I replaced the vintage limbs. From some newer figure. I don't know what it was from even ....It had a black guys head . And shoulder armor, that I removed....

This Cylon was OK for customizing since he has almost no chrome ! As we all know is a problem with this figure anyway !

I managed to get him apart without damaging anything ..It would be nice to be able to rechrome the pieces again. With some home kit or something... I haven't seen a home kit though ....

Replacing an earlier scanned photo with a better version 31-Aug-19, plus Topaz DeNoise AI 12-Dec-25 (rescanned from a very yellowed negative).

 

Named: "Arab Solidarity".

 

This aircraft was delivered to Syrian Arab Airlines as YK-AHB in Jul-76. After more than 31 years in service it was withdrawn from service and stored at Damascus in 2008, only because the airline was unable to obtain spare parts due to US sanctions.

 

Sometime around 2012/2013, the aircraft was ferried to Riyadh, Saudi Arabia and was noted stored there in Sep-13. It was broken up at Riyadh in Apr/May-14.

(July 2009: original low res print scan replaced with scanned uncropped negative) Best Viewed Large On Black see rest of this horiffic event in the Racist Attack set.

 

See www.cfye.com for the full story and more detail

  

I was walking down Moore Street Dublin on a Sunday 27/07/08 when I was passed by a family of Romany Gypsies and then I heard behind me a bunch of Irish teenage girls shouting abuse at them and thinking they were very funny.

They then picked up old fruit from the stalls and were throwing this at the Romany Gypsies, this escalated as the Gypsies responded verbally. Then further as one teenage girl found old stallholders plastic chair and ran after the Gypsies hitting the woman pictured from behind. The woman tries to protect her baby wrapped in her arm in blankets. Luckily the situation soon diffused after this point.

Taken with Nikon F75: 50mm f/1.4D lens: Y44 Filter. Fomapan 200 film: Developed in Xtol Stock @21C for 6'30'' at 5'' Agitation/30''

 

Scan from 8''X10’’ Print on Ilford MGIV Pearl

 

Replacing an earlier scanned photo with a better version 20-Apr-16.

 

First flown with the Airbus test registration D-AVYD, this aircraft was delivered to Tunis Air in Sep-98. Now almost 18 years old (as of Apr-16), it continues in service.

Replacing an earlier scanned photo with a better version 03-Mar-18, plus Topaz DeNoise AI 15-Apr-23.

 

'Wanula Dreaming', Australia World Tail livery, left side.

 

This aircraft was delivered to British Airways as G-BNLS in Mar-91. It was in service with British Airways for 23 years until it was permanently retired and stored at Victorville, CA, USA in May-14. It was last noted still stored at Victorville in May-15.

Replacing an earlier scanned photo with a better version 12-May-20, plus Topaz DeNoise AI 06-Sep-25.

 

Right side. With very faded 'jet' titles on the fuselage.

 

This 'Harlequin' tail livery was later replaced by 'Blueberries' in Nov-13.

 

Named: "Shades of Blue". Fleet No: "504".

 

First flown with the airbus test registration F-WWBV, this aircraft was delivered to ILFC International Lease Finance Corporation and leased to jetBlue Airways as N504JB in Jan-00. It was sold to jetBlue in Oct-16.

 

The aircraft was stored at Tampa, FL, USA in Apr-20 due to the COVID-19 Pandemic. It was ferried to Orlando, FL, USA in Sep-20 and returned to storage. In Nov-20 it was ferried to Marana, AZ, USA for further storage. It returned to service in Dec-21.

 

In May-24 the aircraft was repainted in the 'Spotlight' livery. It was withdrawn from service and stored at Marana in Sep-25. Now over 25.5 years old I'm thinking it's probably permanently retired. Updated 06-Sep-25.

Replacing an earlier scanned photo with a better version 10-Jun-21, plus Topaz DeNoise AI 22-Sep-23.

 

'Blue Poole', England World Tail livery. The tail scheme appears to be a lighter blue compared to the same livery on other aircraft.

 

First flown in Oct-82, this was a very early B757 (c/n 9), it was British Airways first Boeing 757 (although it was the fourth to be delivered after G-BIKB/C/D) and was delivered as G-BIKA in Mar-83.

 

It was sold to DHL (Holdings) UK in Jul-00 and stored at Wichita, KS, USA until it was converted to freighter configuration with a main deck cargo door in Feb-01. It was leased to EAT European Air Transport as OO-DLN in Mar-01 and operated on behalf of DHL Europe.

 

The aircraft was transferred to EAT Leipzig GmbH (European Air Transport Germany) as D-ALEA in Mar-10 while operations for DHL Europe continued. In Mar-16 it was transferred to DHL (Holdings) UK as G-BIKA again and continued until it was permanently retired at Madrid, Spain, in Dec-16 after almost 34 years in service. The registration was cancelled in Aug-17.

Replacing an earlier scanned photo with a better version 10-May-22 (DeNoise AI)

 

Leased to Ansett Air Freight and operated by Kitty Hawk Air Cargo.

 

This aircraft was delivered to American Airlines as N6833 in May-69. It was in service with American for 25 years until it was sold to a leasing company in May-94. It was converted to freight configuration with a main deck cargo door in Jun-94 and was leased to Kitty Hawk Air Cargo in Aug-94.

 

The aircraft was sub-leased to Pan Air in Oct-96 and returned to Kitty Hawk in Dec-96. It was sub-leased to Ansett Air Freight in Jan-98, returning to Kitty Hawk in Mar-99.

 

The company filed for Chapter 11 Bankruptcy Protection in May-00 and the aircraft was sold to the Kitty Hawk Collateral Liquidating Trust and leased back to Kitty Hawk Aircargo in Oct-01.

 

The aircraft was finally retired at Roswell, NM, USA at the end of Jul-05 and never flew again. It was last noted still stored at Roswell in Mar-11 in derelict condition.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise 07-Sep-25.

