was implemented here and yard rationalisation was initiated in instalments from this time through to 2004. Removed during this phase were the goods shed, water softener, ore loading siding, goods shed sign and loading bank, the western leg of the angle and, a little later, the eastern leg plus the Dajarra line stub and loop continuation at that end of the yard. The loco water tank was retained as the basis for the town water supply after being lifted from its stand and mountain at ground level. The wooden station office (a 1949 replacement to the original which was destroyed by fire) was demolished in 2006. Its substitute is a new high level, short length, passenger platform and rudimentary shelter.
The Duchess township slowly diminished in concert with the railway attrition and by 2007 was down to a few houses, the hotel, and the corrugated iron public hall (with children’s playground intact). The opening of the Trekelano mine and associated camp 14km out of town in 2005, with the access road junctioning at Duchess, gave the hotel a welcome injection of custom.
Source: Rocks and Landscapes of Northwest Queensland by Laurie Hutton and Ian Withnall, Copper in the Curry by Norman Houghton.
2014 picture of Mario Asnago and Claudio Vender's 1958 housing ensemble at Via Albricci in Milano. The ensemble is one of Asnago and Venders most important works which showcased all of their facade composition skills with their -trademark- mix of variation and regularity. The stone cladding and the very carefully detailled windows make this an outstanding building evn in the very high level of milano's postwar architecture scene.
Somos Bokeh Photography n Design, expertos en Fotografía y Diseño: Fotoestudios, Reportajes Fotográficos, Fotografía Publicitaria, Diseño de Publicidad
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Cel 3205144403
Cali -Colombia
In the postwar years, Fiat was working on an eight-cylinder engine which was internally known as Tipo 106. Dante Giacosa originally designed the engine for a luxury sedan, but then that project stopped. Rudolf Hruska, at the time working at S.I.A.T.A., was given the task to design a car around the V8 engine. Development took place in absolute secrecy. To not stress the experimental department of Fiat, S.I.A.T.A took up the production of the chassis. Styled by chief designer Fabio Luigi Rapi, the Fiat 8V or OttoVù was presented to the Italian press in February 1952 and first exhibited in the following March at the Geneva Motor Show.
The Fiat 8V prototype used an art deco grill that extended into the hood. A second series was made featuring four headlights with some of the later cars have a full-width windscreen. A high-performance coupé destined to compete in the GT class, the 2-litre 8V model, was a departure from the usual Fiat production. It was well accepted by Italian private drivers and tuners and was the car to beat in the 2-litre class, also thanks to the unique versions built by Zagato or Siata. The Fiat V8 had a 70-degree V configuration of up to a 1996 cc of volume, at 5600 rpm the engine produced 105 hp (78 kW) in standard form with two two-barrel Weber 36 DCS carburettors giving a top speed of 190 km/h (118 mph). Some engines were fitted with substantial four-throat Weber 36 IF4/C carburettors offering 120 bhp, but the intake manifold was very rare. The Fiat 8V is the only eight-cylinder built by Fiat. The engine was connected to a four-speed gearbox. The shapes of the car have seen several changes over time: the prototype had an art deco grille that extended into the bonnet. A second series was made with four headlights; finally, some of the latest cars had a large windshield without divisions. Only 114 of this high-performance coupé were produced, 63 of which with a “Fiat Carrozzerie Speciali” body, 34 first-series and 29 second-series. It was made available in different body styles, offered by the factory and by various coachbuilders like Zagato, Pinin Farina, Ghia and Vignale. The production ceased in 1954.
Text from:
www.carrozzieri-italiani.com/listing/fiat-8v-carrozzerie-...
Postwar Sports-/Racing-cars
Concours d'Elégance Paleis Het Loo 2016
Apeldoorn
Nederland - Netherlands
July 2016
The range of the B-29 Superfortress immediately interested Boeing in developing a passenger version for postwar use; this would make transatlantic and Hawaii flying routes economical for the first time. Since the standard B-29 fuselage would be inadequate for passengers, Boeing designers added a larger-diameter fuselage atop the old B-29 fuselage, resulting in a “double-bubble” appearance. The tail and engines of the B-50 advanced version of the Superfortress were adapted to what would become the Model 377 Stratocruiser. While only 55 Model 377s entered airline service, quickly eclipsed by the jet age, they were considered luxurious for their time, with the lower deck being used for airborne lounges or sleeping compartments, all in pressurized comfort—a first for the airline industry.
The USAF developed the C-97 Stratofrieghter version of the Model 377 at the same time, which differed from the airliner version by being used for cargo missions, with undernose weather radar and clamshell doors in the rear fuselage. The C-97 arrived just too late for the Berlin Airlift, but was used extensively in Korea. Like the Stratocruiser, only 60 dedicated C-97 transports were built: by the time the aircraft reached the USAF in numbers, the Lockheed C-130 Hercules was already in development.
Where the Stratofreighter would truly shine was as an airborne tanker: over 800 KC-97s would be built as the first purpose-built airborne tankers in the world. The clamshell doors were deleted, though cargo capacity was retained on the upper deck, giving the KC-97 a dual role. Fuel tanks were added to the lower deck, along with a station for the Boeing flying boom attached to the rear fuselage. The aircraft had to have separate fuel systems, as the KC-97 used piston engines and the jets it refueled would need a different type. The use of piston engines was to prove problematic for the KC-97 as well: by the time it entered service in 1950, it was far slower than the jets it would need to refuel. The complicated Wasp Major engines were also difficult to maintain, notorious for spraying oil at startup, and prone to catastrophic fires. At least two KC-97s were lost to engine explosions, something that had plagued the Model 377 as well. As the B-50 was retired in the early 1960s, J47 jet engines were removed and attached to Stratofreighters as the KC-97L variant.
The KC-97 could still be called a success, despite all of its problems and the fact that technology threatened to render it obsolete as soon as it entered service. Replaced in frontline service by the KC-135 Stratotanker, the KC-97 was relegated to Air Reserve and Air National Guard units in the mid-1960s, where it freed up KC-135s for service in Vietnam. Even with jet augmentation, the KC-97 was clearly obsolete by the 1970s, but a few KC-97Ls soldiered on until 1978, when it was finally withdrawn from service. A few briefly served with the Spanish Air Force during the 1970s, while Israel modified theirs to essentially KC-97 standard and utilized them in the Yom Kippur War of 1973. At least 26 KC-97s still exist in museums, and two are known to be airworthy.
This KC-97G is 52-0283, which entered service with the 70th Strategic Reconnaissance Wing at Little Rock AFB, Arkansas in 1955. It was retired in 1965, only to be reactivated from storage in 1970 and put back into service with the 106th Air Refuelling Group (Arizona ANG) at Tucson; it was also converted to a KC-97L with the addition of jets. It was retired for good in the late 1970s, and put on display at Carswell AFB, Texas (now JRB Fort Worth; the jets were removed to return it to a KC-97G). The years were not kind to 52-0283, and the USAF may have been preparing to scrap it when it was spotted by a Colorado Springs restauranteur. Several KC-97s had been turned into restaurants over the years, and this gentleman wanted to do the same.
52-0283 was bought in 2001, disassembled, and shipped to Colorado Springs, where it was reassembled. The restaurant was built around the left wing, which was left intact; the interior was refurbished into part of the restaurant, though the cockpit and boom operator station was left intact. (The boom has been removed.) It is now the only known KC-97 to be used as a restaurant in the world--another example in Oregon closed down, though the aircraft was later restored and is on display in Minneapolis.
I always wanted to see the legendary "Airplane Restaurant" (which is the actual name of the place), and finally got a chance in August 2020. Though it was open for dining in, my friend and I were in a hurry to get to Denver, so I only had time to get a quick picture, against a rather stormy sky at Colorado Springs (we hit that storm about 30 minutes later). 52-0283 is in good shape, though the markings have faded a bit; it still wears the colors of the 136th ARW (Texas ANG) that it was painted with at Carswell, though it doesn't appear to have ever flown with that unit.
EDIT: In May 2021, I finally got to eat here, in the KC-97! Pay it a visit--you won't regret it.
Postwar Ensign Ful-Vue Mk 2 (1950-54) Very similar to the Mk 1 but having a flash socket, different shutter (but same basic time or instant settings) and a now twisting lens focus system. 120 film.
The Ferret Armoured Car was developed in 1949 as a result of a British Army requirement issued in 1947, ''Light Reconnaissance Cars'' existed during World War Two, notably the Daimler Dingo given Daimler's experience with the successful Dingo (6,626 produced and one of two British Armoured Fighting Vehicles produced throughout World War Two) Daimler was awarded a development contract in October 1948, and in June 1950 the first prototype of the Car, Scout, 4x4, Liaison (Ferret) Mk.1 was delivered. The Ferret Armoured Car, more commonly known as the ''Ferret Scout Car'' was a British Armoured Fighting Vehicle designed and built for Reconnaissance Purposes. The Ferret was produced between 1952 and 1971 by the UK company Daimler. It was widely used by British Army Regiments, as well as the RAF Regiment and Commonwealth countries throughout the period.
Designated the FV701(C), it was one of several versions resembling the original Daimler Scout Cars, and represented the basic model Ferret. This shared many similar design features with the Dingo, notably the H form drive train in which a central differential eliminates loss of traction due to wheel-slip, and parallel drive shafts considerably reduced the height of the vehicle (roughly equivalent to that of a tracked AFV) compared to conventional Armoured Car designs. Like the Daimler Scout Car, the Ferret's suspension consisted of pairs of transverse links and single coil springs, the wheels driven by Tracta constant-velocity joints, but the Ferret benefited from epicyclic reduction gears reducing transmission torque loads, essential with the six cylinder 4.26 litre water-cooled Rolls Royce B.60 petrol engine. Connected by a fluid coupling to a pre-selector five speed epicyclic gearbox, all gears available in reverse, in its original form, the Ferret produced 116bhp at 3,300rpm and 129bhp at 3,750rpm in its final form.
This improved power-to-weight ratio, longer 7ft 6in wheelbase compared with the Dingo's 6ft 6in and the fitting of larger 9.00x16 run flat tyres increased speed and mobility over broken ground. Compared with the Daimler Dingo and Canadian Ford Lynx, the Ferret featured a larger cabin, directly mounted to the hull (the Ferret is much noisier than Dingo, lacking a monocoque body). 0.24in to 0.63in steel plate protects the Crew from shell splinters at most angles except directly overhead because the basic vehicle was open-topped and unarmed, with the exception of six Forward-Firing Grenade Launchers fitted to the hull over the front wheels (normally carrying Smoke Grenades) a feature found on all subsequent marks and models. However, the Ferret normally carried a .303in Bren Light Machine Gun or a pintle-mounted .30in Browning Light Machine Gun in addition to the Crew's Personal Weapons.
Ferret Mk.2:-
Compared to the lightly armed and protected Mk.1, the Mk.2 was designed from the outset to mount a .30in Browning Machine Gun in a one-person traversable turret, at the cost of one Crew member. While this offered better Crew protection and protected the exposed Gunner, the turret raised the height of the vehicle. In general terms, the most successful Wheeled Armoured Vehicles are purpose-designed. The lightest, commensurate with their mission, at the least disadvantage in relation to Tracked Vehicles in terms of ground pressure.
Small, light and fast enough to be useful in an urban environment, but sufficiently strong and agile to negotiate rugged terrain off-road, the Ferret, while no longer in service in the British Army, is still operated by several Commonwealth countries and proves popular with private collectors due to the compact size and affordable price, e.g. between £6,000 to £15,000 in the United Kingdom, depending on age and model. Mk.1 and Mk.2 Ferret's were used by Australian Military 1953 to 1970, at which time Australian Military Forces disposed of them at public auction. According to the U.S Military, 20 National Armies were operating the Ferret in 1996. A total of 4,409 Ferrets, including 16 sub-models under various Mark numbers, were manufactured between 1952 and 1962, when production ceased. It is possible to upgrade the engine using the more powerful FB60 version from the Austin Princess 4-Litre-R, this upgrade providing a 55bhp gain over the standard B60 engine.
General characteristics:-
▪︎Type: Wheeled Armoured Fighting Vehicle / Reconnaissance Vehicle
▪︎Place of Origin: United Kingdom
▪︎In Service: 1952 to 1991 (UK)
▪︎Conflicts: Malayan Emergency / Algerian War / Aden Emergency / Biafra War / Black September / The Troubles / Dhofar Rebellion / Portuguese Colonial War / Lebanese Civil War / Rhodesian Bush War / Somali Civil War / South African Border War / First Sudanese Civil War / Second Sudanese Civil War / Suez Crisis / Sri Lankan Civil War / Ugandan Bush War / Internal ▪︎Conflict in Myanmar / Iran–Iraq War / Invasion of Kuwait / Syrian Civil War
▪︎Number Built: 4,409 (for UK and export)
Manufactured: 1952 to 1962
▪︎Mass: 3.7 ton
▪︎Length: 12ft 2in / Width: 6ft 3in / Height: 6ft 2in
▪︎Crew: 2 (Commander and Driver / Radio Operator)
▪︎Main Armament: 7.62×51mm NATO General Purpose Machine Gun if fitted / .30in M1919 Browning Machine Gun
▪︎Powerplant: Rolls Royce B60 Inlet over Exhaust I6 petrol engine, 130hp
▪︎Power / Weight: 35.1hp / tonne
▪︎Suspension: 4×4 wheel
▪︎Operational Range: 190 miles
▪︎Maximum Speed: 58mph.
Sourced from en.m.wikipedia.org/wiki/Ferret_armoured_car
The Duchess copper deposit was discovered by Jack Kennedy, the son of pioneer pastoralist Alexander Kennedy, in 1897. In 1906 the Hampden-Cloncurry Copper Mines Ltd acquired it and it became the richest producer in the region. By 1912, Hampden-Cloncurry had also gained control of the rich Trekelano copper mine to the south of the smaller Mount Mascotte mines to the north. The ore was railed to Kuridala for processing. However, in 1918 continuing labour shortages, breakdowns, exhaustion of the high-grade oxidised ore, and the drastic postwar drop in copper prices forced the closure of most of the company’s mines including Duchess. At the time, the Duchess copper mine boasted a 100 ton capacity bin. This elaborate structure was the wonder of northwest Queensland at the time and it enabled a full train to be loaded in a relatively short time. Mining activities in the region then almost ceased. The Duchess mine had produced 204 865 t of ore that yielded 25 155t of copper, 76kg of gold and 62kg of silver.
The Duchess orebody occurred in a steep west-dipping shear zone that cuts granite and dolerite, which are probably the same age as the Burstall Granite, and mica schist and calc-silicate rocks of the Corella Formation. The lode in the upper levels of the mine consisted of bornite and subordinate chalcocite, malachite, and cuptire in calcite, but at deeper levels chalcopyrite with quartz was dominant. The mine was worked to a depth of 259m. Today only concrete footings of the machinery remain, apart from a small pit and trenches excavated by more recent exploration. Malachite forming veins and fracture coatings in quartz, and some pyrite can be found on the site. Numerous smaller copper mines occur in the vicinity of Duchess but most are very small.
The Duchess railway opened on the 21st of October 1912 as a temporary terminus for the Great Western Railway construction project. The Hampden Co pressured for the early completion of the line to Duchess to reach its copper mine situated near the station. Ore was forwarded on the 10th of June 1912 as soon as the rails reached Duchess, several months before all the bridging and ballasting was completely finished, such was the urgency.
When the railway arrived in 1912 a small town sprung up on both sides of the station. Amenity comprised a hotel, store, butcher, school, police station, and a post office. There was a local activity as shown by passenger traffic levels at around 4000 annual journeys. Distant travellers were catered for by the connecting road coach services. A weekly coach ran from here to Camooweal via Colton Hills (320km), taking in mines and pastoral stations on the way. The service departed Duchess on Thursday at 0800am and arrived at Camooweal by 1800pm. Another coach service ran to Trekelano mine twice a week on a day return.
At first there was no water infrastructure required here, locos apparently running to and from Duchess ex Malbon without filing tender tanks. However when the Trekelano tramway opened in 1917 the locos were required to haul a water gin owing to the extra distance involved. In 1918 the manager of the Duchess mine offered Queensland Rail (QR) access to a mine well and this was availed of. QR erected a 30 000 gallon tank for loco water. After the mines closed QR was able to tape the shafts of several mines in turn to maintain supply, which water was suitable after softening.
Rail passenger figures remained firm for a few years by dipped after 1921 and settled at around 1200 annually until the late 1950s when they increased to the mid-1960s, probably due to workers from the Mount Isa Line rehabilitation project. A sharp decline then ensued, and numbers dwindled to a couple of hundreds per year.
The downturn in smelting saw Duchess ore loadings terminate abruptly at the end of 1920. The Hampden Co closed the Duchess mine in 1921 and the site was not revived until 1926 when the dumps were able to be sold for smelting. QR repaired the long unsued siding to allow safe access and over the next 18 months the dumps were completely removed. The Hampden Co has no further use for the mine (its workings completely flooded by then) and none for the rail connection so it sold the siding to QR in 1928. The mine plant and the rail weighbridge were removed at the same time. Penny packets of ore continued to be sent away throughout the 1930s by district gougers and tributers, presumably loaded at the mine siding.
The copper ore and limestone traffic revived in the earnest for Mount Isa Mines from the late 1940s and a few thousand tons annually were loaded at Duchess for a while and again in the mid-1960s at around 10 000 annual tons. No copper ore or limestone was loaded after 1970. The largest single burst ore traffic came from the Phosphate Hill mine in 1975 and 1976 when phosphatic rock to the order of 176 000 tons was road trucked to rail at Duchess pending completion of the Flynn to Phosphate Hill railway and associated loaders at the mine.
The station lost its status as a terminus when the line was continued to Butru in 1915 but the place came into its own when the Mount Isa mining filed was discovered and subsequently developed. Traffic for Mount Isa went through Duchess as it was the closest railhead. The railway extension to Mount Isa officially opened on the 17th of May 1929 and Duchess became the junction to Dajarra and Mount Isa from this time. The yard was expanded, and a full suite of signals was installed. The station was protected from three directions (Mount Isa, Dajarra, and Cloncurry) by distant and home signals all worked from a six lever frame near the station office.
Some sidings were re-arranged to a new layout. The goods shed road was lifted at one end and relaid around the Mount Isa curve where a new loading bank was installed. The passing loop was extended at the Dajarra end to run beyond the Mount Isa turn out. A refreshment room was established in 1929 when the new line opened and it catered for passengers on the Mail plus the mixed trains and those transferring to and from the Dajarra service. The rooms remained in business until 1938 and benefited from the Dajarra service being worked from Mount Isa for a period in the 1930s.
Additional staff and their accommodations were placed at Duchess from 1929, including track gangs and train crews. The train crews were necessary to do away with the need for Cloncurry crews to run the full distance to Mount Isa on overnight rest.
The mine siding remained in place until around 1950 when it was lifted and an alternative ore loading ramp provided between the legs of the angle that was served by a new length of siding. The rehabilitation project of 1961 – 1962 saw the crossing loop extended at the Cloncurry end and the Up home signal moved further out.
The place generated enough traffic to justify the appointment of a station master, particularly when the copper boom lasted. However, when ore traffic ceased in 1921 the place was immediately downgraded to a gate. Developments from Mount Isa from 1924 onwards saw the station master position returned in 1928 when construction of the extension was underway and Duchess becoming a junction station. Fettling gangs were placed at Duchess to maintain the track in three directions.
The station master position lasted until 1972 when replaced by Porter-in-Charge under gate conditions but the building and opening of the Phosphate Hill branch and a rise in ore traffic caused the position to be reinstated in 1975. Changed in train running and safe working led to the final demise of the station master office in 1988 and the place was unattended from the 30th of September that year. The introduction of mechanised gangs from 1966 led to the gradual attrition of the fettling gangs and track inspectors and from a high point of 20 or so staff and a dozen departmental residences the Duchess staffing establishment dwindled to nothing by the late 1990s.
In 1988 Train Order Working was implemented here and yard rationalisation was initiated in instalments from this time through to 2004. Removed during this phase were the goods shed, water softener, ore loading siding, goods shed sign and loading bank, the western leg of the angle and, a little later, the eastern leg plus the Dajarra line stub and loop continuation at that end of the yard. The loco water tank was retained as the basis for the town water supply after being lifted from its stand and mountain at ground level. The wooden station office (a 1949 replacement to the original which was destroyed by fire) was demolished in 2006. Its substitute is a new high level, short length, passenger platform and rudimentary shelter.
The Duchess township slowly diminished in concert with the railway attrition and by 2007 was down to a few houses, the hotel, and the corrugated iron public hall (with children’s playground intact). The opening of the Trekelano mine and associated camp 14km out of town in 2005, with the access road junctioning at Duchess, gave the hotel a welcome injection of custom.