 

First flown in Nov-94 with the Airbus test registration F-WWAA, this aircraft was stored at Toulouse until it was delivered to China Eastern Airlines as B-2325 in Mar-95.

 

It was retired and stored at Shanghai-Hongqiao in Mar-14. The aircraft was sold to AVIC Leasing in Dec-14 and converted to freighter configuration at Dresden, Germany in Mar-16 and leased to Uni-Top Airlines, China in later the same month.

 

The aircraft was permanently retired at Shanghai-Hongqiao in Jun-19.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 27-May-24.

 

Named: "Parrot".

 

This aircraft was delivered to GECAS and leased to China Airlines as B-18673 in Nov-96. It didn't stay long and was returned to the lessor in Dec-98. It was leased to Istanbul Airlines as TC-IAG the following day.

 

It didn't stay in Türkiye long either and returned to the lessor in Apr-00 (Istanbul ceased operations in Aug-00). The aircraft was leased to City Bird Airlines (Belgium) in May-00. It was transferred to City Bird France as F-GLTG in Apr-01. City Bird and City Bird France were declared bankrupt in Oct-01 and the aircraft was returned to the lessor as N120AF in Nov-01 and stored.

 

In Apr-02 it was leased to SATA International (Azores/Portugal) as CS-TGZ in Apr-02 and returned to the lessor in Aug-05. In Sep-05 it was re-registered VT-SJC and leased to Air Sahara (India). Air Sahara was sold to Jet Airways (India) and was eventually renamed Jet Lite as Jet Airways 'low-cost' division.

 

The aircraft was returned to the lessor as N491MT in Apr-09 and stored at Kuala Lumpur-Subang. In Sep-09 it was leased to Skynet Asia Airways (Japan) as JA737G. Skynet was renamed Solaseed Air in Jul-11. It was sold to Solaseed Air in Jul-14 and a week later the aircraft permanently retired at Chateauroux, France.

 

In Jul-15 the aircraft was preserved at Chateauroux as a crash rescue mock-up for Fire Service training. Updated 26-May-24.

Replacing an earlier scanned photo with a better version 09-Apr-14.

 

Operated as a freighter by Baltic Airlines, it's seen here still in the basic livery of Manx Airlines, it's previous operator.

 

This was quite a late build Viscount which first flew in Aug-59. Originally ordered by Trans Australia Airlines as a Viscount 816, it should have become VH-TVR but the order was cancelled before delivery.

 

It was initially stored and then converted to a type V.836 in Apr-60 and sold to the Union Carbide Corporation for executive operation as N40N in May-60. It was sold to the Royal Australian Air Force in Aug-64 as A6-435 and operated for five years until it was sold in the USA in Nov-69 as N40NA to the Alda Corporation.

 

It returned to Australia the following month as VH-EQP with Jet Air Australia and was sold to the Brins Finance Corporation in Sep-70 and sold on the same day to Gates Aviation Turbine Propeller Sales.

 

In Jun-71, continuing it’s ‘executive’ role, it was sold to The Sultan of Oman’s Air Force serialled ‘501’. In Sep-78 it was sold to Royal Swazi National Airways as 3D-ACM but the sale was never completed and the aircraft stayed in Oman until Mar-79 when it was sold to British Midland Airways in the UK as G-BFZL.

 

The aircraft was briefly leased to BMA subsidiary Manx Airlines in Oct/Nov-83 and then leased to them again in Nov-85. In May-86 it was sold to British Aerospace (BAe), leased back to BMA and sub-leased to Manx Airlines, all on the same day.

 

It continued in service with Manx until it was returned to BAe in Nov-88 and immediately leased to Baltic Airlines. It was briefly sub-leased to Manx Airlines again in Apr/May-90 (when this photo was taken).

 

In May-90 Baltic Airlines was merged into British Air Ferries who changed their name to British World Airlines in Apr-93. In Apr-97 it was sold to Heli-Lift Ltd and leased to their subsidiary Heli Jet Aviation.

 

In Mar-98 it was transferred to their South African division as ZS-NNI and was later stored at Lanseria, South Africa, until it was sold to Trans Inter Congo in Nov-02 as 9Q-CGL. In Apr-03, now 44 years old, it was written off in a take-off accident in the Democratic Republic of Congo.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 28-Dec-25.

 

First flown with the Boeing test registration N1786B, this aircraft was delivered to Air-Berlin as D-ABAX in Apr-00. It was fitted with Blended Winglets in May-01.

 

The aircraft was sold to Jackson Square Aviation in Nov-07 and leased to Shenzhen Airlines as B-5361 later the same month.

 

After 12 years with Shenzhen Airlines the aircraft was returned to the lessor in early Apr-19 and permanently retired at Castellon de la Plana - Costa Azahar, Spain. It was broken up there in Aug-19.

Replacing an earlier scanned photo with a better version 27-Jul-17 + DeNoise AI 26-Oct-22.

 

Named: "Athens".

 

Leased from/operated by Germania on behalf of Azzurra Air.

 

A very early B737-700 (Line No: 98) first flown with the Boeing test registration N1786B in Aug-98. this aircraft was due for delivery to Pembroke Capital Aircraft Ltd for lease to Transaero Airlines (Russia) as N102UN. However, the lease was cancelled.

 

The aircraft was registered to the Boeing Airplane Company as N102UN in Sep-98 and stored at the Boeing factory at Seattle-Renton, WA, USA. It was finally delivered to Pembroke Capital and leased to SAT Fluggesellschaft (Germany) as D-AGEY in Dec-98.

 

It was immediately sub-leased to Germania. The aircraft was wet-leased to Azzurra Air (Italy) in Mar-01 and returned to Germania in Jan-04. In Mar-04 it was wet-leased to Maersk Air (Denmark). The sub-lease was surrendered in Feb-05 when the aircraft was leased to Maersk direct from SAT Fluggesellschaft and re-registered OY-MLY.