Source: Rocks and Landscapes of Northwest Queensland by Laurie Hutton and Ian Withnall, Copper in the Curry by Norman Houghton.
The Museum of the Dreamers
The Phantastenmuseum is a museum in the Palais Palffy in the 1st district of Vienna Inner City. It shows the evolution of fantastic, surreal and visionary art of the postwar period to the present.
History
Following discussions between the Austrian artist Ernst Fuchs (* 13. Februar 1930 in Wien; † 9. November 2015) and the publisher, organizer and author Gerhard Habarta the idea of a museum of fantastic art in Vienna came to the realization. The "Austrian Cultural Center since 1958" in the Palais Palffy was enthusiastic about the idea, the plans for the new museum were concretised in the year of 2010. In autumn 2010 was started with the adaptation of the premises, which was completed in January 2011. The opening of the museum took place under the patronage of Federal President Heinz Fischer on 15 January 2011.
Premises
For the museum parts of the historical Palais Palffy due to war damage in the 1950s renovated were used.
The foyer was designed by Lehmden student Kurt Welther about The Marriage of Figaro. Here, also a lobby with the ticket office, the information and the museum shop has been set up. In this one gifts like replicas of famous works of art, sculptures, jewelery, catalogs and posters as well as original editions are sold. On the 1st floor is located opposite the Figaro Concert Hall the gallery. It is a 150 m² large space for solo exhibitions. The museum occupies the entire top floor and consists of designed spaces. In addition to works from its own collection and permanent loans, documents and portraits of artist personalities are shown.
The museum
The museum is divided into the following areas:
Impulses: Here are the inspirations identified which brought the young artists first information after the war, with works by Edgar Jené and Gustav K. Beck and Arnulf Neuwirth.
Academy: Here, the young creatives found an artistic home, including works by Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden and Kurt Steinwendner before he turned into the filmmaker and object artist Curt Stenvert.
Contemporaries: These include older artists of fantastic, who had survived the dictatorship, like Greta Freist, Kurt Goebel, Charles Lipka or the CIA agent Charles von Ripper. And the young ones, as Rudolf Schoenwald or Arnulf Rainer as well as painters who moved in later Art Club. These include the "partisan" Maria Biljan-Bilger, Peppino Wieternik before he turned to the abstract, and Carl Unger who designed a large glass front of the Palais Palffy.
Art Club: It gathered the artistic elite of the post-war period and became with the Strohkoffer (straw suitcase) a social center.
Dog Group: It became the first counter-movement, in which the rebels as Ernst Fuchs, Arnulf Rainer and Maria Lassnig, Wolfgang Kudrnofsky and maverick visionary Anton Krejcar with graphics that today have become valuable manifested themselves.
The Pintorarium of Friedensreich Hundertwasser, Ernst Fuchs and Arnulf Rainer fought actionistically with wall newspaper and nude demonstration against the established Academy, bad architecture and for the freedom of the spirit.
Hundertwasser realized the theories of Pintorarium in his buildings. A photo documentation of Kurt Pultar.
Vienna School of Fantastic Realism: The core of the museum with pictures of Arik Brauer, Wolfgang Hutter, Fritz Janschka, who lives in the United States and Anton Lehmden. Of Rudolf Hausner is - in addition to an oil painting - the documentation of long-term work on his Ark of Odysseus to see. In addition to an early work by Ernst Fuchs, a specially created for the museum great painting version of a 55 years ago arosen drawing is shown.
In the department of simultaneous 16 images of that Viennese Fantasts can be seen who presented themselves in the 1960s for the first time, among other things, in the gallery that installed Ernst Fuchs.
In the Department Next Generation are those almost still "young ones" which - despite temporary exclusion by the avant-garde - are committed to the new tendencies of the fantastic. They studied partly with Hausner, Lehmden, Hutter and Fuchs and also learned as wizards.
The Graphic Cabinet presents some etchings and lithographs to stamps. Here the global network is shown in about 30 works by international visionaries. Representatives from Japan, the US, Australia and European centers are the ambassadors of associations of fantastic artists, the Ambassadors of the Fantastic Universe.
Phantastenmuseum
Das Phantastenmuseum ist ein Museum im Palais Pálffy im 1. Wiener Gemeindebezirk Innere Stadt. Es zeigt die Entwicklung der phantastischen, surrealen und visionären Kunst von der Nachkriegszeit bis zur Gegenwart.
Geschichte
Nach Gesprächen zwischen dem österreichischen Künstler Ernst Fuchs und dem Verleger, Organisator und Autor Gerhard Habarta entstand die Idee zur Verwirklichung eines Museums für phantastische Kunst in Wien. Das „Österreichische Kulturzentrum seit 1958“ im Palais Pálffy zeigte sich von der Idee begeistert, die Pläne für das neue Museum wurden im Jahr 2010 konkretisiert. Im Herbst 2010 wurde mit der Adaptierung der Räumlichkeiten begonnen, die im Jänner 2011 abgeschlossen wurde. Die Eröffnung des Museums fand am 15. Jänner 2011 unter dem Ehrenschutz von Bundespräsident Heinz Fischer statt.
Räumlichkeiten
Für das Museum wurden Teile des historischen, aufgrund Kriegsschäden in den 1950er Jahren renovierten Palais Pálffy genutzt.
Das Foyer wurde vom Lehmden-Schüler Kurt Welther zum Thema Figaros Hochzeit gestaltet. Hier wurde auch ein Empfangsbereich mit der Ticketkasse, der Information und dem Museums-Shop eingerichtet. In diesem werden Geschenke wie Nachbildungen berühmter Kunstwerke, Skulpturen, Schmuck, Kataloge und Kunstdrucke sowie auch Original-Editionen verkauft. Im 1. Stock befindet sich gegenüber dem Figaro-Konzertsaal die Galerie. Es handelt sich um einen 150 m² großen Raum für Einzelausstellungen. Das Museum nimmt das gesamte Obergeschoss ein und besteht aus gestalteten Räumen. Neben den Werken aus eigenem Bestand und Dauerleihgaben werden Dokumente und Porträts der Künstlerpersönlichkeiten gezeigt.
Das Museum
Das Museum ist in folgende Bereiche gegliedert:
Impulse: Hier werden die Impulse aufgezeigt, die den jungen Künstlern erste Informationen nach dem Krieg brachten, mit Werken von Edgar Jené und Gustav K. Beck und Arnulf Neuwirth.
Akademie: Hier fanden die jungen Kreativen eine künstlerische Heimat, mit Werken von Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden und Kurt Steinwendner, bevor er zum Filmemacher und Objektkünstler Curt Stenvert wurde.
Zeitgenossen: Dazu zählen ältere Künstler des Phantastischen, die die Diktatur überlebt hatten, wie Greta Freist, Kurt Goebel, Charles Lipka oder der CIA-Agent Charles von Ripper. Und die Jungen, wie Rudolf Schönwald oder Arnulf Rainer sowie Maler die sich im späteren Art Club bewegten. Dazu gehören die „Partisanin“ Maria Biljan-Bilger, Peppino Wieternik, bevor er sich zum Abstrakten wandte, und Carl Unger der für das Palais Pálffy eine große Glasfront gestaltete.
Art Club: Er versammelte die künstlerische Elite der Nachkriegszeit und wurde mit dem Strohkoffer ein geselliges Zentrum.
Hundsgruppe: Sie wurde zur ersten Gegenbewegung, in der sich die Aufrührer wie Ernst Fuchs, Arnulf Rainer und Maria Lassnig, Wolfgang Kudrnofsky und der Außenseiter-Phantast Anton Krejcar mit heute wertvoll gewordenen Grafiken manifestierten.
Das Pintorarium von Friedensreich Hundertwasser, Ernst Fuchs und Arnulf Rainer kämpfte aktionistisch mit Wandzeitung und Nacktdemonstration gegen die etablierte Akademie, schlechte Architektur und für die Freiheit des Geistes.
Hundertwasser verwirklichte die Theorien des Pintorariums in seinen Bauten. Eine Fotodokumentation von Kurt Pultar.
Wiener Schule des Phantastischen Realismus: Der Kern des Museums mit Bildern von Arik Brauer, Wolfgang Hutter, dem in den USA lebenden Fritz Janschka und von Anton Lehmden. Von Rudolf Hausner ist - neben einem Ölbild - die Dokumentation der langjährigen Arbeit an seiner Arche des Odysseus zu sehen. Neben einem Frühwerk von Ernst Fuchs ist auch eine eigens für das Museum geschaffene große Gemälde-Fassung einer vor 55 Jahren entstandenen Zeichnung ausgestellt.
In der Abteilung der Gleichzeitigen sind 16 Bilder jener Wiener Fantasten zu sehen, die sich in den 1960er-Jahren zum ersten Mal präsentierten, u.a. in der Galerie, die Ernst Fuchs installierte.
In der Abteilung Next Generation sind jene fast „noch Jungen“, die sich – trotz zeitweiliger Ausgrenzung durch die Avantgarde – neuen Tendenzen des Phantastischen verpflichtet fühlen. Sie haben zum Teil bei Hausner, Lehmden, Hutter und Fuchs studiert und auch als Assistenten gelernt.
Das Graphische Kabinett stellt einige Radierungen und Lithographien bis hin zu Briefmarken aus. Hier wird in etwa 30 Werken internationaler Phantasten die weltweite Vernetzung gezeigt. Vertreter aus Japan, den USA, Australien und europäischen Zentren sind die Botschafter von Vereinigungen phantastischer Künstler, den Ambassadors of the Fantastic Universe.
The Asylum Project - Empty Bed - New Brushed Aluminium
by Erik Brede
Selected artwork for the book “The Best of Photography 2014″, included in the Black & White Collection at Musse du Louvre, Paris and was presented at a private reception hosted at:
Musee du Louvre
75058 Paris – France
July 13th, 2015
Lier Psychiatric Hospital in Norway has a long history as an institution. The massive buildings house the memory of a grim chapter in Norwegian psychiatric history the authorities would rather forget. There is little available information about the former activities at Lier Hospital, but it is documented experiments that were carried out on this Norwegian mental hospital in the postwar period from 1945 to 1975. Its about the use of LSD, electroshock, brain research funded by the U.S. Department of Defense and drug research sponsored by major pharmaceutical companies. It is perhaps not surprising that they try to forget this place and the events taking place here.
Lier Psyciatric Hospital was built in 1926 and had room for nearly 700 patients at the most. In 1986, many of the buildings were closed and abandoned and they still stand empty to this day. Some of the buildings are still in operation today for psychiatric patients.
90x60cm direct print on brushed aluminium – pure elegance with an exclusive BUTLERFINISH® look. Limited edition of 20 + 2AP. The photo is printed directly onto a 3 mm thick, sturdy brushed aluminium Dibond with a BUTLERFINISH® look. Two thin aluminium sheets sandwich a black polyethylene core to ensure maximum stability and water resistance. Thanks to the brushed surface, the aluminium backing gives the artwork an extraordinary, metallic appearance. During production of the cover sheet, the surface is ground horizontally to produce a brushed effect. The result is eye-catching: The areas of the photograph that are white or very light are not printed, but instead take on the appearance of the brushed aluminium surface.
The direct UV-print is color-fast, light-resistant, and even damp-proof. Artworks on Brushed Aluminium Dibond is therefore not only suitable for indoor areas such as the bathroom or the kitchen, but also for covered outdoor areas protected from rain and direct sunlight. The aluminium Dibond backing is extremely light, and the practical hanging system ensures it is easy to hang on the wall, even with large formats. Simply unpack the artwork, hang it up, and enjoy its floating, metallic effect on your wall.
My artwork is checked by hand, given a protective cover and placed in art-secure packaging before delivering to the art shipping professionals at UPS, FedEx or DHL straight from the laboratory within 5 to 10 business days.
A signed certificate of authenticity, certificate hologram tamper with CoA#, and a label signed by artist, which can be affixed to back of the artwork, is mailed to buyer as soon as the artwork is delivered and accepted. The price will increase as prints become unavailable.
All Customers are solely responsible for all duties, import taxes and brokerage fees. These are not included in the cost of shipping or handling of your order. Customs, duties, and taxes vary widely from country to country; please check with your local customs agency for details on estimated costs. Customs, duty, and taxes are non-refundable: so if you refuse a shipment because of unexpected import fees, the cost of the original shipping, any brokerage/customs/duty/taxes, and any return shipping charges will not be refunded.
Full series at www.erikbrede.com
www.contemporary-artists.co.uk/paintings/the-asylum-proje...
Contemporary Artists
Right next to the postwar models, the '42 is another one of my favorites. It's too bad this design only lasted 1 model year. I think all car companies ceased manufacturing in February of 1942 to switch to war production. These were seen on the streets as taxi cabs as well, the favorites being the famous Sky-View taxi's.
The City of London, widely referred to simply as the City, is a city, ceremonial county and local government district that contains the ancient centre, and constitutes, alongside Canary Wharf, the primary central business district (CBD) of London and one of the leading financial centres of the world. It constituted most of London from its settlement by the Romans in the 1st century AD to the Middle Ages, but the modern area referred to as London has since grown far beyond the City of London boundary. The City is now only a small part of the metropolis of Greater London, though it remains a notable part of central London. Administratively, the City of London is not one of the London boroughs, a status reserved for the other 32 districts (including Greater London's only other city, the City of Westminster). It is also a separate ceremonial county, being an enclave surrounded by Greater London, and is the smallest ceremonial county in England.
The City of London is known colloquially as the Square Mile, as it is 1.12 sq mi (716.80 acres; 2.90 km2) in area. Both the terms the City and the Square Mile are often used as metonyms for the UK's trading and financial services industries, which continue a notable history of being largely based in the City. The name London is now ordinarily used for a far wider area than just the City. London most often denotes the sprawling London metropolis, or the 32 Greater London boroughs, in addition to the City of London itself.
The local authority for the City, namely the City of London Corporation, is unique in the UK and has some unusual responsibilities for a local council, such as being the police authority. It is also unusual in having responsibilities and ownerships beyond its boundaries, e.g. Hampstead Heath. The corporation is headed by the Lord Mayor of the City of London (an office separate from, and much older than, the Mayor of London). The Lord Mayor, as of November 2023, is Michael Mainelli. The City is made up of 25 wards, with administration at the historic Guildhall. Other historic sites include St Paul's Cathedral, Royal Exchange, Mansion House, Old Bailey, and Smithfield Market. Although not within the City, the adjacent Tower of London, built to dominate the City, is part of its old defensive perimeter. The City has responsibility for five bridges in its capacity as trustee of the Bridge House Estates: Blackfriars Bridge, Millennium Bridge, Southwark Bridge, London Bridge and Tower Bridge.
The City is a major business and financial centre, with both the Bank of England and the London Stock Exchange based in the City. Throughout the 19th century, the City was the world's primary business centre, and it continues to be a major meeting point for businesses. London came second (after New York) in the Global Financial Centres Index, published in 2022. The insurance industry is located in the eastern side of the city, around Lloyd's building. Since about the 1980s, a secondary financial district has existed outside the city, at Canary Wharf, 2.5 miles (4 km) to the east. The legal profession forms a major component of the northern and western sides of the City, especially in the Temple and Chancery Lane areas where the Inns of Court are located, of which two—Inner Temple and Middle Temple—fall within the City of London boundary.
The City has a resident population of 8,583 based on 2021 census figures, but over 500,000 are employed there (as of 2019) and some estimates put the number of workers in the City to be over 1 million. About three-quarters of the jobs in the City of London are in the financial, professional, and associated business services sectors.
The history of London, the capital city of England and the United Kingdom, extends over 2000 years. In that time, it has become one of the world's most significant financial and cultural capital cities. It has withstood plague, devastating fire, civil war, aerial bombardment, terrorist attacks, and riots.
The City of London is the historic core of the Greater London metropolis, and is today its primary financial district, it represents only a small part of the wider metropolis.
Foundations and prehistory
Some recent discoveries indicate probable very early settlements near the Thames in the London area. In 1993, the remains of a Bronze Age bridge were found on the Thames's south foreshore, upstream of Vauxhall Bridge.[1] This bridge either crossed the Thames or went to a now lost island in the river. Dendrology dated the timbers to between 1750 BC and 1285 BC. In 2001, a further dig found that the timbers were driven vertically into the ground on the south bank of the Thames west of Vauxhall Bridge.
In 2010, the foundations of a large timber structure, dated to between 4800 BC and 4500 BC were found, again on the foreshore south of Vauxhall Bridge. The function of the mesolithic structure is not known. All these structures are on the south bank at a natural crossing point where the River Effra flows into the Thames.
Archaeologist Leslie Wallace notes, "Because no LPRIA [Late pre-Roman Iron Age] settlements or significant domestic refuse have been found in London, despite extensive archaeological excavation, arguments for a purely Roman foundation of London are now common and uncontroversial."
Early history
Roman London (47–410 AD)
Londinium was established as a civilian town by the Romans about four years after the invasion of 43 AD. London, like Rome, was founded on the point of the river where it was narrow enough to bridge and the strategic location of the city provided easy access to much of Europe. Early Roman London occupied a relatively small area, roughly equivalent to the size of Hyde Park. In around 60 AD, it was destroyed by the Iceni led by their queen Boudica. The city was quickly rebuilt as a planned Roman town and recovered after perhaps 10 years; the city grew rapidly over the following decades.
Although some sources claim that during the 2nd century Londinium replaced Colchester as the capital of Roman Britain (Britannia) there is no surviving evidence to prove it was ever the capital of Roman Britain. Its population was around 60,000 inhabitants. It boasted major public buildings, including the largest basilica north of the Alps, temples, bath houses, an amphitheatre and a large fort for the city garrison. Political instability and recession from the 3rd century onwards led to a slow decline.
At some time between 180 AD and 225 AD, the Romans built the defensive London Wall around the landward side of the city. The wall was about 3 kilometres (1.9 mi) long, 6 metres (20 ft) high, and 2.5 metres (8.2 ft) thick. The wall would survive for another 1,600 years and define the City of London's perimeters for centuries to come. The perimeters of the present City are roughly defined by the line of the ancient wall.
Londinium was an ethnically diverse city with inhabitants from across the Roman Empire, including natives of Britannia, continental Europe, the Middle East, and North Africa.[9]
In the late 3rd century, Londinium was raided on several occasions by Saxon pirates. This led, from around 255 onwards, to the construction of an additional riverside wall. Six of the traditional seven city gates of London are of Roman origin, namely: Ludgate, Newgate, Aldersgate, Cripplegate, Bishopsgate and Aldgate (Moorgate is the exception, being of medieval origin).
By the 5th century, the Roman Empire was in rapid decline and in 410 AD, the Roman occupation of Britannia came to an end. Following this, the Roman city also went into rapid decline and by the end of the 5th century was practically abandoned.
Anglo-Saxon London (5th century – 1066)
Until recently it was believed that Anglo-Saxon settlement initially avoided the area immediately around Londinium. However, the discovery in 2008 of an Anglo-Saxon cemetery at Covent Garden indicates that the incomers had begun to settle there at least as early as the 6th century and possibly in the 5th. The main focus of this settlement was outside the Roman walls, clustering a short distance to the west along what is now the Strand, between the Aldwych and Trafalgar Square. It was known as Lundenwic, the -wic suffix here denoting a trading settlement. Recent excavations have also highlighted the population density and relatively sophisticated urban organisation of this earlier Anglo-Saxon London, which was laid out on a grid pattern and grew to house a likely population of 10–12,000.
Early Anglo-Saxon London belonged to a people known as the Middle Saxons, from whom the name of the county of Middlesex is derived, but who probably also occupied the approximate area of modern Hertfordshire and Surrey. However, by the early 7th century the London area had been incorporated into the kingdom of the East Saxons. In 604 King Saeberht of Essex converted to Christianity and London received Mellitus, its first post-Roman bishop.
At this time Essex was under the overlordship of King Æthelberht of Kent, and it was under Æthelberht's patronage that Mellitus founded the first St. Paul's Cathedral, traditionally said to be on the site of an old Roman Temple of Diana (although Christopher Wren found no evidence of this). It would have only been a modest church at first and may well have been destroyed after he was expelled from the city by Saeberht's pagan successors.
The permanent establishment of Christianity in the East Saxon kingdom took place in the reign of King Sigeberht II in the 650s. During the 8th century, the kingdom of Mercia extended its dominance over south-eastern England, initially through overlordship which at times developed into outright annexation. London seems to have come under direct Mercian control in the 730s.