 

Maersk Air was merged into Sterling European Airways in Sep-05 and the aircraft was returned to the lessor in May-06. It was leased to GOL Transportes Aereos (Brazil) as PR-GIF later that month. It returned to the lessor in Apr-16 and was permanently retired at Tucson, AZ, USA. It was last noted still at Tucson in Nov-16, derelict and still in basic GOL livery.

 

Note: The registration D-AGEY was later re-issued on another Germania B737-700 (c/n 28013/682) between Apr-13/Oct-14

Replacing an earlier scanned photo with a better version 21-May-22 (DeNoise AI).

 

This aircraft was delivered to Air France as F-GJNE in Jan-92. It was sold to the General Electric Capital Corporation (later to become part of GECAS) in Apr-01 and leased back.

 

It was returned to the lessor in Jan-07 and stored at Toulouse, France. The aircraft was leased to Yamal Airlines (Russia) as VP-BRQ in Apr-07. It was returned to GECAS in Nov-14 and permanently retired at Kemble, UK.

 

The aircraft was broken up at Kemble in late 2015 and the fuselage was transported by road and sea to Hoofddorp, Netherlands in Jan/Feb-16 where it was to be used as a Cabin Service Trainer. The wings were due to be attached at a later date (I have no information on whether they were or not!). Updated 19-May-22.

Replacing an earlier digital photo with a better version 26-Aug-21 (DeNoiseAI).

 

Taken from the Templeton Bridge,

 

Fleet No: "722".

 

First flown with the Boeing test registration N1786B, this aircraft was originally to have been registered N17730. This wasn't taken up and the aircraft was delivered to Continental Airlines as N27722 in Apr-99. It was fitted with blended winglets in May-05. Continental Airlines was merged into United Airlines in Oct-10 and the blended winglets were changed to split scimitar winglets in Sep-15. Current, updated (Aug-20)

Replacing an earlier scanned photo with a better version 02-Feb-17 + DeNoise AI 28-Oct-22.

 

Fleet No: "1227".

 

This aircraft was delivered to Swissair as HB-IHI in Oct-77. It operated Swissair's last DC-10 service on 30-May-92 with additional 'Farewell, DC-10' titles.

 

The aircraft was sold to Northwest Airlines as N227NW in Jun-92. It was retired in late 2006 after 29 years in service, sold to the Memphis Group and stored at Marana, AZ, USA.

 

It was sold to Qwest Air Parts in Nov-07 and broken up at Marana in Nov/Dec-07 (although the fuselage shell was noted still intact in Apr-08).

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 19-Nov-23.

 

Boeing 707-300C's were all built with a main deck cargo door and could be used for either passengers or freight. This aircraft was delivered to Northwest Orient Airlines as N376US in Nov-67.

 

It was sold to BWIA International (Trinidad & Tobago) as 9Y-TEK in May-75. In Mar-82 it was sold to Caribbean Air Cargo (Barbados) as 8P-CAD and converted to a full freighter configuration with the cabin windows replaced with blanks.

 

The aircraft was sold to Dynair Tech of Florida Inc in Oct-89 and stored. It was sold to Skyways International in Dec-90 and in May-91 it was sold to First City Texas Houston as N707KV. It was transferred to New First City Texas Houston in Nov-92 and stored at Athens, Greece.

 

In Feb-94 it was sold to Nordstrom Holdings and leased to TAAT Trans Arabian Air Transport as ST-ANP. The aircraft was sold to TAAT Uganda as 5X-ARJ and leased back to Trans Arabian (Sudan) in Dec-96 (when Sudan registered aircraft were banned from Europe).

 

It was re-registered ST-ANP again in Apr-99 when Trans Arabian Air Transport (Sudan) bought it. The aircraft was damaged beyond repair just 4 months later, in Aug-99, when it landed with a strong tailwind at Juba, South Sudan and overran the end of the runway.

Replacing an earlier scanned slide with a better version 16-Apr-15, plus Topaz DeNoise AI 29-Sep-23.

 

Named: "City of Vienna".

 

First flown with the Douglas test registration N8963U, this aircraft was delivered to KLM Royal Dutch Airlines as PH-DNN in Apr-68 (just two months before this photo was taken).

 

The 'RC' version of the DC-9 was built with a main-deck cargo door and could be used for passengers, cargo, or a combination of both.

 

It flew with KLM for 19 years until it was returned to PK Finans International in Feb-87. It was sold to United Aviation Services Inc as N35UA in Mar-87 and sold on to the Con-Av Corporation the following month.

 

It was leased to Evergreen Airlines in May-87 and was re-registered N931F in Oct-87. It was operating cargo flights for the USAF and was written off when it crashed near Saginaw, Texas, on 19-Mar-89.

 

Note: The aircraft was operating a cargo contract for the USAF. On arrival at Fort Worth - Carswell AFB, TX, the cargo offload and onload was carried out by USAF staff. The aircraft departed for it's next stop at Oklahoma City - Tinker AFB and just after take-off the main cargo door half opened.

 

The Captain declared an emergency and continued the climb to 2,500 ft. During a shallow right turn the airflow caught the cargo door which opened fully to its top position. This caused the right turn to deepen until it passed the point of no return and the aircraft crashed upside down and disintegrated. Both flight crew died.

 

The First Officer had been operating the cargo door during the turnround and it appeared he didn't hold the door control down for long enough to allow the locks to engage properly.

Replacing an earlier digital photo with a better version 19-Apr-24.

 

This aircraft was delivered to Aero Lloyd (Germany) as D-ALLF in Dec-87. It was sold to a lessor in Mar-95 and leased back to Aero Lloyd. It was withdrawn from service and stored at Frankfurt, Germany in Nov-01.

 

In Jan-02 the aircraft was returned to the lessor and ferried to Nimes-Garons, France for further storage. In May-02 it was leased to MD Airlines (Iceland) as TF-MDD.