Viking attacks dominated most of the 9th century, becoming increasingly common from around 830 onwards. London was sacked in 842 and again in 851. The Danish "Great Heathen Army", which had rampaged across England since 865, wintered in London in 871. The city remained in Danish hands until 886, when it was captured by the forces of King Alfred the Great of Wessex and reincorporated into Mercia, then governed under Alfred's sovereignty by his son-in-law Ealdorman Æthelred.
Around this time the focus of settlement moved within the old Roman walls for the sake of defence, and the city became known as Lundenburh. The Roman walls were repaired and the defensive ditch re-cut, while the bridge was probably rebuilt at this time. A second fortified Borough was established on the south bank at Southwark, the Suthringa Geworc (defensive work of the men of Surrey). The old settlement of Lundenwic became known as the ealdwic or "old settlement", a name which survives today as Aldwich.
From this point, the City of London began to develop its own unique local government. Following Æthelred's death in 911 it was transferred to Wessex, preceding the absorption of the rest of Mercia in 918. Although it faced competition for political pre-eminence in the united Kingdom of England from the traditional West Saxon centre of Winchester, London's size and commercial wealth brought it a steadily increasing importance as a focus of governmental activity. King Athelstan held many meetings of the witan in London and issued laws from there, while King Æthelred the Unready issued the Laws of London there in 978.
Following the resumption of Viking attacks in the reign of Æthelred, London was unsuccessfully attacked in 994 by an army under King Sweyn Forkbeard of Denmark. As English resistance to the sustained and escalating Danish onslaught finally collapsed in 1013, London repulsed an attack by the Danes and was the last place to hold out while the rest of the country submitted to Sweyn, but by the end of the year it too capitulated and Æthelred fled abroad. Sweyn died just five weeks after having been proclaimed king and Æthelred was restored to the throne, but Sweyn's son Cnut returned to the attack in 1015.
After Æthelred's death at London in 1016 his son Edmund Ironside was proclaimed king there by the witangemot and left to gather forces in Wessex. London was then subjected to a systematic siege by Cnut but was relieved by King Edmund's army; when Edmund again left to recruit reinforcements in Wessex the Danes resumed the siege but were again unsuccessful. However, following his defeat at the Battle of Assandun Edmund ceded to Cnut all of England north of the Thames, including London, and his death a few weeks later left Cnut in control of the whole country.
A Norse saga tells of a battle when King Æthelred returned to attack Danish-occupied London. According to the saga, the Danes lined London Bridge and showered the attackers with spears. Undaunted, the attackers pulled the roofs off nearby houses and held them over their heads in the boats. Thus protected, they were able to get close enough to the bridge to attach ropes to the piers and pull the bridge down, thus ending the Viking occupation of London. This story presumably relates to Æthelred's return to power after Sweyn's death in 1014, but there is no strong evidence of any such struggle for control of London on that occasion.
Following the extinction of Cnut's dynasty in 1042 English rule was restored under Edward the Confessor. He was responsible for the foundation of Westminster Abbey and spent much of his time at Westminster, which from this time steadily supplanted the City itself as the centre of government. Edward's death at Westminster in 1066 without a clear heir led to a succession dispute and the Norman conquest of England. Earl Harold Godwinson was elected king by the witangemot and crowned in Westminster Abbey but was defeated and killed by William the Bastard, Duke of Normandy at the Battle of Hastings. The surviving members of the witan met in London and elected King Edward's young nephew Edgar the Ætheling as king.
The Normans advanced to the south bank of the Thames opposite London, where they defeated an English attack and burned Southwark but were unable to storm the bridge. They moved upstream and crossed the river at Wallingford before advancing on London from the north-west. The resolve of the English leadership to resist collapsed and the chief citizens of London went out together with the leading members of the Church and aristocracy to submit to William at Berkhamstead, although according to some accounts there was a subsequent violent clash when the Normans reached the city. Having occupied London, William was crowned king in Westminster Abbey.
Norman and Medieval London (1066 – late 15th century)
The new Norman regime established new fortresses within the city to dominate the native population. By far the most important of these was the Tower of London at the eastern end of the city, where the initial timber fortification was rapidly replaced by the construction of the first stone castle in England. The smaller forts of Baynard's Castle and Montfichet's Castle were also established along the waterfront. King William also granted a charter in 1067 confirming the city's existing rights, privileges and laws. London was a centre of England's nascent Jewish population, the first of whom arrived in about 1070. Its growing self-government was consolidated by the election rights granted by King John in 1199 and 1215.
On 17 October 1091 a tornado rated T8 on the TORRO scale (equivalent to an F4 on the Fujita scale) hit London; it directly struck the church of St. Mary-le-Bow; four rafters 7.9 meters long (26 feet) were said to have been buried so deep into the ground that only 1.2 meters (4 feet) was visible. Other churches in the area were destroyed as well; it was reported to have also destroyed over 600 houses (although most of them were primarily wood) and hit the London Bridge, after the tornado the bridge was rebuilt in stone. The tornado caused 2 deaths and an unknown number of injuries; this tornado is mentioned in chronicles by Florence of Worcester and William of Malmesbury, the latter of the two describing it as "a great spectacle for those watching from afar, but a terrifying experience for those standing near".
In 1097, William Rufus, the son of William the Conqueror, began the construction of 'Westminster Hall', which became the focus of the Palace of Westminster.
In 1176, construction began of the most famous incarnation of London Bridge (completed in 1209), which was built on the site of several earlier timber bridges. This bridge would last for 600 years, and remained the only bridge across the River Thames until 1739.
Violence against Jews took place in 1190, after it was rumoured that the new King had ordered their massacre after they had presented themselves at his coronation.
In 1216, during the First Barons' War London was occupied by Prince Louis of France, who had been called in by the baronial rebels against King John and was acclaimed as King of England in St Paul's Cathedral. However, following John's death in 1217 Louis's supporters reverted to their Plantagenet allegiance, rallying round John's son Henry III, and Louis was forced to withdraw from England.
In 1224, after an accusation of ritual murder, the Jewish community was subjected to a steep punitive levy. Then in 1232, Henry III confiscated the principal synagogue of the London Jewish community because he claimed their chanting was audible in a neighboring church. In 1264, during the Second Barons' War, Simon de Montfort's rebels occupied London and killed 500 Jews while attempting to seize records of debts.
London's Jewish community was forced to leave England by the expulsion by Edward I in 1290. They left for France, Holland and further afield; their property was seized, and many suffered robbery and murder as they departed.
Over the following centuries, London would shake off the heavy French cultural and linguistic influence which had been there since the times of the Norman conquest. The city would figure heavily in the development of Early Modern English.
During the Peasants' Revolt of 1381, London was invaded by rebels led by Wat Tyler. A group of peasants stormed the Tower of London and executed the Lord Chancellor, Archbishop Simon Sudbury, and the Lord Treasurer. The peasants looted the city and set fire to numerous buildings. Tyler was stabbed to death by the Lord Mayor William Walworth in a confrontation at Smithfield and the revolt collapsed.
Trade increased steadily during the Middle Ages, and London grew heavily as a result. In 1100, London's population was somewhat more than 15,000. By 1300, it had grown to roughly 80,000. London lost at least half of its population during the Black Death in the mid-14th century, but its economic and political importance stimulated a quick recovery despite further epidemics. Trade in London was organised into various guilds, which effectively controlled the city, and elected the Lord Mayor of the City of London.
Medieval London was made up of narrow and twisting streets, and most of the buildings were made from combustible materials such as timber and straw, which made fire a constant threat, while sanitation in cities was of low-quality.
Modern history
Tudor London (1485–1604)
In 1475, the Hanseatic League set up its main English trading base (kontor) in London, called Stalhof or Steelyard. It existed until 1853, when the Hanseatic cities of Lübeck, Bremen and Hamburg sold the property to South Eastern Railway. Woollen cloth was shipped undyed and undressed from 14th/15th century London to the nearby shores of the Low Countries, where it was considered indispensable.
During the Reformation, London was the principal early centre of Protestantism in England. Its close commercial connections with the Protestant heartlands in northern continental Europe, large foreign mercantile communities, disproportionately large number of literate inhabitants and role as the centre of the English print trade all contributed to the spread of the new ideas of religious reform. Before the Reformation, more than half of the area of London was the property of monasteries, nunneries and other religious houses.
Henry VIII's "Dissolution of the Monasteries" had a profound effect on the city as nearly all of this property changed hands. The process started in the mid-1530s, and by 1538 most of the larger monastic houses had been abolished. Holy Trinity Aldgate went to Lord Audley, and the Marquess of Winchester built himself a house in part of its precincts. The Charterhouse went to Lord North, Blackfriars to Lord Cobham, the leper hospital of St Giles to Lord Dudley, while the king took for himself the leper hospital of St James, which was rebuilt as St James's Palace.
The period saw London rapidly rising in importance among Europe's commercial centres. Trade expanded beyond Western Europe to Russia, the Levant, and the Americas. This was the period of mercantilism and monopoly trading companies such as the Muscovy Company (1555) and the British East India Company (1600) were established in London by royal charter. The latter, which ultimately came to rule India, was one of the key institutions in London, and in Britain as a whole, for two and a half centuries. Immigrants arrived in London not just from all over England and Wales, but from abroad as well, for example Huguenots from France; the population rose from an estimated 50,000 in 1530 to about 225,000 in 1605. The growth of the population and wealth of London was fuelled by a vast expansion in the use of coastal shipping.
The late 16th and early 17th century saw the great flourishing of drama in London whose preeminent figure was William Shakespeare. During the mostly calm later years of Elizabeth's reign, some of her courtiers and some of the wealthier citizens of London built themselves country residences in Middlesex, Essex and Surrey. This was an early stirring of the villa movement, the taste for residences which were neither of the city nor on an agricultural estate, but at the time of Elizabeth's death in 1603, London was still relatively compact.
Xenophobia was rampant in London, and increased after the 1580s. Many immigrants became disillusioned by routine threats of violence and molestation, attempts at expulsion of foreigners, and the great difficulty in acquiring English citizenship. Dutch cities proved more hospitable, and many left London permanently. Foreigners are estimated to have made up 4,000 of the 100,000 residents of London by 1600, many being Dutch and German workers and traders.
Stuart London (1603–1714)
Paul's Cathedral had lost its spire by this time. The two theatres on the foreground (Southwark) side of the Thames are The Bear Garden and The Globe. The large church in the foreground is St Mary Overie, now Southwark Cathedral.
London's expansion beyond the boundaries of the City was decisively established in the 17th century. In the opening years of that century the immediate environs of the City, with the principal exception of the aristocratic residences in the direction of Westminster, were still considered not conducive to health. Immediately to the north was Moorfields, which had recently been drained and laid out in walks, but it was frequented by beggars and travellers, who crossed it in order to get into London. Adjoining Moorfields were Finsbury Fields, a favourite practising ground for the archers, Mile End, then a common on the Great Eastern Road and famous as a rendezvous for the troops.
The preparations for King James I becoming king were interrupted by a severe plague epidemic, which may have killed over thirty thousand people. The Lord Mayor's Show, which had been discontinued for some years, was revived by order of the king in 1609. The dissolved monastery of the Charterhouse, which had been bought and sold by the courtiers several times, was purchased by Thomas Sutton for £13,000. The new hospital, chapel, and schoolhouse were begun in 1611. Charterhouse School was to be one of the principal public schools in London until it moved to Surrey in the Victorian era, and the site is still used as a medical school.
The general meeting-place of Londoners in the day-time was the nave of Old St. Paul's Cathedral. Merchants conducted business in the aisles, and used the font as a counter upon which to make their payments; lawyers received clients at their particular pillars; and the unemployed looked for work. St Paul's Churchyard was the centre of the book trade and Fleet Street was a centre of public entertainment. Under James I the theatre, which established itself so firmly in the latter years of Elizabeth, grew further in popularity. The performances at the public theatres were complemented by elaborate masques at the royal court and at the inns of court.
Charles I acceded to the throne in 1625. During his reign, aristocrats began to inhabit the West End in large numbers. In addition to those who had specific business at court, increasing numbers of country landowners and their families lived in London for part of the year simply for the social life. This was the beginning of the "London season". Lincoln's Inn Fields was built about 1629. The piazza of Covent Garden, designed by England's first classically trained architect Inigo Jones followed in about 1632. The neighbouring streets were built shortly afterwards, and the names of Henrietta, Charles, James, King and York Streets were given after members of the royal family.
In January 1642 five members of parliament whom the King wished to arrest were granted refuge in the City. In August of the same year the King raised his banner at Nottingham, and during the English Civil War London took the side of the parliament. Initially the king had the upper hand in military terms and in November he won the Battle of Brentford a few miles to the west of London. The City organised a new makeshift army and Charles hesitated and retreated.
Subsequently, an extensive system of fortifications was built to protect London from a renewed attack by the Royalists. This comprised a strong earthen rampart, enhanced with bastions and redoubts. It was well beyond the City walls and encompassed the whole urban area, including Westminster and Southwark. London was not seriously threatened by the royalists again, and the financial resources of the City made an important contribution to the parliamentarians' victory in the war.
The unsanitary and overcrowded City of London has suffered from the numerous outbreaks of the plague many times over the centuries, but in Britain it is the last major outbreak which is remembered as the "Great Plague" It occurred in 1665 and 1666 and killed around 60,000 people, which was one fifth of the population. Samuel Pepys chronicled the epidemic in his diary. On 4 September 1665 he wrote "I have stayed in the city till above 7400 died in one week, and of them about 6000 of the plague, and little noise heard day or night but tolling of bells."
Great Fire of London (1666)
The Great Plague was immediately followed by another catastrophe, albeit one which helped to put an end to the plague. On the Sunday, 2 September 1666 the Great Fire of London broke out at one o'clock in the morning at a bakery in Pudding Lane in the southern part of the City. Fanned by an eastern wind the fire spread, and efforts to arrest it by pulling down houses to make firebreaks were disorganised to begin with. On Tuesday night the wind fell somewhat, and on Wednesday the fire slackened. On Thursday it was extinguished, but on the evening of that day the flames again burst forth at the Temple. Some houses were at once blown up by gunpowder, and thus the fire was finally mastered. The Monument was built to commemorate the fire: for over a century and a half it bore an inscription attributing the conflagration to a "popish frenzy".
The fire destroyed about 60% of the City, including Old St Paul's Cathedral, 87 parish churches, 44 livery company halls and the Royal Exchange. However, the number of lives lost was surprisingly small; it is believed to have been 16 at most. Within a few days of the fire, three plans were presented to the king for the rebuilding of the city, by Christopher Wren, John Evelyn and Robert Hooke.
Wren proposed to build main thoroughfares north and south, and east and west, to insulate all the churches in conspicuous positions, to form the most public places into large piazzas, to unite the halls of the 12 chief livery companies into one regular square annexed to the Guildhall, and to make a fine quay on the bank of the river from Blackfriars to the Tower of London. Wren wished to build the new streets straight and in three standard widths of thirty, sixty and ninety feet. Evelyn's plan differed from Wren's chiefly in proposing a street from the church of St Dunstan's in the East to the St Paul's, and in having no quay or terrace along the river. These plans were not implemented, and the rebuilt city generally followed the streetplan of the old one, and most of it has survived into the 21st century.
Nonetheless, the new City was different from the old one. Many aristocratic residents never returned, preferring to take new houses in the West End, where fashionable new districts such as St. James's were built close to the main royal residence, which was Whitehall Palace until it was destroyed by fire in the 1690s, and thereafter St. James's Palace. The rural lane of Piccadilly sprouted courtiers mansions such as Burlington House. Thus the separation between the middle class mercantile City of London, and the aristocratic world of the court in Westminster became complete.
In the City itself there was a move from wooden buildings to stone and brick construction to reduce the risk of fire. Parliament's Rebuilding of London Act 1666 stated "building with brick [is] not only more comely and durable, but also more safe against future perils of fire". From then on only doorcases, window-frames and shop fronts were allowed to be made of wood.
Christopher Wren's plan for a new model London came to nothing, but he was appointed to rebuild the ruined parish churches and to replace St Paul's Cathedral. His domed baroque cathedral was the primary symbol of London for at least a century and a half. As city surveyor, Robert Hooke oversaw the reconstruction of the City's houses. The East End, that is the area immediately to the east of the city walls, also became heavily populated in the decades after the Great Fire. London's docks began to extend downstream, attracting many working people who worked on the docks themselves and in the processing and distributive trades. These people lived in Whitechapel, Wapping, Stepney and Limehouse, generally in slum conditions.
In the winter of 1683–1684, a frost fair was held on the Thames. The frost, which began about seven weeks before Christmas and continued for six weeks after, was the greatest on record. The Revocation of the Edict of Nantes in 1685 led to a large migration of Huguenots to London. They established a silk industry at Spitalfields.
At this time the Bank of England was founded, and the British East India Company was expanding its influence. Lloyd's of London also began to operate in the late 17th century. In 1700, London handled 80% of England's imports, 69% of its exports and 86% of its re-exports. Many of the goods were luxuries from the Americas and Asia such as silk, sugar, tea and tobacco. The last figure emphasises London's role as an entrepot: while it had many craftsmen in the 17th century, and would later acquire some large factories, its economic prominence was never based primarily on industry. Instead it was a great trading and redistribution centre. Goods were brought to London by England's increasingly dominant merchant navy, not only to satisfy domestic demand, but also for re-export throughout Europe and beyond.
William III, a Dutchman, cared little for London, the smoke of which gave him asthma, and after the first fire at Whitehall Palace (1691) he purchased Nottingham House and transformed it into Kensington Palace. Kensington was then an insignificant village, but the arrival of the court soon caused it to grow in importance. The palace was rarely favoured by future monarchs, but its construction was another step in the expansion of the bounds of London. During the same reign Greenwich Hospital, then well outside the boundary of London, but now comfortably inside it, was begun; it was the naval complement to the Chelsea Hospital for former soldiers, which had been founded in 1681. During the reign of Queen Anne an act was passed authorising the building of 50 new churches to serve the greatly increased population living outside the boundaries of the City of London.
A view of London from the east in 1751
The 18th century was a period of rapid growth for London, reflecting an increasing national population, the early stirrings of the Industrial Revolution, and London's role at the centre of the evolving British Empire.
In 1707, an Act of Union was passed merging the Scottish and the English Parliaments, thus establishing the Kingdom of Great Britain. A year later, in 1708 Christopher Wren's masterpiece, St Paul's Cathedral was completed on his birthday. However, the first service had been held on 2nd of December 1697; more than 10 years earlier. This Cathedral replaced the original St. Paul's which had been completely destroyed in the Great Fire of London. This building is considered one of the finest in Britain and a fine example of Baroque architecture.
Many tradesmen from different countries came to London to trade goods and merchandise. Also, more immigrants moved to London making the population greater. More people also moved to London for work and for business making London an altogether bigger and busier city. Britain's victory in the Seven Years' War increased the country's international standing and opened large new markets to British trade, further boosting London's prosperity.
During the Georgian period London spread beyond its traditional limits at an accelerating pace. This is shown in a series of detailed maps, particularly John Rocque's 1741–45 map (see below) and his 1746 Map of London. New districts such as Mayfair were built for the rich in the West End, new bridges over the Thames encouraged an acceleration of development in South London and in the East End, the Port of London expanded downstream from the City. During this period was also the uprising of the American colonies.
In 1780, the Tower of London held its only American prisoner, former President of the Continental Congress, Henry Laurens. In 1779, he was the Congress's representative of Holland, and got the country's support for the Revolution. On his return voyage back to America, the Royal Navy captured him and charged him with treason after finding evidence of a reason of war between Great Britain and the Netherlands. He was released from the Tower on 21 December 1781 in exchange for General Lord Cornwallis.
In 1762, George III acquired Buckingham Palace (then called Buckingham House) from the Duke of Buckingham. It was enlarged over the next 75 years by architects such as John Nash.
A phenomenon of the era was the coffeehouse, which became a popular place to debate ideas. Growing literacy and the development of the printing press meant that news became widely available. Fleet Street became the centre of the embryonic national press during the century.
18th-century London was dogged by crime. The Bow Street Runners were established in 1750 as a professional police force. Penalties for crime were harsh, with the death penalty being applied for fairly minor crimes. Public hangings were common in London, and were popular public events.
In 1780, London was rocked by the Gordon Riots, an uprising by Protestants against Roman Catholic emancipation led by Lord George Gordon. Severe damage was caused to Catholic churches and homes, and 285 rioters were killed.
Up until 1750, London Bridge was the only crossing over the Thames, but in that year Westminster Bridge was opened and, for the first time in history, London Bridge, in a sense, had a rival. In 1798, Frankfurt banker Nathan Mayer Rothschild arrived in London and set up a banking house in the city, with a large sum of money given to him by his father, Amschel Mayer Rothschild. The Rothschilds also had banks in Paris and Vienna. The bank financed numerous large-scale projects, especially regarding railways around the world and the Suez Canal.