 

It was wet-leased to Alisea Airlines (Italy) in Dec-02. In May-03 the aircraft was sold to GATX Third Aircraft Corporation as N491GX and leased direct to Alisea. It was returned to the lessor in Sep-03 and returned to storage at Nimes [Alisea ceased operations in Dec-03].

 

In Mar-05 the aircraft was leased to Dubrovnik Airlines (Croatia) as 9A-CDA. It was wet-leased to Kan Air (Afghanistan) in Nov-07 for a Haj Pilgrimage operation and returned to Dubrovnik Airlines in Dec-07.

 

It was wet-leased to AviaJet (Ireland) in Apr-06 and returned to Dubrovnik Airlines in Oct-06. It was wet-leased to MontAir (Bosnia/Herzegovina) in Mar-10. Return date unknown. Dubrovnik Airlines ceased operations on 23-Oct-11 and the aircraft was stored at Dubrovnik. It was 24 years old and was permanently retired.

Replacing an earlier photo from Apr-15 with a better version.

 

This aircraft was delivered to American Airlines as N728AN in Apr-14. Current (Apr-17).

“When the sun has set no candle can replace it” . Twin Peaks, San Francisco . #twinpeaks #sanfrancisco #california #westcoast #clickingmann #view #sunset #mountains #topoftheworld #landscape #photography #travel #travelphotography #photooftheday #holiday #lightroom #500px, via Instagram ift.tt/2BG4O4A

Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.

 

In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.

 

In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.

 

The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.

 

The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.

Replacing an earlier scanned photo with a better version 20-Sep-22 (DeNoise AI).

 

This aircraft was originally ordered by Presidential Airways as N415XV but the order was cancelled. It was first flown with the British Aerospace test registration G-BPBT in Jan-89.

 

It was converted to a B.Ae 146-200QC ('Quick Change') with a main deck cargo door in May-89 and could be used in either the passenger or cargo role.

 

It was leased to Ansett New Zealand in Oct-89 and re-registered ZK-NZC in Jan-90. The aircraft was withdrawn from service and stored at Christchurch, NZ in Jul-99. It was sold sold to Titan Airways (UK) as G-ZAPN in Sep-99.

 

It was wet-leased to British Airways Citiexpress between Aug/Dec-02. The aircraft was damaged at Manchester UK when it was hit by a set of steps during high winds on 15-Dec-02. It was repaired and returned to service on 13-Jan-03.

 

The aircraft continued in service with Titan Airways until it was withdrawn from use in Mar-13 and sold to Pionair Australia later the same month.

 

The aircraft was converted to a permanent cargo role and operated by Skyforce Aviation as VH-SIF in May-13. It returned to Pionair Australia in Aug-13.

 

It was noted still in service with Pionair in Jan-22, and still in its last Titan Airways basic livery (black rear fuselage/tail with the big sun and stars!). However, it's now shown in most databases as 'stored'. It's now 33 years old. Updated 20-Sep-22.

  

Replacing an earlier scanned photo with a better version 22-May-16, plus Topaz DeNoise AI 30-Mar-24.

 

This aircraft was delivered to PIA Pakistan International Airlines as AP-BGJ in Jan-04. It was withdrawn from service and stored at Karachi, Pakistan in Jul-24. Stored, updated 27-Dec-24.

File: 2016001-0105

Previous scaled down image replaced with full size 2592 x 3872 image.

  

Lulu modelling and photographed in casual outfit. Newport, Wales, United Kingdom, 29th January 2016.

  

She is seen here, modelling in a light brown and cream coloured stripped faux fur coat made by Quality Fashion, bought second-hand from a charity shop. She is wearing her own black scoop neckline top, with her own dark blue jeans. She is wearing a pair of black high heels. The photographs were taken in front of a studio backdrop, using a Nikon D200 DSLR.

 

In 1985, when I was at a deaf school in my last year, I decided to get into doing photography as a career. It is the kind of off-beat job that I would like to do, so I tried to apply for a college course studying photography. But the hearing teachers, my own family, family friends, career advisors, and even the social workers, told me that I should not do photography as a job because I am deaf.

 

In those days here in the United Kingdom, there were discrimination against disabled people, as there weren’t much laws protecting our rights at that time. My mother told me I can’t do photography, because I’m deaf with speech impaired.

 

I tried to make an effort to get them into helping me get a college course, studying photography. But they got me on a training course at college, instead of a proper serious course. From 1987 to 1989, I spent two days studying traditional graphic design while at college, with three days work experience for a professional photographer as part of my training course, mainly as photographer’s assistant and darkroom technician.

 

I admit that I became hooked on doing graphic design, so in additional to wanting to become a photographer, I decided I want to become a graphic designer as a second option.

 

After leaving college, I attempted to get a job working either in photography or graphic design, but as I mentioned earlier, in those days, there were still discrimination against the disabled people, so employers are likely to favour hearing people over deaf people.

 

For a few years, I continue to do my own photography and my own graphic design projects at home, in order to keep up my skills, while at same time, trying to find a job. Then I got married, and started a family life, but divorced her and I became a full-time single parent, so everything was put on hold for a while, until the kids were much older.

 

Finally, in the United Kingdom, we got The Equality Act 2010, that would protect our rights.

 

Few years later, while my kids were old enough to attend full-time school, I resumed my own projects, mainly to refresh my skills. I would need to improve my portfolio if I were to try to apply for a job, or may even consider going freelance. One of the graphic design projects I planned to do, requested a female model.

 

So I searched online, looked at some of the modelling agencies and model booking websites.

 

I booked Lulu for a two-hours outdoors photo-shoot in Newport, Gwent, South Wales. I arrived at her home, met up with her, and went through the details of the photo-shoot. We went into city centre, and I found a perfect location for my needs, did the photo-shoot for my graphic design project.

 

When the outdoors photo-shoots were done, there was still time to spare, I think maybe one and half hour of the booked two-hours slot was used up, leaving maybe half hour left.