The 18th century saw the breakaway of the American colonies and many other unfortunate events in London, but also great change and Enlightenment. This all led into the beginning of modern times, the 19th century.
19th century
During the 19th century, London was transformed into the world's largest city and capital of the British Empire. Its population expanded from 1 million in 1800 to 6.7 million a century later. During this period, London became a global political, financial, and trading capital. In this position, it was largely unrivalled until the latter part of the century, when Paris and New York began to threaten its dominance.
While the city grew wealthy as Britain's holdings expanded, 19th-century London was also a city of poverty, where millions lived in overcrowded and unsanitary slums. Life for the poor was immortalised by Charles Dickens in such novels as Oliver Twist.
In 1829, the then Home Secretary (and future prime minister) Robert Peel established the Metropolitan Police as a police force covering the entire urban area. The force gained the nickname of "bobbies" or "peelers" named after Robert Peel.
19th-century London was transformed by the coming of the railways. A new network of metropolitan railways allowed for the development of suburbs in neighbouring counties from which middle-class and wealthy people could commute to the centre. While this spurred the massive outward growth of the city, the growth of greater London also exacerbated the class divide, as the wealthier classes emigrated to the suburbs, leaving the poor to inhabit the inner city areas.
The first railway to be built in London was a line from London Bridge to Greenwich, which opened in 1836. This was soon followed by the opening of great rail termini which eventually linked London to every corner of Great Britain, including Euston station (1837), Paddington station (1838), Fenchurch Street station (1841), Waterloo station (1848), King's Cross station (1850), and St Pancras station (1863). From 1863, the first lines of the London Underground were constructed.
The urbanised area continued to grow rapidly, spreading into Islington, Paddington, Belgravia, Holborn, Finsbury, Shoreditch, Southwark and Lambeth. Towards the middle of the century, London's antiquated local government system, consisting of ancient parishes and vestries, struggled to cope with the rapid growth in population. In 1855, the Metropolitan Board of Works (MBW) was created to provide London with adequate infrastructure to cope with its growth. One of its first tasks was addressing London's sanitation problems. At the time, raw sewage was pumped straight into the River Thames. This culminated in The Great Stink of 1858.
Parliament finally gave consent for the MBW to construct a large system of sewers. The engineer put in charge of building the new system was Joseph Bazalgette. In what was one of the largest civil engineering projects of the 19th century, he oversaw construction of over 2100 km of tunnels and pipes under London to take away sewage and provide clean drinking water. When the London sewerage system was completed, the death toll in London dropped dramatically, and epidemics of cholera and other diseases were curtailed. Bazalgette's system is still in use today.
One of the most famous events of 19th-century London was the Great Exhibition of 1851. Held at The Crystal Palace, the fair attracted 6 million visitors from across the world and displayed Britain at the height of its Imperial dominance.
As the capital of a massive empire, London became a magnet for immigrants from the colonies and poorer parts of Europe. A large Irish population settled in the city during the Victorian period, with many of the newcomers refugees from the Great Famine (1845–1849). At one point, Catholic Irish made up about 20% of London's population; they typically lived in overcrowded slums. London also became home to a sizable Jewish community, which was notable for its entrepreneurship in the clothing trade and merchandising.
In 1888, the new County of London was established, administered by the London County Council. This was the first elected London-wide administrative body, replacing the earlier Metropolitan Board of Works, which had been made up of appointees. The County of London covered broadly what was then the full extent of the London conurbation, although the conurbation later outgrew the boundaries of the county. In 1900, the county was sub-divided into 28 metropolitan boroughs, which formed a more local tier of administration than the county council.
Many famous buildings and landmarks of London were constructed during the 19th century including:
Trafalgar Square
Big Ben and the Houses of Parliament
The Royal Albert Hall
The Victoria and Albert Museum
Tower Bridge
20th century
1900 to 1939
London entered the 20th century at the height of its influence as the capital of one of the largest empires in history, but the new century was to bring many challenges.
London's population continued to grow rapidly in the early decades of the century, and public transport was greatly expanded. A large tram network was constructed by the London County Council, through the LCC Tramways; the first motorbus service began in the 1900s. Improvements to London's overground and underground rail network, including large scale electrification were progressively carried out.
During World War I, London experienced its first bombing raids carried out by German zeppelin airships; these killed around 700 people and caused great terror, but were merely a foretaste of what was to come. The city of London would experience many more terrors as a result of both World Wars. The largest explosion in London occurred during World War I: the Silvertown explosion, when a munitions factory containing 50 tons of TNT exploded, killing 73 and injuring 400.
The period between the two World Wars saw London's geographical extent growing more quickly than ever before or since. A preference for lower density suburban housing, typically semi-detached, by Londoners seeking a more "rural" lifestyle, superseded Londoners' old predilection for terraced houses. This was facilitated not only by a continuing expansion of the rail network, including trams and the Underground, but also by slowly widening car ownership. London's suburbs expanded outside the boundaries of the County of London, into the neighbouring counties of Essex, Hertfordshire, Kent, Middlesex and Surrey.
Like the rest of the country, London suffered severe unemployment during the Great Depression of the 1930s. In the East End during the 1930s, politically extreme parties of both right and left flourished. The Communist Party of Great Britain and the British Union of Fascists both gained serious support. Clashes between right and left culminated in the Battle of Cable Street in 1936. The population of London reached an all-time peak of 8.6 million in 1939.
Large numbers of Jewish immigrants fleeing from Nazi Germany settled in London during the 1930s, mostly in the East End.
Labour Party politician Herbert Morrison was a dominant figure in local government in the 1920s and 1930s. He became mayor of Hackney and a member of the London County Council in 1922, and for a while was Minister of Transport in Ramsay MacDonald's cabinet. When Labour gained power in London in 1934, Morrison unified the bus, tram and trolleybus services with the Underground, by the creation of the London Passenger Transport Board (known as London Transport) in 1933., He led the effort to finance and build the new Waterloo Bridge. He designed the Metropolitan Green Belt around the suburbs and worked to clear slums, build schools, and reform public assistance.
In World War II
During World War II, London, as many other British cities, suffered severe damage, being bombed extensively by the Luftwaffe as a part of The Blitz. Prior to the bombing, hundreds of thousands of children in London were evacuated to the countryside to avoid the bombing. Civilians took shelter from the air raids in underground stations.
The heaviest bombing took place during The Blitz between 7 September 1940 and 10 May 1941. During this period, London was subjected to 71 separate raids receiving over 18,000 tonnes of high explosive. One raid in December 1940, which became known as the Second Great Fire of London, saw a firestorm engulf much of the City of London and destroy many historic buildings. St Paul's Cathedral, however, remained unscathed; a photograph showing the cathedral shrouded in smoke became a famous image of the war.
Having failed to defeat Britain, Hitler turned his attention to the Eastern front and regular bombing raids ceased. They began again, but on a smaller scale with the "Little Blitz" in early 1944. Towards the end of the war, during 1944/45 London again came under heavy attack by pilotless V-1 flying bombs and V-2 rockets, which were fired from Nazi occupied Europe. These attacks only came to an end when their launch sites were captured by advancing Allied forces.
London suffered severe damage and heavy casualties, the worst hit part being the Docklands area. By the war's end, just under 30,000 Londoners had been killed by the bombing, and over 50,000 seriously injured, tens of thousands of buildings were destroyed, and hundreds of thousands of people were made homeless.
1945–2000
Three years after the war, the 1948 Summer Olympics were held at the original Wembley Stadium, at a time when the city had barely recovered from the war. London's rebuilding was slow to begin. However, in 1951 the Festival of Britain was held, which marked an increasing mood of optimism and forward looking.
In the immediate postwar years housing was a major issue in London, due to the large amount of housing which had been destroyed in the war. The authorities decided upon high-rise blocks of flats as the answer to housing shortages. During the 1950s and 1960s the skyline of London altered dramatically as tower blocks were erected, although these later proved unpopular. In a bid to reduce the number of people living in overcrowded housing, a policy was introduced of encouraging people to move into newly built new towns surrounding London. Living standards also rose, with real earnings rising by approximately 70.% in the 20 years after the end of the war.
Through the 19th and in the early half of the 20th century, Londoners used coal for heating their homes, which produced large amounts of smoke. In combination with climatic conditions this often caused a characteristic smog, and London became known for its typical "London Fog", also known as "Pea Soupers". London was sometimes referred to as "The Smoke" because of this. In 1952, this culminated in the disastrous Great Smog of 1952 which lasted for five days and killed over 4,000 people. In response to this, the Clean Air Act 1956 was passed, mandating the creating of "smokeless zones" where the use of "smokeless" fuels was required (this was at a time when most households still used open fires); the Act was effective.
Starting in the mid-1960s, and partly as a result of the success of such UK musicians as the Beatles and The Rolling Stones, London became a centre for the worldwide youth culture, exemplified by the Swinging London subculture which made Carnaby Street a household name of youth fashion around the world. London's role as a trendsetter for youth fashion continued strongly in the 1980s during the new wave and punk eras and into the mid-1990s with the emergence of the Britpop era.
From the 1950s onwards London experienced an increase in immigration, largely from Commonwealth countries such as Jamaica, India, Bangladesh and Pakistan. However, the integration of the new immigrants was not always easy. Racial tensions emerged in events such as the Brixton Riots in the early 1980s.
From the beginning of "The Troubles" in Northern Ireland in the early 1970s until the mid-1990s, London was subjected to repeated terrorist attacks by the Provisional IRA.
The outward expansion of London was slowed by the war, and the introduction of the Metropolitan Green Belt. Due to this outward expansion, in 1965 the old County of London (which by now only covered part of the London conurbation) and the London County Council were abolished, and the much larger area of Greater London was established with a new Greater London Council (GLC) to administer it, along with 32 new London boroughs.
Greater London's population declined steadily in the decades after World War II, from an estimated peak of 8.6 million in 1939 to around 6.8 million in the 1980s. However, it then began to increase again in the late 1980s, encouraged by strong economic performance and an increasingly positive image.
London's traditional status as a major port declined dramatically in the post-war decades as the old Docklands could not accommodate large modern container ships. The principal ports for London moved downstream to the ports of Felixstowe and Tilbury. The docklands area had become largely derelict by the 1980s, but was redeveloped into flats and offices from the mid-1980s onwards. The Thames Barrier was completed in the 1980s to protect London against tidal surges from the North Sea.
In the early 1980s political disputes between the GLC run by Ken Livingstone and the Conservative government of Margaret Thatcher led to the GLC's abolition in 1986, with most of its powers relegated to the London boroughs. This left London as the only large metropolis in the world without a central administration.
In 2000, London-wide government was restored, with the creation of the Greater London Authority (GLA) by Tony Blair's government, covering the same area of Greater London. The new authority had similar powers to the old GLC, but was made up of a directly elected Mayor and a London Assembly. The first election took place on 4 May, with Ken Livingstone comfortably regaining his previous post, becoming first elected mayor of London. London was recognised as one of the nine regions of England. In global perspective, it was emerging as a World city widely compared to New York and Tokyo.
21st century
Around the start of the 21st century, London hosted the much derided Millennium Dome at Greenwich, to mark the new century.[50] Other Millennium projects were more successful. One was the largest observation wheel in the world, the "Millennium Wheel", or the London Eye, which was erected as a temporary structure, but soon became a fixture, and draws four million visitors a year. The National Lottery also released a flood of funds for major enhancements to existing attractions, for example the roofing of the Great Court at the British Museum.
The London Plan, published by the Mayor of London in 2004, estimated that the population would reach 8.1 million by 2016, and continue to rise thereafter. This was reflected in a move towards denser, more urban styles of building, including a greatly increased number of tall buildings, and proposals for major enhancements to the public transport network. However, funding for projects such as Crossrail remained a struggle.
On 6 July 2005 London won the right to host the 2012 Olympics and Paralympics making it the first city to host the modern games three times. However, celebrations were cut short the following day when the city was rocked by a series of terrorist attacks. More than 50 were killed and 750 injured in three bombings on London Underground trains and a fourth on a double decker bus near King's Cross.
London was the starting point for countrywide riots which occurred in August 2011, when thousands of people rioted in several city boroughs and in towns across England. They were the biggest riots in modern English history. In 2011, the population grew over 8 million people for the first time in decades. White British formed less than half of the population for the first time.
In the public there was ambivalence leading-up to the 2012 Summer Olympics in the city,[58] though public sentiment changed strongly in their favour following a successful opening ceremony and when the anticipated organisational and transport problems never occurred.
Boris Johnson, later Prime Minister of the United Kingdom and Leader of the Conservative Party, served as mayor of London from 1 May 2008 until 5 May 2016, being elected in 2008 and reelected in 2012.
In the 2016 United Kingdom European Union membership referendum, London was the only region in England, where Remain won the highest share of the vote. The voter turnout was the highest in London since the 1950 general election.[61] However, Britain’s exit from the European Union (EU) in early 2021 (Brexit) only marginally weakened London’s position as an international financial center (IFC).
In May 2021, Sadiq Khan, the first Muslim mayor of a major Western capital city, won a second term as London's mayor.
In 2022, the Elizabeth line railway opened, connecting Heathrow and Reading to Shenfield and Abbey Wood through a tunnel in the city between Paddington and Liverpool Street, revolutionising east-west travel in London.
On 6 May 2023, the coronation of Charles III and his wife, Camilla, as king and queen of the United Kingdom and the other Commonwealth realms, took place at Westminster Abbey, London.
The postwar Studebaker was in its third model year in 1949. The 5-seat coupes were renamed as the Starlight series with a 3-seat business utility variation also available. The Champion had the 169.6 cubic inch six with 80 HP.
15,746 Champion Starlight Coupes (5-seat) coupes were built in the 1949 model year, with 5,917 in Deluxe trim and 9,823 as Regal Deluxe trim at $1,683 and $1,757 respectively (FOB South Bend, Hamilton or Los Angeles).
By Alfred 23 Harth, 50 x 35, 1967.
Alfred 23 Harth’s early formation can be read as a remarkable intertwining of play, discipline, and conceptual awakening that would later come to characterize his multidisciplinary oeuvre. The boyhood dream of becoming an architect already contained a telling dialectic: on the one hand, the imaginative freedom of building ephemeral huts in the garden, one after another; on the other hand, the precision of constructing variations within given parameters. These garden architectures were not merely child’s play but may be understood retrospectively as proto-installations, temporary structures that mediated between imagination and actuality, an early rehearsal of the experimental crossings between construction, performance, and image that marked Harth’s mature practice.
A decisive rupture, almost an initiation ritual into modern art, occurred in 1958 when his elder brother Dietrich took him to a Dada exhibition in Frankfurt am Main. The timing was crucial: postwar Germany was only just beginning to reopen itself to the radical avant-gardes suppressed under fascism. For the young Harth, Dada presented not only a set of provocative images but also the lived possibility that art could destabilize categories, break down hierarchies, and operate conceptually as much as materially. The work The Navel—a simple black dot on white paper, accompanied by a title that displaced perception into language—sharpened this awareness. What mattered was not the mark itself but the dynamic between sign and referent, artwork and its commentary. The epiphany here was not aesthetic pleasure in the traditional sense but recognition of art as a space of thought, irony, and intellectual tension. This was nothing less than the beginning of a lifelong trajectory in which Harth would consistently return to the interface of sound, image, and idea.
In the following years, Harth immersed himself with voracity in every available art medium. School courses gave him the discipline of drawing, painting, and craft; his own appetite for performance led him to stage small situations, often masked or disguised, anticipating the performative interventions of the happening movement. The acquisition of his first camera at twelve extended his field into visual experimentation, while his pencil drawings of jazz musicians revealed both his growing fascination with musical improvisation and his awareness of biography as a narrative lens for art. What is striking here is the simultaneity of practices—music, drawing, performance, photography—that refused to be subordinated to a single discipline. Even before formal professional training, Harth was cultivating a polymorphic artistic identity in the spirit of the avant-garde.
The turn at fifteen to oil painting coincided with a parallel transformation in music: the gift of a tenor saxophone by his parents, an instrument that would guide him into deep engagement with jazz and improvisation. This was not simply the adoption of a hobby but the entry point into an emerging identity as a musician-artist, one who would soon refuse to see music and art as separated categories. Music, drawing, film, and conceptual play converged into a holistic practice that aligned with the growing international awareness of intermedia arts in the 1960s.
Attending the Goethe Gymnasium in his final school years refined this eclecticism. As an art-focused program with an ambition to train future cultural producers, it provided him with a sweeping introduction to international avant-garde currents, from Informel painting and Fluxus to Concept Art and experimental film. What Harth absorbed was not only technique but also a certain intellectual ecology: Frankfurt at that time was a city where cultural exchange, experimental music, and critical thought interacted dynamically. Together with Hubertus Gassner, who would later become a prominent museum director, Harth initiated happenings and other art events. Harth and founded the centrum freier cunst. Such a venture signaled more than youthful ambition: it represented the determination to create autonomous platforms for hybrid work when established institutions remained largely indifferent. Here Harth’s music group Just Music performed alongside conceptual and photo-based works, embodying an ethos of cross-disciplinary experimentation that paralleled international movements but arose organically from the Frankfurt milieu.
By the time of his Abitur in 1968, Harth embodied a paradoxical combination: on the one hand, a youthful openness to every medium, on the other, a growing self-awareness of art as critical practice. His decision to study design at the Werkkunstschule Offenbach, later shifting to art pedagogy at Goethe University, should not be misunderstood as a retreat into conventional paths. Rather, it reflects his strategy of grounding avant-garde impulses in a broader discourse of form and teaching. His musical activities expanded concurrently, so that life at this junction became an intense negotiation of study, performance, and conceptual inquiry. Alfred Harth's focus on synästhetic creation was indeed a significant aspect of his artistic approach at that time. He was interested in exploring synaesthesia beyond traditional media like TV, film, or theater, aiming to realize multisensory or synästhetic works that integrated sound, visual elements, and space in novel ways. This approach reflected his broader interest in breaking conventional boundaries of artistic disciplines and engaging the audience in immersive, multi-layered experiences that could not be confined to a single medium or format.
Looking back, one sees that Harth’s early trajectory established key themes of his later career: the refusal of boundaries between disciplines; the privileging of concept and idea over medium-specificity; the creation of autonomous spaces for collaboration beyond institutional frameworks; and, above all, the conviction that art is not an object but a process—often ephemeral, contingent, and dialogic. The boy who once built huts in his parent’s garden was already rehearsing the logic of variation and improvisation that would structure his later works across music, performance, and visual art. To trace these beginnings is to see how Harth’s career was less a matter of progression from one discipline to another than an ongoing movement across media, always oriented toward the space where form touches thought.
The first all-new postwar Cadillacs arrived in 1948, sporting tail fins inspired by the Lockheed P-38 fighter plane on a Cadillac. Series 62 Cadillacs had a slightly shortened wheelbase, but the track width was increased by two inches, increasing interior room.
The new Cadillac OHV V8 was the big news for 1949, with minor trim differences otherwise. This 331 cu in (5.4 L) engine produced 160 hp (119 kW) and weighed 200 pounds less than the old flathead V8 in addition to being shorter and lower. The 331 V8 could also handle higher compression levels to take advantage of improved, higher octane postwar gasoline formulations. The major difference between Series 61 and Series 62 models of similar body style was minor trim variations.
The Cadillac Series 62 Coupe de Ville was introduced late in the 1949 model year. Along with the Buick Roadmaster Riviera, and the Oldsmobile 98 Holiday, it was among the first pillarless hardtop coupes ever produced.
For 1950, major styling changes were performed. The cars were lower and sleeker, with longer hoods, and one-piece windshields were fitted. Hydra Matic transmission was now standard. The Series 61 was again a short wheelbase model, having been reduced to 122 in (3099 mm). Sales set yet another record at 59,818.
Community Day, West Vancouver, BC., Canada.
The TC was the first postwar M.G., launched in 1945. It was quite similar to the pre-war TB, sharing the same pushrod-ohv engine with a slightly higher compression ratio of 7.4:1 giving 54.5 bhp (40.6 kW) at 5200 rpm but using more modern interior elements allowing a wider cockpit. The makers also provided several alternative stages of tuning for "specific purposes". It was exported to the United States, even though only ever built in right hand drive. The export version had slightly smaller US specification sealed beam head lights and larger twin rear lights, as well as turn signals and chrome-plated front and rear bumpers. Exactly 10,000 production versions were produced, from Sept. 1945 (chassis # TC0251) to Nov. 1949 (chassis # TC10252), a larger number than any previous M.G. model. It cost £527 on the home market in 1947.
For a video of the cars moving off to drive to Steveston
Oakridge Easter Car show 2012