 

I think that both she and her husband didn’t think it was right, I think they feel like they were overcharging me for less time used, or something like that. They were nice and polite, and they allowed me to use up what was left of the booked timeslot. They pointed out that they have a small makeshift studio in their spare bedroom, and suggested I could use it for some indoor photo-shoots, use what was left of the booked timeslot to do more photographs if I wish to do so. I figured why not? Not only that I would get my money’s worth, but also take a chance to do more refresher photography.

 

And this is one of the series of photos I took in the remaining half hour of the booked timeslot.

 

Point of note: Lulu had left a glowing and positive review on my profile, on the model booking website, pointing out that despite my being deaf with speech impaired, she had found working with me a pleasure and enjoyable.

  

The Comment Box for my photo is NOT an advertising billboard for any Groups. (e.g.: “As seen in [whatever] group.”)

 

You are free and welcome to comment for yourself, with your own words, but not for the group Admins. Any comments with clickable links will be considered as spam and will be deleted.

 

Chevrolet replaced the long-running C4 Corvette in 1997 with the new C5. As well as all-new, but recognisable styling, the C5 debuted a number of key innovations in its hydroformed inner structure.

 

All C5 Corvette's had power, the initial LS1 5.7L pushrod V8 producing 257 kW (345 hp), enough to push the Corvette to 282 km/h.

 

There were three body styles for the C5 generation Corvettes:

 

A) the Coupe (shown), which featured a removeable targa-top panel, and had an opening liftback luggage area,

 

B) the Hardtop, which was a notchback coupe-style, fixed roof panel, and

 

C) the convertible.

 

The Corvette plant is located in Bowling Green, Kentucky, and I was fortunate to have a Plant tour in 2001. Though the production rate is relatively low, the plant is clean and modern. The National Corvette Museum is located not far way. The area is in a beautiful part of the US, and close to the amazing Mammoth Cave.

 

The model here is shown in orange - not an available factory colour for the the C5 generation Corvette - though there have subsequently been many custom painted examples. I chose orange though, having recently built the somewhat underwhelming LEGO Technic Corvette in this colour.

 

Other C5 Corvette models are planned to follow.

 

As for most of the models built his November, the Chevrolet C5 Corvette is a major redesign of a previously created model. In LUGNuts there was a build challenge named 'Redo or Redemption' just for this type of build.

 

Replaced 14/07/2024

 

IMG_0762-02-B

Replaced to add back the EXIF data that Picasa dropped.

Replacing an earlier scanned photo with a better version 16-Apr-22 (DeNoise AI).

 

This aircraft was delivered to Air Afrique as TU-TAN in Jul-79. It was sold to a lessor in Nov-94 and leased to AOM French Airlines (Air Outre Mer) as F-GTDG in Feb-95.

 

It was wet-leased to Garuda Indonesia Airlines for a Haj Pilgrimage operation between May/Jun-95, and again between Mar/Jun-96. The aircraft was returned to the lessor at the end of Jul-01 and stored at Rheims, France.

 

In Jan-04 it was ferried to Toulouse and Paris-de Gaulle for a lease to Sud Airlines. However, the lease fell through and the aircraft remained stored at Paris-CDG.

 

It was sold to GA Telesis in Oct-04 and re-registered N997GA in Dec-04. It ferried to Opa Locka, FL, USA in Jan-05 and was broken up there in Jan-06.

2021 Tesla Model 3

 

4021, Farrington Street.

Replacing a house from the 1950s.

Garden Village, Burnaby, British Columbia

Replacing an earlier scanned photo with a better version 26-Jul-17 + DeNoise AI 18-Oct-22.

 

Fleet No: "50M".

replaced the M9 with an M-P (240) :D

 

Having sold off a lot of old gear including most of my old Nikon kit, I also got hold of a 35mm 1.4 Summilux FLE

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 22-Nov-24.

 

With additional 'Evergreen Group' titles on the nose.

 

Originally ordered for delivery to Monarch Airlines, UK, the order was cancelled, this aircraft was delivered to EVA Air, Taiwan as B-16601 in May-91.

 

It was sold to SALE Singapore Aircraft Leasing Enterprise in Jul-94 as N601EV and leased back to EVA Air. It was returned to the lessor in Jun-05 and leased to Aeroflot Russian Airlines as VP-BWU the following day.

 

The aircraft was returned to the lessor and stored at Marana, AZ, USA in Aug-12. It was sold to Aircraft MSN 25076 LLC as N676AC in Oct-12 and remained stored. In Mar-13 it was sold to Aerotron Ltd, UK and permanently retired. The registration was cancelled in Apr-13. It was broken up at Marana in Feb-14.

4th August 2018 - CM Coaches Volvo B7 and Target Travel Volvo B10M SUI8207 load outside Exeter St David's Station whilst operating rail replacement services between Exeter and Salisbury due to a strike by South Western Railway staff.

Replacing an earlier scanned photo with a better version 03-Nov-14, plus Topaz DeNoise AI 28-Mar-25.

 

Named: "Nordlingen".

 

First flown in Mar-87 with the Airbus test registration F-WWAR, this aircraft was delivered to Lufthansa in Jun-87 as D-AIAN. It operated for Lufthansa for almost 22 years until it was withdrawn from service and stored at Dresden, Germany in Oct-08.

 

It was sold in Apr-09, through an intermediary, to Kyrgyz Trans Avia as EX-35009. This appears to have been a way of getting round western sanctions on exports to Iran, like some of its sister-ships.

 

It was initially wet leased to Mahan Air in Jul-09. Not wet leased for long though! In Aug-09 it was re-registered in Iran as EP-MNR. I'm unable to verify that it's still in service after Nov-19 and it's given as 'stored' in most databases.

 

However, we don't know with aircraft in Iran whether it's just 'stored' or permanently retired, although it's now 38 years old! Updated 28-Mar-25.

The 900T was replacing the Fiat 850T which was technically based on the 1964-1973 850 Saloon.

It's very nice to see that this old van still is in use as an ice-cream van.

 

903 cc.

1065 kg.

Production 900T: 1976-1985.

Original old Dutch reg. number: March 31, 1978 (still valid).

Bought at June 13, 1997.

 

Amsterdam-Z., Buitenveldert, Van Nijenrodeweg, March 9, 2016.

 

© 2016 Sander Toonen Amsterdam | All Rights Reserved

Christie was one of Barbie's oldest friends, debuting in the late 1960s. Sadly, she slowly faded from Barbie's world and was replaced by Nikki sometime in the mid 2000s. However, my love for Christie will always remain. She was an integral part of my childhood, and a staple in my doll collecting journey. Christie could never be replaced in my eyes. From the time I got my first Christie doll at around six/seven years old up, I was captivated. She's always one of my personal favorite friends of Barbie to find at flea markets and secondhand stores. I also seem more inclined to shell out a chunk of change for Christie, perhaps because my love for her is rooted so deeply.

 

It all began in the mid 1990s, when I purchased my very first Kelly doll with my allowance money. Colleen and I mutually opted to get Barbie's brand spanking new little sister. We saw her for the first time on a shopping trip with mom and dad (I believe it may have been at the mall). In toy section, we found ourselves enamored with Barbie's baby sister. There were only two options--Bathtime Fun and Bedtime Fun Kelly. I was automatically drawn to the African American versions. Their beautiful skin color stood out in the sea of predominantly blonde dolls. Since Colleen was set on getting the blonde Bedtime Fun Kelly, I decided I would select the Bathtime Fun doll. I thought it would be more sensible for us to buy different Kelly dolls, that way we wouldn't both have identical outfits/accessories. But unlike Colleen, my Kelly was the AA variant. I admired the adorable photo on the back of Kelly's box on the way home in the car. She was advertised with a stunning African American Barbie. I was smitten with this Barbie too, and wondered if she was a real doll or one simply used for advertising (yes, even as a young kid I quickly realized that not all toys used for promotions existed). I decided in that moment that I wanted to get a big sister for my brand new Kelly, who I dubbed Kelsey.

 

I scrounged up my allowance money for what felt like an eternity so I could get a sister for my beloved Bathtime Fun Kelly. Kelsey was an instant hit at our house. Even Colleen preferred her over the Bedtime Fun Kelly she'd picked out. Seeking Colleen's approval and affection, I let her play with Kelsey. I thought that this would bribe her into playing dolls with me instead of separately. She too became part of my quest to get an African American Barbie. Back then, we mostly had secondhand Barbies or store bought Disney characters. There wasn't much diversity between our two modest collections. She thought it would be exciting to find an AA Barbie too. Christie seemed like the most obvious choice. She was available in inexpensive beach lines, that I could save up for in a reasonable amount of time. That's precisely why my very first Barbie sized African American doll was Pearl Beach Christie, photographed here. I honestly wasn't too picky about which doll I got. Basically it was a "whoever I can afford first" situation. Christie just so happened to be at the store on that day I finally had saved up around eight dollars. She too became an overnight sensation. Colleen and I played with Bathtime Fun Kelsey and Pearl Beach Christie in our secondhand Fold 'n Fun House. For a time, it was our favorite "game" we played. We even put our allowance funds together to purchase Splash 'n Color Steven, so Christie could have her actual boyfriend. Of course things got out of hand as they always did, and eventually Christie was dumped for my flea market rescue Dentist Barbie. But despite her de-throning, Christie remained one of my favorite, most special dolls in my childhood collection. Don't be fooled by her short hair cut--it was meant from a place of good intentions, but my younger self didn't have the foresight to see that it was a bad idea.

 

The addition of Pearl Beach Christie changed the way I bought dolls forever. It sounds like a dramatic statement, but it is true. While I did enjoy Barbies prior to owning Pearl Beach Christie, I saved up my allowances for Disney characters most of the time. I think I was drawn to their diverse head molds, skin colors, and facial screenings. When I tapped into the world of Christie, I was hooked. She was truly the first doll I collected. I procured more and more Christie dolls as the years wore on. Some of my earliest besides Pearl Beach were Glam 'n Groom and Happenin' Hair. Sadly I do not own either of those Christie dolls anymore...well at least not my original childhood ones. I went through a phase of feeling like I needed to purge my doll collection. I arbitrarily chose dolls to give away. Both of those Christie dolls ended up being rehomed to Dad's coworker, who had a daughter close to my age. But I could not part with Pearl Beach Christie, not for the world. Almost immediately I had regretted my decision to part with them. Happenin' Hair Christie had been a doll I picked out for my eighth birthday, alongside Generation Girl Chelsie. Glam 'n Groom was a Christie I splurged all my allowance money on impulsively when I first saw her at Walmart. She was actually my favorite of my first few Christie dolls for aesthetic reasons. Glam 'n Groom had the most amazing afro hair. Her tight ringlets made quite the statement, plus I adored how her dog Keeley matched. She also sported an ultra glamorous, purple velvet ensemble.

 

Almost as soon as I had bid goodbye to the dolls I gave away, I set out to replace them. This proved to be much harder than anticipated, especially when it came to the Christie dolls. She was not stocked at as many stores as Barbie's Caucasian friends. This meant less kids owned her in the first place. So even getting her secondhand would prove to be a quest. I wasn't able replace Happenin' Hair or Glam 'n Groom as a child, unlike say Workin' Out Barbie who I found almost immediately after I got rid of her. I made up for this loss by expanding my Christie collection to include other dolls. I'd say the second wave of collecting them hit when I was about eleven years old. My mom passed away in August of 2002, after losing a battle with cancer. Dad's way of dealing with the death was to always be out of the house. He bribed me and Colleen by offering to take us to toy stores and flea markets every weekend. I think subconsciously I gravitated towards picking out Christie dolls as a way to overcompensate for getting rid of Happenin' Hair and Glam 'n Groom. It was during the first two years after losing Mom that my Christie collection exploded. I found the majority of them for discounted prices at KB Toys. But some Dad shelled out the full monty for at places like Walmart, Target, or even Toys 'R' Us (which was known for marking toys up by a few dollars).

 

I was fortunate that my favorite toy store, KB Toys, was notorious for carrying over stocked or unwanted toys. Since many AA dolls are sold in their own special assortment, KB Toys was inundated with them. That's probably why I had so much luck building my Christie collection at the time. Some of the dolls I got on those weekend excursions were Rain or Sun, Sunsation, Rio de Janeiro, Dance 'n Flex, and Chair Flair. But as I mentioned before, our toy shopping was not just limited to stores. Dad also took Colleen and me out to a variety of flea markets on Sundays. This proved to be the perfect venue to procure out of date Christie dolls. I found Purple Panic and the simplified KB Toys release of Hollywood Nails Christie around this same time. What set my Christie purchases apart from most of the other dolls I was getting was the fact that I didn't always intend to play with them. I simply wanted to own Christie dolls. Back then, I didn't recognize this as collecting her. I had this notion that collecting meant keeping dolls in boxes with the intent to resell--a hobby that had no joy or personality, and one which made dolls miserable. But in all honesty, I was a budding collector. I had bought other dolls in the past, simply because they were "cool," without ever intending to play with them. However, Christie was one of my first targeted interests, much like Disney dolls. If I had not made such a purposeful effort to buy Christie dolls whenever the opportunity struck, I wouldn't have ended up with nearly as many of them. They weren't as easy to come by as say Teresa. While I did have more Teresa dolls, that was unintentional on my part (she wasn't remotely hard to stumble upon at stores or at secondhand venues). For that reason, I would consider Christie to have been my favorite friend of Barbie, from a collector stand point, ever since I was a kid.

 

Many years passed, and as I became a teenager I stopped playing with and collecting dolls. This was due to the shame I felt based on the notion that dolls were childish. Nobody ever told me I was "too old" for them, but I put the pressure on myself to conform to societal expectations. Five years in the grand scheme of life isn't much. But when you are a teenager, five years is like a lifetime. I finally delved back into dollies at the start of 2011. It was never meant to become my lifestyle again, but dolls quickly took over...and I wasn't mad about it at all. Those five years made me forget so much, even though my deep connection to my plastic friends was still very much there. So I made the foolish mistake of purging dolls once again. Some of my Christie dolls took a hit--Dance 'n Flex and Chair Flair. I found myself in that same situation I had nearly ten years before. It was instant regret...but I learned something valuable. I realized I should stop pruning my collection needlessly because I had some arbitrary idea about how many dolls was the "proper" amount to own. Any purging I would do in the future, I resolved, would be done with much more forethought and an actual reason. I set out to not only rediscover my love for dolls, but also to rebuild my pruned collection.

 

I still have yet to replace all my Christie dolls I gave away over the years. But I was lucky enough to find Happenin' Hair, still sealed in her box, at a consignment shop in 2012, alongside Bead 'n Beauty. I ogled Bead 'n Beauty every time I saw her at stores as a kid, I just never got her for whatever reason. While I am always on the hunt for those familiar faces, I have found luck scoring different Christie dolls. Many of my adult purchases were still boxed. I had a streak of finding beach Christies during those early years. I found Sparkle Beach, Sun Sensation, and Tropical Splash all in close succession. I am extra fond of beach themed Christies since they remind me of Pearl Beach. I couldn't believe it the day we stumbled upon Share A Smile Christie at the local flea market, for just a few dollars, also mint in box. Share A Smile Becky was one of Colleen's personal favorite dolls growing up. So we were both overjoyed to find the Christie from her set. Several of my favorite secondhand finds over the years have been WNBA, Jam 'n Glam, and Cut 'n Style Christie. All were from collections I either had or wanted to have as a child. Needless to say, I'm always ecstatic when a random one pops up in a large lot of dolls we've purchased. Whether they were practically brand new looking, like WNBA, or in shambles, like Cut 'n Style, finding a Christie doll is always a treasure.

 

It's funny how even though everything in life seemingly changes, how at the core we remain so much the same. I might be a fully grown woman now, but I still see dolls very much through the same lense as a kid. I don't overanalyze it--if a doll speaks to me, I add her to my collection. There isn't always a rhyme or reason to it. The main difference is that I have amassed much more knowledge about dolls, and I know how to properly restore them (rather than relying on primitive techniques like hair cuts to fix frizz). I was quick to rediscover my passion for Christie dolls. But having more information about her fueled that fire. Now I know that Christie dated back all the way to the late 1960s. You can imagine how my jaw dropped the first time I saw photos of Malibu Christie in one of my collector books. While it is a pipe dream, I still hoped to find a very old Christie doll someday. Sadly, it's hard to find any African American dolls from the 80s and earlier. They were even more scarce back then. But whether they are the newest incarnation or one from my childhood, Christie will always be Christie to me.

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

Steam rises from remnants of a burned forest and from a large field of basalt lava. Has an eruption just happened? Not for hundreds of years, though the scene of a morning inversion here could lead the imagination. Steam appears to be rising from the field of basaltic lava itself forming bright fog that could stand in for vog (volcanic fog rich with sulfur dioxide). This area of Lassen Volcanic National Park I have always found fascinating. The eruption from centuries ago of thick basalt has effectively erased a swath of forest here replacing it with black rock, though the trees and plants are in the earliest stages of reclaiming the lost territory. Given a millennia or two they will eventually succeed, though they will have to endure many wildfires like the Dixie Fire which tore through this area a few years back.

Replacing an earlier scanned slide with a better version 21-Feb-16, plus Topaz DeNoise AI 26-May-83.

 

Monarch Airlines was an early buyer of B757's, this one is line No:18 and was delivered to Monarch in Apr-83 as G-MONC. It was leased to Hispania Lineas Aereas in Nov-88 and re-registered with the Spanish temporary registration EC-211 the following month.

 

It returned to Monarch as G-MONC in Mar-89. In Apr-90 it was leased to a German leasing company and sub-leased to Condor Flugdienst for 2 years as D-ABNY, returning to Monarch in Mar-92 as G-MONC.

 

In May-96 the aircraft was leased to Air Holland. Operated by Monarch for a year it was re-registered PH-AHO in May-97. In Nov-97 Air Holland sub-leased it to Air Gabon for 2 months. It returned in Jan-98 and continued in operation with Air Holland until it was returned to Monarch in Apr-99, again as G-MONC.

 

In Nov-08, then almost 26 years old, it was permanently retired at Lasham, UK, and broken up there in Feb-09.

Replacing an earlier scanned photo with a better version 23-Oct-14.

Mikasa, Hokkaido.

Fuji-Holga 120S, Fujinar 75mm F3.5 of Super-Fujicasix, replaced from EBC Fujinon 75mm F3.4 of Fujica GS645 ( www.flickr.com/photos/threepinner/22015924430/ completely broken ), negative ISO 160 from Fuji expired, exposed as ISO 100, developed with BAN from Cgugai, scanned with Plustek OpticFilm 120 + Vuescan at 5300DPI, edited with GIMP.

Bigger sizes: www.flickr.com/photos/threepinner/51325600749/sizes/ up to 10000 × 9740 pixels compatible. Learn DIY development and upgrade to film !

Replacing an earlier scanned photo with a better version 08-Feb-22 (DeNoise AI).

 

Named: "Greta Garbo".

 

First flown with the Boeing test registration N1786B, this aircraft was delivered to the original version of Lauda Air in Jun-01. Lauda Air was merged into Austrian Airlines in Oct-04.

 

It was fitted with blended winglets in Oct-08 and remained in full Lauda Air livery until it was repainted into Austrian Airlines livery in Jan-10 and was re-named "Hochschwab" in May-10.

 

After only 11 years in service the aircraft was ferried to Kemble, UK in Jun-12 and permanently retired! Updated 08-Feb-22.

 

Note: The registration OE-LNO was re-used on a DHL Boeing 757-200F in Feb-22.

Replacing an earlier scanned photo with a better version 08-May-16.

 

Delivered to Thai Airways International as HS-TMG in Jul-92, the aircraft was withdrawn from service and stored at Bangkok in Mar-06. It was sold to UPS United Parcel Service in May-06 as N257UP and ferried to Roswell, NM, USA for further storage. In Nov-06 it was flown to Singapore-Payar Lebar where it was converted to freighter configuration with a main-deck cargo door by Mar-07. The aircraft continues in service with UPS as of May-16.

Replacing an earlier scanned photo with a better version 07-Nov-17.

 

Fleet No: '3059'.

 

Originally built as a DC-10-30CF with a main deck cargo door enabling it to carry passengers or cargo, this aircraft was delivered to World Airways as N109WA in Apr-80. It was sold to a lessor in Feb-82 and leased back to World.

 

It was sub-leased to Air Florida between Mar-83 and Jul-84. It was also sub-leased to Malaysia Airlines between Jul/Sep-85 for a Haj Pilgrimage operation. The aircraft was leased to United Airlines in Apr-86.

 

It was sold to United in Sep-86 and re-registered N1859U. In Mar-97 it was converted to a full freighter configuration and transferred to United Airlines Cargo.

 

The aircraft was retired by United in Dec-00 and initially stored at Marana, AZ, USA. It was moved to Roswell, NM, USA in Dec-01 and was due to be sold to Federal Express (N327FE assigned) but the deal fell through.

 

It was sold to a lessor in Aug-02 and leased to Brasmex (Brasil Minas Express) as PR-BME in Sep-02. It returned to the lessor in Feb-04 and was stored at Sao Paulo-Guarulhos.

 

The aircraft was re-registered N478CT in Nov-04 and ferried to Marana the following month for further storage. In Feb-05 it was leased to Arrow Air Cargo.

 

They ceased operations at the end of Jun-10 and the aircraft was returned to the lessor in Jul-10 and was stored at Opa-Locka, FL, USA. It never flew again and was broken up there in Apr-14.

The railroad workers were replacing some ties and left a pile of brand new spikes just laying by the tracks. I was visiting my family whose house is right beside the tracks where I saw them. The tracks here are the Wheeling and Lake Erie Line.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 22-Dec-25.

 

Named: "Gdansk".

 

This aircraft was delivered to AWAS Ansett Worldwide Aviation Services and leased to LOT Polish Airlines as SP-LPB in May-95. It was wet-leased to Universal Airlines (USA) between Dec-01/May-03.

 

It was also leased to Air Caledonie International - Air Calin for three weeks in Nov-05 to cover maintenance on their own A330-200. The aircraft was returned to the lessor in Sep-13 and stored at Shannon, Ireland.

 

It was transferred to AWAS Aviation Trading Ltd as EI-FDI in Oct-13 and leased to Privilege Style (Spain) as EC-LZO in Dec-13. Privilege Style is an ACMI operator specialising in short and long term leases to other airlines.

 

The aircraft was wet-leased to Finnair O/Y in Jun/Jul-14, and to EL AL Israel Airlines between Jun/Aug-15, and to El Al again between Dec-15/Mar-16.

 

The aircraft was returned to the lessor in Dec-22 and stored at Lleida, Spain. It was sold to CAM Cargo Aircraft Management as N342CM in Feb-23 and ferried to Tel Aviv, Israel in Mar-23 to await cargo conversion. It's still waiting... Updated 22-Dec-25.

 

Note: ACMI = Aircraft, Crew, Maintenance & Insurance.

Replaced the old cameras with new ones and added more detail.